On May 5th, 1856, Alexander Keith Johnston gave a speech to the Epidemiological Society of London at its annual meeting. The topic of his presentation was the geography of disease and its natural history. Well known for his books on the mapping of traditional world and political geography and natural phenomena, he produced some of the most impressive detailed maps of the world for his time, displaying its various physiographic, meteorologic, anthropologic, cultural and linguistic features. Johnston's map on disease was the third such map to be produced on world epidemic and endemic disease patterns, and the first to be published and distributed in the English Language by a Western European country. Johnston's work is preceded by two very important medical geographer's impressions of the earth. The first geographer to map disease was Heinrich Berghaus, whose map depicted the most important endemic and epidemic disease patterns then known to exist as regional conditions. This was followed by Adolph Muhry's book, which focused a lot more on climate in how it presented the behavior of diseases on the earth's surface.
For the most part, these two maps depicted much the same knowledge already out there about disease patterns on the earth's surface. The best known geographical features that each of these maps displayed included the impacts of latitude on the distribution of certain endemic disease patterns considered to be limited to the equatorial region, between the tropics of cancer and tropic of Capricorn, with the true northern and southern limits placed somewhere between 37 and 40 degrees in either direction, depending upon the ways in which these disease boundaries were defined. Next, there was an attempt to demonstrate the impacts of weather in relation to this boundary to the tropical or torrid zone of the earth, as it was termed in ancient Greek and Roman texts. The oceans formed a very definable boundary between each of the major land masses, with oceanic air and seasonal and latitude based prevailing wind patterns dictating how any health-influencing features of the atmosphere might effect the land and people below. With this method of visualizing disease patterns, geographers like Johnston and most of his predecessors were able to define the relationships that were felt to exist between certain classes of disease and the climate, the place of the earth in terms of latitude, and whether or not a region had much or very little to no exposure to the maritime climate, waters and wind patterns.
Geographers used this to define where the healthiest places to live were, and where one had to remove to were he/she taken on by a certain medical condition or disease state. Geographers used this same philosophy to define where diseases existed, how they came to be, and therefore, based on this philosophy, how to prevent them or treat them as if they were completely or almost completely environmentally induced. Observations from about 1790 onwards with the fevers and in particular yellow fever helped medical geographers further define their theories of place and disease, and begin to break these theories down into individual subsets of claims and discoveries. In this way the fevers were differentiated from each other due to their cyclical differences, with continuous fevers lacking periods of normal temperate noted to be primarily seasonal and weather related, and most other diseases found to be consequences of the environment, humidity, temperatures, place and time of the year. In this way the fevers could be broken down into remittent, intermittent and ague fevers, terms used to define the various forms of fever, later referred to as malaria, typhus, typhoid, spotted and yellow fever, and even later differentiated further through the discovery of their microbial causes and host-vector relationships.
The Torrid Zone was the source for Yellow Fever in the western hemisphere. This political cartoon of Jamaica places the symbol for Yellow Fever in the center; to the left in grey is "Sore Throat" and to the right in grey is "Dry Gripes". Notice the sun symbolic of heat and solar apoplexy (sunstroke) above.
The next major symptom used to map diseases was diarrhea, its worse form dysentery, and its ultimate, very deadly forms cholera morbus, cholera infantum and cholera asiatica. The common forms of diarrhea had geological and zoological causes. The geologic or mineral causes for these were well known, such as the diarrhea induced by imbibing mineral spirits or sal Epsom and sal Glauber. Dysentery had two types of causes, both unknown at the time, the traditional amoebic form due to the organism entamoeba, which had well-defined organism-defined geographical boundaries, and the various opportunistic forms without geographic boundaries developed due to foods contaminated by shigella, listeria, salmonella, and numerous other bacteria.
When Asiatic cholera became the next global epidemic in 1832 (1817 events brought it to Europe, but not the rest of the world), replacing yellow fever as the most important disease to understand the geography for, we see geographers now fully applying the ideas the lessons that yellow fever, malaria, typhus and spotted fever provided them with. The differences between endemicity and epidemicity were now fully understood, and the idea of naming disease based on their geographic niduses and natural history was now its peak. Geographers devoted to the medical geography field like Johnston often ignored the animalcules throughout much of their discussions of the cause for illness. The role of human behaviors related to sanitation and tendency to reside in crowded living situations is what form much of the second half of the geographical theory for disease. A few more years were needed for ecology and animal life to become a part of the regional diseases paradigm. Johnston tried merging together the observations of those who believed in the climatic, meteorologic, meteoric (precipitation, comets, asteroids, etc.), volcanic, atmospheric (gases and air emitted by earth), electro-magnetic, telluric (earth magnetism), terrene (terrain-soil-earth), hydrologic, pedologic (soil), geologic, and topographic-physiographic theories for disease.
Important to note here–Johnston's work and writings are focused on the geography of disease, setting aside the non-geographic theories that focus on people. Johnston does make mention of the spatial aspects of populations. By referring to "Jörg" in his text, he is most likely making reference to Eduard Jörg (Link to Google books by him; see esp. Nord-Amerika text). Jörg was a very popular German medical topographer. Johnston's inference to Jörg provides us with insights into Johnston's personality. We see very little inferences made to the famous German writers for the time by other disease geographers like Snow and Farr. We therefore have an important political statement about the undertones then existing academically between the German miasma nosologists (see my page on Carl Friedrich Canstatt) and the British Zymotic Nosologists which Farr was helping to develop.
More than likely, as Johnston was finalizing his hypotheses about diseases around the world, other physicians like John Snow and William Farr were developing the details of their own hypotheses, which would not appear much in the literature during the next decade.
Snow focused on water, population density and contamination. Farr was replacing the miasma theory with his version of the zymotic theory first described around 1837. Farr's theory drew attention away from the different roles that the earth and climate played in disease development. At times, these two theories very much seemed at odds with each other, for the supporter of one rarely went into the details about the other in his writings. We see more the acceptance of two overlapping theories in temporal sequence merged to form a distinct hybridized philosophy that two competing theories become merged together to form a more complex combined set of theories for diseases. Nevertheless we know that such was the case when we review the taxonomy or nosology of diseases published for the time. Those diseases that fit Johnston's geographic paradigm are present in the nosology, but some are converted to certain zymotic subclasses (zymosis included the common immunizable and infectious, non-immunizable disease like cholera, yellow fever, etc.) and other diseases transferred to other non-zymotic classes and subclasses (for example, what are currently viral diseases and poison diseases were often merged together). Johnston's diseases and his global disease map do not take any of Farr's theory into account. One needn't do so when place and the natural features of places are all that are needed to explain disease patterns. Johnston is detailing those diseases which he can assign places to in terms of their epidemic and endemic behaviors, at least according to his observations as a geographer, not as a physician.
The link to Johnston's article appears in the beginning and at the end of this review.
He defined torrid zone diseases as dysentery, yellow fever, diarrhea, malarial fevers, and affections of the liver; subtorrid or temperate zone diseases as inflammatory diseases, represented by typhoid or typhus fevers (gastric, bilious and enteric fevers, typhus and typhoid were not yet distinguished); and subtemperate to arctic zone diseases as catarrhs and colds.
Cretin and Goitre are closely related to elevation and topography, with the focus on montane settings.
Allusions to the Pacific Rim are made: India's tendency to have frequent "earthquakes and violent hailstorms" in its tropical settings.
Breezes from afar are very important, such as the Africa's sirocco, monsoon winds, Madras's sea breeze known as "the doctor" (presumably a health-giving wind), the simoon or hot wind from the desert of Algeria, the "smokes" vapor clouds of western Africa's Sierra Leone area, the mirage and Khamsin of areas around the Nile.
The deltaic environment is an important ecological requirement for cholera; Johnston links the India delta to dysentery.
Sanitaria in the high elevations sub-Himalayas are noted.
China is associated with intestinal worms, which may also related to liver flukes and other animal born worm diseases linked to the Orient.
Regional, culturally-linked animalcule diseases are noted, such as Guinea worm, yaws, craw craw, leprosy.
New Zealand experienced "Ngerengere" or lepra gangrenosa.
Marshy districts are usually considered very unhealthy.
Milk sickness is noted in the great plains to the north. (I have two pages on this, ca. 1800 and 1830-50 approx.: Link1, Link2).
Throughout this essay, most of the highly salubrious settings are noted to lack heavy populations. Johnston does not necessarily state or argue this with his presentation, but he makes enough notes about this to have probably realized the relationship that exists between population density and disease.
Elephantiasis or "Barbadoes Leg" is noted, assigning a place of fame or origination to this disease. The related elephantiasis Graecorum or tubercular elephantiasis is noted for Bahia, where a hospital specializing in Leprosy was built.
New Grenada has a place called "Mompox". Diseases for this small region/country have very specific niduses defined.
Peru's unique putrid fever is called "tobardillo".
Bolivia topography defines three regions, three climate types, suggesting three epidemiological regions.
On page 48, in the section on Yellow Fever, Johnston notes the discovery by several medical geographers, but in particular Jörg (probably Eduard Jörg, see this google books LINK), claiming that "Among causes hitherto little adverted to, but which by some authors are held to be essential to the production of this fever, is a certain degree of density of the population." Johnston adds to this environmental requirement, elevated temperatures.
The other epidemic summaries for cholera, the plague and typhus review the history and provide a little more of an updated viewpoint on each of these diseases for this particular year; elevation plays an important role in preventing their overland diffusion. Latitude-related temperatures also serve as barriers, for example by preventing typhus from infecting the Hudson Bay forts.
The Cretinism-Goiter discussions are interesting, to say the least. Leprosy and Pellagra, etc. have interesting geographic distributions, the causes for which were hard to describe, but probably due to different microbial causes which were then unknown to Johnston and most in the field of medicine.
At the time Johnston wrote up this speech, military physicians and epidemiologists related to military activities were paying very close attention to the climate, place and disease. My page on Aitken's work with disease mapping illustrates this quite well. His map was developed based on Johnston's map and observations and was published about 15 years later. Johnston's section on the Army and The Navy reiterate many of Aitken's observations, which Aitkens probably made, interpreted and then published separately from any conclusions he knew about that were drawn by or published in the works of Johnston.


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text:
SeniorsPlus awarded $45,000 grant
LEWISTON — SeniorsPlus, the designated Area Agency on Aging for Western Maine, received a three-year grant award for $45,000 from the Betterment Fund for its partnership in Healthy Living for ME.
Healthy Living for ME (HL4ME), is a new, innovative, centralized hub for Chronic Disease Self-Management Education (CDSME) in Maine. HL4ME is a joint venture partnership between SeniorsPlus and Spectrum Generations and Aroostook Agency on Aging. By creating a hub, the program will educate the public, improve interactions with providers, streamline payment and data reporting, and reduce healthcare costs.
The grant from the Betterment Fund will help cover costs for a suite of six evidence-based programs to be presented in Western Maine by SeniorsPlus over the next three years as part of the HL4ME program.
The six programs are self-management for chronic disease, chronic pain, and diabetes, in addition to Matter of Balance, Tai Chi for arthritis, and Savvy Caregiver, a training program for family caregivers. These programs have recently been launched across the state and the public is invited to enroll in them by visiting https://www.healthylivingforme.org/Programs. Most of the workshops are free.
"Healthy Living for ME is an important partnership that could change lives and the way healthcare is managed in Maine," said Betsy Sawyer-Manter, president and CEO of SeniorsPlus.
"We are grateful for the support of the Betterment Fund," she said.
The Betterment Fund was created for charitable purposes by the will of the late William Bingham 2nd, a resident of Bethel, who died in 1955. Education, health, conservation and community support are its primary grant categories.
SeniorsPlus, established in 1972 and headquartered in Lewiston, is the Western Maine designated Area Agency on Aging covering Franklin, Oxford and Androscoggin counties. The overall program goal of SeniorsPlus is to assist older people and adults with disabilities to remain safely at home for as long as possible. Its mission is to enrich the lives of older people and adults with disabilities. SeniorsPlus believes in supporting the independence, dignity and quality of life of those it serves – more than 17,000 individuals annually.
For information, visit www.seniorsplus.org or call 1-800-427-1241.
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redpajama_set_name: RedPajamaCommonCrawl


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I've cried a lot the last nine days. First, I learned that the sweet girl that was my niece by marriage for a few years had passed away. Her mom, my once sister-in-law and still friend, had lost her oldest daughter. She was only thirty-six but had been suffering from the results of a terrible injury for more than a decade. My sweet nephews had lost their half-sister and the world had lost a lovely young woman who we will miss. Today was her funeral and my heart ached for her family, her fiance, and all of us who will miss her.
Four years ago, Savannah took her guitar to the Charleston, an assisted living facility not far from our home. She asked for the names of a few residents who might enjoy a couple of songs and a visit. That day she met William "Bud" Shelton, and a sweet friendship was formed. She visited him dozens of times over the last four years and some of those I was able to tag along. He requested songs (shelearned a Johnny Cash song for him), they talked about their lives (mostly his past and her future), they shared their world travels (his in the military and with his wife, hers last year with her siblings) they laughed together and cried together. When he said he'd really had a hankering for mincemeat pie, we made one for him. When Savannah told him she was going on a mission, he hobbled over to his wallet and pulled out a 50 dollar bill to help her out. A visit never passed without him talking about his sweet wife, Bessie, and what a good team they had been. He missed her so much. Every visit ended with us singing "How Great Thou Art" at his request while he mouthed the words and wiped away tears. This picture was taken the day Savannah left on her mission. He asked me to stop in every so often and let him know how Savannah was doing. Bruce and I saw him in March and he again expressed his love and appreciation for Savannah. He said, "that girl sure has brightened up this last four years. Be sure to tell her I love and miss her." Today when I went to visit Bud, I discovered he was reunited with his sweetheart on March 28, and although I'm thrilled that he's with his wife, my heart hurts for the sorrow Savannah will feel. Im so glad I was blessed to watch their sweet friendship. We will miss him.
This month also marks the anniversary of my brother's death. Even after thirty-two years, I still think of him with an ache in my heart. He was only sixteen years old and there were so many things he didn't get to do, so many people he didn't get to meet. When I was young I thought I wouldn't be able to survive if something happened to one of my brothers or sisters. I wouldn't be able to go on. Somehow the ache and the gaping hole that Bruce's death left in our lives healed over, even though it left a tender spot that sometimes still hurts.
This life is so hard. Bud missed his wife for years and now we begin the missing him. We've missed Bruce for years. Meagan will be missed for years. How do we move on when pieces of us are cut away and laughter and hugs and conversations are gone? I honestly don't know how people cope with these kinds of losses without the hope of an eventual reunion.
This is what gives me hope. This is the reason that even though there are tears and loss and heart-crushing pain at the loss of those we love, I look forward to seeing them again. I look forward to hugging Meagan again. I look forward to introducing Bruce to my husband and children. And I look forward to singing with Bud again and meeting his wife. I could not be more grateful for my Savior and all He made possible for me and those I love. He really is the source of peace.
I guess there's no better way to burst back on my blog scene than with a random post. My heart is so full this morning and I feel a need to write. I could write on my work in progress--a romance--but I feel too distracted and my thoughts and emotions are all over the place.
Of course her dad and brothers miss her, but man, the last couple of days my girls have been killing me. After she was set apart on Monday (a special blessing that officially means she's a missionary) I walked into the girls' bedroom and found them sitting on the bed holding hands and sobbing. Last night Veronica cried all the way home. I remember when Veronica left. Savannah was lost without her sister. I'm so sad for the heartache and homesickness for each other they feel, but so, so grateful they're such good friends and love each other so much that they feel this way. I absolutely hated dropping Veronica off at her college house last night. I just wanted to take her home with me.
Bruce is waiting to hear from the grad schools he's applied to. I'm excited to know where he'll go, but none of them are close and holy cow! Another goodbye. At least we'll have phone calls and texts so I can know his news in almost real time. But sometimes it all feels like too much. To much emptiness. Too much homesickness. To many goodbyes.
This whole kids growing up thing is for the birds. I know it's a cliche, but it's a cliche because it's true. It all goes by so fast. I remember thinking that being a mom of babies and toddlers is hard, but I'm here to tell you that at least for me, being a mom of kids that are growing up and leaving and dealing with dating and disappointments and traveling far from home--that's harder. Maybe I'm a control freak or allergic to goodbyes or just plain bad at change, but I want hit the brakes, put the car in reverse and go back about ten years. Or a few years. Or to last week when we were all together.
Grandpa and Grandma came for Savannah's setting apart and it was wonderful having them here. Then they left and were well on their way home when we realized we had stupidly forgotten to take any pictures. We didn't know it but they felt the same way and almost turned around and came back. Savannah was sick about it yesterday morning, so she had me call them to see if they'd come to the airport for pictures. They had been feeling the same way but hadn't wanted to interrupt our family goodbye. So glad we called. They met us at the post office by the airport and we got pictures and Savannah was able to give them a few more hugs. It was perfect, really--the post office was closed but the lobby was open and well-lit (even if the lighting was ugly florescent bulbs) and we had it to ourselves.
Before we went to the airport, we went to Joe's basketball games. He had a good JV game and then got in his first varsity game. It may be silly, but I was so glad Savannah (and the whole family) got to be there for his first varsity minutes.
I don't want to spend the day wallowing. I need to remind myself that this is exactly what I want--children that grow up confident enough to leave home, children that love us enough to feel sad when they go, children who love Jesus Christ and their Heavenly Father enough to sacrifice a big piece of their lives to serve him, children who choose to serve and love and teach strangers who become friends. I'm sad and I'm missing my girl, but I'm so grateful to be the mother to such wonderful people.
And now I need to go clean a closet or something.


Quote Documents consists basically of 3 sections, i.e. the heading, transaction details and the footer.
The Header Section - contains the details of your business, the postal and delivery addresses (if delivery address was entered) of the debtor (customer), the document number, date, number of pages, Tax reference number, and the reference number of the debtor for the transaction, and account number. This information was displayed on the Document Entry Header screen. The Exemption Reference number is the Tax number as entered on the Edit - Accounts - Debtors (Accounting Information tab).
The Transaction Section - contains the details of the transactions as selected, entered and edited in the Document Entry Details screen. It displays the code and description of the stock items quoted, any comments, any discounts, etc. If you are registered as a VAT vendor and you have selected a Tax code, and VAT amounts for each item (Exclusive amount, Tax amount and the Inclusive amount). Finally the total for all the transactions are displayed at the end of this section.
The Footer Section - contains the message as entered on the Setup - System Parameters - Documents (Quotes tab) menu option and the Company and Tax registration numbers if entered on the Setup - System Parameters - Company Info (Address tab) menu option. This section also includes a place for the name and signature of the person, who accepts the quote and the date on which the quote is accepted.
You may also select to print the company logo instead of your address on the quotes. If you select to print your company logo, make sure that your address and contact numbers are included in your logo.
When a debtor (customer) accepts a quote, the debtor (customer) may accept all the items on the quote or may wish to add some other items or may even wish not to take all the items. You may confirm and convert the quote to an invoice. Note that quotes cannot be posted or updated to the ledger.


text:
import pygal
from hetaira import app
from flask import render_template, flash, redirect, url_for, Response, session
from .forms import DataUpload
from .promiscuity import calculate_results, example_one, example_two
from .util import PubChemError, BitstringError

# set up the examples
example_one = example_one()
example_two = example_two()

@app.route('/', methods=['GET', 'POST'])
@app.route('/index')
def index():

    form = DataUpload()

    if form.validate_on_submit():
        try:
            session['results'] = calculate_results(form.datafile.data)
            return redirect(url_for('results'))
        except (BitstringError, ValueError):
            flash("Fingerprints can only contain 0's or 1's")
        except IndexError:
            flash('Fingerprints must be of equal length')
        except PubChemError:
            flash("There was a problem collecting fingerprints from \
                  the PubChem database. Please verify the submitted CIDs")
    return render_template('index.html',form=form, title='Welcome')

@app.route('/results')
def results():

    results = session['results']

    # set up a plot of the results
    fig = pygal.Bar(disable_xml_declaration=True,
                    range=(0.0, 1.0),
                    style=app.config['STYLE'])
    fig.title = 'Promiscuity Indices'
    fig.x_labels = [result[0] for result in results[:-1]]
    fig.y_labels = app.config['YLAB']
    fig.y_title = app.config['YTITLE']
    fig.add('I', [float(result[1]) for result in results[:-1]])
    try:
        fig.add('J', [float(result[2]) for result in results[:-1]])
    except IndexError:
        pass
    fig.value_formatter = lambda x: '%.3f' % x
    if len(results) > 20:
        results = results[:21]
    return render_template('results.html', results=results,
                           title='Results', fig=fig)

@app.route('/download')
def download():

    results = (','.join(result) +'\n' for result in session['results'])
    return Response(results, mimetype='text/csv',
                    headers={'Content-Disposition':
                             'attachment;filename = results.csv'})

@app.route('/faq')
def faq():
    return render_template('faq.html', title='FAQ')

@app.route('/examples')
def examples():

    # plot of steadily decreasing promiscuity
    fig1 = pygal.Bar(disable_xml_declaration=True,
                     range=(0.0, 1.0),
                     style=app.config['STYLE'])
    fig1.x_labels = [x[0] for x in example_one[:-1]]
    fig1.y_labels = app.config['YLAB']
    fig1.y_title = app.config['YTITLE']
    fig1.add('I', [float(y[1]) for y in example_one[:-1]])

    # jackknife plot of promiscuous and specific
    fig2 = pygal.Line(disable_xml_declaration=True,
                      range=(0.0, 1.0),
                      style=app.config['STYLE'],
                      x_label_rotation=20)
    fig2.x_labels = ['Cmpd ' + str(i+1) for i in range(len(example_two))]
    fig2.y_labels = app.config['YLAB']
    fig2.y_title = app.config['YTITLE']
    fig2.add('Specific', [i['Sp']['I'] for i in example_two])
    fig2.add('Promiscuous High Activity', [i['PHA']['I'] for i in example_two])
    fig2.add('Promiscuous Low Activity', [i['PLA']['I'] for i in example_two])

    return render_template('examples.html',
                           title='examples',
                           fig1=fig1, fig2=fig2)

@app.errorhandler(500)
def internal_server_error(e):
    return render_template('500.html'), 500

redpajama_set_name: RedPajamaGithub


Black Panther may have been the highest-grossing movie in the U.S. in 2018, and arguably the most crowd-pleasing, but that doesn't mean it was always easy to work on it. Star Michael B. Jordan has opened up about the mental toll the production took on him, and why he went into therapy after filming.
"I spent a lot of time alone," Jordan said. "I figured Erik [Killmonger], his childhood growing up was pretty lonely. He didn't have a lot of people he could talk to about this place called Wakanda that didn't exist."
He dove headfirst into the psychology of his character, something that's common enough among actors, but it seemed to have rubbed off.
And he doesn't have time for people who stigmatise others who seek professional help. "As a man you get a lot of slack for it," Jordan told Winfrey. "I don't really subscribe to that. Everyone needs to unpack and talk."


text:
Posts Tagged 'Helen Howard
COCK or How to Manipulate Media Coverage In Your Efforts to Secure Rave Reviews or I'm Just a Girl Standing in Front of a Box Office Trying to Buy a Ticket to Your Show
Categories: Performing Arts, Reviews and Theatre
Tags: ashlee lollback, bosco productions, cock, dereck draper, Helen Howard, julian curtis, Metro Arts, mike bartlett, patrick farrelly
Bosco Productions
Metro Arts
August 21 – 31 2019
Reviewed by Xanthe Coward
Somebody didn't want me to see this show. Let's pretend that we don't know who that was.
This happens sometimes, following an unfavourable review; xs is left off an upcoming list and Box Office is directed to refuse us entry. But companies should be careful of what I like to call The Maleficent Effect, which is to say that not everyone would stand for being treated with such disrespect and still show up to see the production for what it is. Luckily for this Irish lot, COCK is brilliant and quite beautiful, in the most honest and transparent way, with not a single European pillow in sight. Even so, let's take a moment to appreciate that the risk of being turned away at the door after a 90-minute drive in peak hour traffic, after a session with teens who still haven't learned their lines a week out from assessment, is nothing; it's more amusing than anything else, and not nearly as insulting or threatening as a spate of online trolling, name calling and death threats. So…Bosco…namaste.
while the producers of any show may argue that as it's their party, they can invite whoever they want, the principle of extending invitations across the board to established newspapers and reviewing outlets is a sound one. Trying to exclude particular reviewers is not – if for no other reason that it makes that individual critic seem more important than they are and hints at, if not outright censorship, than at least an over-developed desire to manipulate coverage and ensure good reviews all round.
You can never second-guess what a critic's response will be.
The real issue here is the insidious, creeping desire on the part of producers and their PR agencies to control all press coverage by feature writers and critics.
You can never second-guess what a critic's response will be
I'd like to suggest a new category for the Matilda Awards
Most Awkward Box Office / Foyer Conversation
Box Office Girls: stare up at me in what appears to be abject horror, or it could just be me pre-empting a Hilary Spurling scenario (Box Office Girls too young to know who Hilary Spurling is).
Me: Hi, I'm Xanthe and I know you've probably been told not to give me comps. So I'll buy a ticket.
Box Office Girls:
Me: This must be the first theatre ticket I've had to buy in ten years!
Me: Happy to support!
You can imagine.
Fiona Apple's Shadow Boxer pre-show, as I take my seat, seems appropriate. I know the play; I love Mike Bartlett's properly real life writing, with its overlaps, interjects, repetitions, stutters and silences. I love that, as Writer, he has the audacity to demand of the companies brave enough to take on his play, a bare stage sans sets and props.
Queensland's most under-utilised director, Helen Howard, has relished the challenges of a possibly highly stylised and potentially dated piece…or is it? After all, we are still insisting that relationships be bound by certain constraints, aren't we? Howard has shaped this show from a contemporary place of power and compassion for these characters with whom we connect, and from whom we disconnect at the same time. It's a voyeuristic lens that holds us in the gaze of the actors as we watch events unfold. Direct address is skilfully incorporated. Judge me. Don't judge me. There is rarely physical contact between the actors; like a dance in a dream, their actions – undressing, touching, etc – are described but never carried out in the sense of showing us explicit stage business. This leaves scope for the imagination, creating a delicate, sensual intimacy that will make this production an example at the next round table re the results of best practice, as we continue to evolve the ways we work with actors, particularly student actors, on intimate/physical/emotional scenes. It's a way into intimacy that's been explored more extensively to date in the dance realm. A surreal, smoothly choreographed opening sequence at once feels beautifully fluid, and irregular and angular, leaving us distanced from the action, and yet completely committed, uncertain of where we are and what we're in for.
The people we meet here are real and flawed, and either panicked or paralysed by tiny daily insecurities, as well as their – our – bigger fear of actually living life.
Derek Draper (M) and Julian Curtis (John) drive this narrative; a love triangle that's more complicated than most, introducing the unexpected, and turning the stereotypical homosexual relationship on its head. When push comes to shove, M invites in his father – F – for moral support (Patrick Farrelly). When John meets a woman – W (Ashlee Lollback) – he questions his place…his worth…in his 7-year de-facto relationship with M.
The dance continues at intervals throughout the show, neatly devised transitions separating and marking for posterity each key moment; the tenderness of the storytelling and the heightened awareness of the actors evident in every pause. There is so much said, and left unsaid, in these silences.
Draper is strong in this role; he finds the right mix of strength and vulnerability; M stands up for what he wants and ultimately, despite even more deeply doubting his power, he doesn't back down. It's enough to make us shrink in our seats during one of the most uncomfortable endings ever written. But more so, it's John's ineptitude that continues to make us cringe, even after the lights come up. Everyone knows someone this frozen by fear. The beauty of Bartlett's protagonist is in this paralysis; the agony of being incapable of making a decision, squirming in the process; pushed to the edge and unable to decide whether or not to jump.
W challenges John on every level and gently exerts her most elegant use of force to urge him closer and closer to a decision that will suit them both. As John admits, it's not as much about gender or sex as it is about the way he feels with her, the careful, kind way she speaks to him, treats him. Lollback is a beautiful, natural performer, at ease in her body and generous in her offers, employing a warm, firm vocal tone, and a sweet and comforting smile that reminds me of Naomi Price in Sweet Charity.
While we might judge John's behaviour harshly, most of us can probably relate to his inability to communicate under pressure. The paralysis of indecision is no small thing so the dinner party scene, so fraught, becomes intense and fascinating and funny, and absolutely awful in the best theatrical sense, leaving us despairing, properly lamenting, John's stubborn resistance to the power that we all feel quite desperately by now, is his to claim. There are exasperated sighs in the audience. And inexplicably, it could be said, largely because it's Curtis in this role making M completely hopeless and also, completely adorable, John keeps our sympathy, despite his reluctance to commit one way or the other, to one lover or the other, and the question arises: why should he be made to choose? Bartlett doesn't go deeper here; he doesn't suggest that John remain single for example, but we can imagine what John's single life might look like. Instead…well, it's that awful, uncomfortable ending, confirming once again, in case we are ever in any doubt, that we're all needing as much validation as the next guy. Well, no. Some much more so than others it seems.
The Tragedy of King Richard III
By XS Entertainment 1 Comment
Categories: Performing Arts, Reviews, Shakespeare and Theatre
Tags: amy ingram, atticus robb, brisbane festival, daniel evans, David Berthold, dick 3, Helen Howard, la boite, marcel dorney, Naomi Price, pacharo mzembe, richard 3, the roundhouse, the tragedy of king richard III, todd macdonald
La Boite Theatre Company
La Boite Roundhouse
May 21 – June 11 2016
History is the version of past events that people have decided to agree upon.
– Napoleon Bonaparte
After a questionable start to the 2016 season, La Boite triumphs with The Tragedy of King Richard III – affectionately referred to here as Dick3 – the most intriguing, challenging and satisfying theatrical event of the year so far. An exhumation, a thorough examination by brilliant minds, Queensland Premier Drama Award winners, Marcel Dorney and Daniel Evans, this production not only brings together two of the country's best writers, but gathers together on stage and off, a truly formidable team of creatives.
Undoubtedly our most fearless director, Evans is able to find compassion in raging fury and irreverent fun in serious ethical and political discourse, creating a new form of theatre; a new style of conversation that challenges and rewards deeply, actors and audiences.
This is the sort of show we expect to see come to us direct from an acclaimed season overseas, and perhaps premiere at Brisbane Festival (September brings Snow White, this Shakespeare, and a whole lot more to the table). It's the sort of show that makes us question everything we thought we knew about theatre and history, and the way we continue to look at the world. It's a show that turns you inside out, slams you upside down and spits on you, laughing, before reaching out to help you get to your feet again, asking with genuine concern, "Do you want a Milo?"
It's lucky/exciting/apt for Queensland that our top two companies are starting to make a habit now of giving wings to slightly more unconventional ideas and the support to help them take flight. This one soars and I won't be at all surprised if, just as La Boite's Edward Gant did, Dick3 attracts the attention of some of the nation's other major players. In fact, I'll be surprised if it doesn't.
Dick3 is one of the most designed productions we've seen in this space (Designer Kieran Swann, Lighting Designer Jason Glenwright, Composer Guy Webster), utilising the very air that exists between light and rain, and the cold, wet ground, surrounding the raised floor with a black catwalk containing hidden trap doors storing a stash of props and wardrobe pieces inside each space, and having performers take hold of lights for good reason, rather than as a token effort to involve them in the meta layers of the storytelling.
Because this is certainly not Shakespeare. This is very un-Shakespeare – next level Shakespeare – and it comes with the confident "fuck you" of a generation of genuinely passionate theatre makers who strive for a little more than mediocrity (unlike the next), brilliantly combining box office appeal with original experimental storytelling, questioning far more than they end up divulging and forcing us to reconsider the known "facts" of the history of the world and, in this case, one of the most infamous of Shakespeare's historical characters.
I'm gazing into blue space when Naomi Price appears in front of me, in a Kate Middleton inspired ensemble, with a hand held mic, which she raises to her mouth after pronouncing very loudly and clearly and properly and powerfully and Shakespearingly, "NOW…" She firmly, politely tells us to turn our mobile phones to Off not Silent and asks that those who insist on leaving their phones on Silent, raise their gadget in the air and admit it. She asks those who didn't decide – neither switching to Silent or admitting doing so – WHY? There is laughter and we are immediately relaxed and somewhat thrown by this direct address…
Price proceeds to stride around the catwalk and paint a picture that is so vivid, so real, we feel as if we're in the carpark in Leicester in 2012, standing, shivering, wondering what's come before us, and looking down upon the reviled bones of King Richard III.
There is the smell of burning rubber, steam rising, mist swirling, rain falling, blood pooling, blue pouring and splashing and emptying across the stage, the concrete that becomes marble before our eyes, the sponge hump, the gnarled hands, the buckets, the handhelds, the dagger, the sword, the paper crown, the tarp, the blank pages of the book – it could be Harry Potter, an empowering choice for a child actor (he'll take what he can) – and there is us. Always us, purveyors and interpreters and interlopers; I actually feel unwelcome at times, as if I'm at the wrong dinner party. And this is deliberate, because ultimately, who cares about so much of the history we're told is true? Is it? If it is, what of it? If we're sitting there, attempting to intellectualise or justify or reframe in a postmodern context anything that comes from the annuls, it's shot down in flames and we're offered an alternate view that suddenly seems more reasonable than our originally held belief.
Always surprising, this show is the one extra Tequila shot at the end of the night that sees us agreeing with someone we'd presumed would never even make the guest list. Dick3 is an equaliser, a game changer. If the national culture leaned more towards arts than football, this is the match of the season, and could just as easily be seen in a stadium. Imagine that!
It's difficult to understand the reluctance to more reasonably support arts and culture. More Australians go to art galleries each year than go to the AFL and NRL combined. The creative industries employ more people than agriculture, construction or even mining, and indeed contribute as much as 75% of the economic benefit of the mining sector…
Let's talk about STEAM rather than STEM. Science, technology, engineering, arts and mathematics should all be key parts of our education curriculum. Decades of research shows that artistic engagement nourishes all learning, so if we want an innovative, imaginative and well-rounded nation, let's have one…
People have a right to arts and culture.
– David Berthold, AD Brisbane Festival
Price is so powerful in this space, with the vocals and stage presence to knock you flat. She sets the scene and establishes the connection with the audience, which the performers maintain throughout. We connect with each of them. We're part of this story, part of history. Amy Ingram is a seductive, deliciously wicked delight, and Helen Howard an articulate, elegant, fearsome creature, just as she should be. In Howard's hands, the act of lifting a chainmail sleeve from a bucket of blood and putting it on, blood dripping down her flesh and soaking into the fabric of her dress, becomes a fine art, pure (horrifying, mesmerising) seduction. Pacharo Mzembe is a prince, giving everything in this performance, which, having now seen so much of NT Live, appears to have come directly from the West End, such is his mastery of voice and movement, particularly in the thrilling fight sequences choreographed by Nigel Poulton (Assistant Fight Director Justin Palazzo-Orr). These are Poulton's best bloody, sweaty routines to date, executed with ferocious intent by Mzembe and MacDonald. Todd MacDonald commands the space, his return to the stage a triumph in itself. When he's not fighting or plotting or spilling blood he's bringing to life a previously unknown version of William Shakespeare – a very funny one – and allowing himself to be directed by the actors who sit, watching critically, in the corners.
But it's 14-year old Atticus Robb, in his professional stage debut, who stuns us with a performance that is mature beyond his years, bringing passion and ambition, sincerity and vulnerability to multiple roles, including that of The Actor, Atticus. His is thrilling natural talent, most evident in a Richard III rockstar monologue that steals the show. This kid's got it.
The Tragedy of King Richard III is bold and brilliant, death-of-theatre-defying stuff, giving the Australian theatrical landscape permission to change again, to carry on evolving, despite its current challenges.
Without bringing Shakespeare to the stage, Dorney and Evans have brought Shakespeare's essence and centuries of society's most deeply held beliefs about ambition and power and connection and the human condition to an audience who thought they'd seen everything. Everything that is, until Dorney and Evans' astute take on anything at all.
NOW… We'll see if there are others who can keep up with the exhilarating pace set here.
Production pics by Dylan Evans
Categories: Events, Festival, Music, Performing Arts, Reviews and Theatre
Tags: 1001 nights, arabian nights, genie of the lamp, genie of the ring, Helen Howard, indian tales, Michael Futcher, oral tales, persian tales, pezhvak, QMF, QTC, queensland music festival, sherazade and shahriyar, steven rooke, tradition, traditional persian music, zen zen zo
QTC & Queensland Music Festival
In Association With Zen Zen Zo
Bille Brown Studio
18 – 28 July 2013
Aladdin. Ali Baba. The names are as well-known as the stories behind them. They resonate down through the ages and across vast oceans. They whisper the promise of adventure, exoticism and romance, from their ancient roots among the shifting sands to the bedside of every child.
Zen Zen Zo Physical Theatre joins traditional Persian musicians Pezhvak, for an evening of riveting storytelling, dance and song based around the Middle-Eastern magic of 1001 Nights. Adapted by Michael Futcher and Helen Howard, resident directors of Zen Zen Zo, this production blends together a storytelling troupe that weaves words to charm and delight.
Backed by the authentic sounds of traditional instruments including the oud, the dohol and the kamanche, this energetic and enchanting show embraces Zen Zen Zo's legendary physicality.
A simply shared, ingeniously sumptuous production, told in the style of Vikram and the Vampire, and showcasing the talents of Dan Crestini, Gavin Edwards, Steven Rooke, Isabella Tannock and Tina Torabi on stage, as well as the Pezhvak Traditional Music Ensemble, 1001 Nights is a treat for the senses…sans fragrance of the sandalwood mentioned on more than one occasion (I'm sure the budget didn't stretch that far. Burning sandalwood oil is expensive!).
Against a sparse setting of sand and the semblance of a structure to serve as multiple settings, and utilising rich fabrics – brocade of silver and gold – for everything from tablecloth to flowing cloak to tailored coat, and oil drums, some pots and the power of our imaginations, the famous tales of the Arabian nights are shared with passion and the type of physical theatre and vocal mastery that we've come to expect from Zen Zen Zo. (Designer Bill Haycock and Lighting Designer Ben Hughes).
From the very first strains of Persian traditional music, and as the lights dim, we are already enraptured – snared – and ready to take the journey, to be transported to another time, another place; an exotic land of impossible dreams and intolerable violence in retaliation for offences that would have our contemporary crims out of irons after a short stint of leisure activities including improvisation, or studies of Shakespearean text.
Adapted by Michael Futcher and Helen Howard, and directed by Futcher, 1001 Nights suffers only from Zen Zen Zo's indulgence in too many stories. It's too long, perhaps by two or three tales. We are restless. We are enthralled, and enraptured, and restless. The stories are intriguing, the performances are A1 and very often the characters featured are, in turn, funny and infuriating. I wonder about what could be omitted; such an incredible wealth of material has already been so cleverly condensed. At times, in between tales, it's the music that holds up the pace, but it's so beautiful, we are forgiving of these pauses, when the actors appear to have to wait for the musicians, who momentarily, and quite rightly, claim centre stage for the opening of Act 2. (Musical Direction Phil Slade).
It's funny and confusing. My favourite is The Little Hunchback. I listened to the podcast so I knew the story. I knew he wasn't really dead. It was funny when he danced! The music and the voices are beautiful proper storytelling music and voices. When can we see it again? Poppy Eponine
We were warned that the Genie may be quite frightening, but Poppy wasn't frightened. She likened the Genie to The Wizard of Oz, with his booming, reverberating voice and wicked face on a stick, held high above the ensemble by one of its members. "It's a trick, a theatre trick." When we talked about it she said, "Well, maybe it would have been frightening for a little kid." Poppy is seven, so by "little" she means a child of three or four.
This is a strong, tight-knit ensemble, their collective vocal and physical talent is impressive, and with its stunning design and the addition of – truly magical – live traditional music, you would expect this production to enjoy a longer run. I just love what Artistic Director of the Queensland Music Festival, James Morrison, has to say in his notes about Futcher securing a run for this production during QMF. Morrison says there was no pitch, no story board; "he simply had Pezhvak play and said the words '1001 Nights'…I was instantly hooked and wanted to sit on a rug and hear the stories."
Let's hope 1001 Nights will be resurrected at some stage as a touring show. It would be a hit with secondary schools, if they ever had time to see it! Or perhaps it could be made available on the corporate circuit. I'm serious! This is the type of themed entertainment that we are being asked each year to create for major fundraising events! Teachers, parents and event managers, keep an ear to the ground, because if 1001 Nights comes around again you'd be foolish to miss it!
And if you're very lucky, with no other plans this afternoon, you just might secure the last remaining tickets to the final performance today at 3pm.
AND just because I love it, and I couldn't see any Pezhvak on YouTube, here's an homage to the gorgeous (and hilarious) Bollywood moment!
Tags: australian stories, David Berthold, education notes, Eugene Gilfedder, Helen Howard, holding the man, john caleo, la boite, love story, memoir, teacher resources, timothy conigrave, true story
Well, some of us have waited a long time to see David Berthold's acclaimed production of Holding the Man. And the Brisbane audiences are loving it, believing in the relationships, crying in the closing moments, struggling to express their emotional response afterwards, and feeling that they understand its themes and delicate issues; that they can relate to the difficulties faced by Tim (Alec Snow) and John (Jerome Meyer) and their families and friends. But there might also be those who walk away cold, completely unaffected by the emotion that is manipulated by production elements thrown generously at a script that centres around a relationship strong enough to stand on its own. Of course, essentially, what's evident in the writing is that this is Tim's story, the way he wrote it, and playwright, Tommy Murphy, has beautifully realised and theatricalised the memoir so that we can take an entire life's journey with Tim and John in just over two hours. Without the additional cast of intriguing characters, and hilarious scenes involving the NIDA students and staff, parents and potential gay partners on the dance floor of a seedy night club, all plucked out of real life, it would make an entirely different play, and we wouldn't have the context, or the vital characters who support the boys during their 15-year relationship.
On opening night I got the impression that the response was mixed…or undecided. For the first time at The Roundhouse in a long time, the house was divided between those who rose to give a standing ovation and those who stayed seated. I must admit, I didn't feel like the end of the show was a feel-good, leap-to-your-feet-and-applaud kinda' moment, despite my appreciation for the work of the creative team (Brian Thomson, Micka Agosta, David Walters, Basil Hogios and Guy Webster) and cast (Snow, Meyer, Jai Higgs, Lauren Jackson, Eugene Gilfedder and Helen Howard). Sometimes you sit and continue to feel and to process without feeling like immediately jumping up and down. In fact, I felt like I experienced a more tender, more honest show on Tuesday night. More worthy in my opinion of a standing ovation, but again, I didn't feel it was the appropriate reaction because of the sombre mood! I can't wait to hear what you thought of the show. What interesting discussions our diverse responses inspire! I love that theatre has the power to make us feel so strongly about it!
Here are a few fair points from marketing guru Adam Brunes (he's hopped on over to EDC so you can be sure you'll know what they're up to this year!),
"You should all see this. Here are a few reasons why. 1) It's one of the most beautifully designed shows I've ever seen at La Boite. Ever. 2) You will laugh out loud, and probably look to the brightest light in the lighting rig to hold back tears. 3) Helen Howard and Eugene Gilfedder are at it again, this time sharing a circle jerk, and probably a costume or two. 4) It's a true love story. 5) Four of six actors are making their professional mainstage debuts, and that alone is worth celebrating."
Agreed… but I can't review La Boite's Holding the Man, in fact, I won't be reviewing La Boite's main stage shows at all this year. I'd love to, but in my capacity as Learning & Participation Specialist (that's fancy for education consultant), apparently there's a conflict of interest. Sorry about that. What I want to do, though, is give you a brief take on each show from a drama teacher's perspective, and offer up a sort of a Cheat Sheet each time a production opens, in case you didn't get time to read through the teacher resources. When you do have time, DO read through the Education Notes, which are available online (look, if you get to nothing else, Benjamin Law's article is ESSENTIAL pre-show reading), and let me know what else you'd like to see addressed in the next document, in preparation for FOOD. You can also get in touch with me via email or phone, to talk about anything you already have planned (or would like support in planning), anything you're wondering with regard to assessment tasks, or if you have any concerns about a show's suitability for your students. Sometimes it's just a matter of putting it all into context and I can help you do that.
So on Tuesday night, La Boîte officially launched the Learning & Participation Program, and staged a preview of Tommy Murphy's adaptation of Timothy Conigraves' memoir, Holding the Man, just for teachers. It was a decent turn out, with many of the teachers and syllabus specialists in attendance whom I admire and respect, so, you know, no pressure…
Artistic Director of La Boite, David Berthold, introduced me and I spoke a little about the main stage program, the professional development opportunities for teachers, the student workshops, and the ambassador program, for which applications have closed TODAY. I do this job outside of the job all the time. When people ask me, "What should we see?" and "What's good?" I can confidently tell them that La Boîte – our state's second largest player – is so accessible, enjoyable, and inspires terrific conversations and lasting friendships. I know that's not just my experience because I talk to so many for whom a trip to La Boite is a regular highlight throughout the year. I'm looking forward to hearing from teachers this year, and seeing some of you again already at the Drama Queensland State Conference next month!
From a drama teacher's perspective there is so much to Holding the Man.
CONTEXTUALISE: How much do you think your students know about the 1980s and the HIV/AIDS climate in Australia? Don't assume they know anything just because you remember it (after all, it wasn't that long ago!). Here are some Youtube clips to get you started (although I couldn't watch the Challenger explode again). Seriously, if time and headspace allows, start with the original memoir by Timothy Conigrave AND Holding the Man and AIDS in Australia by Benjamin Law. Also, remember there are plenty of crossovers for your English students, even if they're just analysing film clips…
DISCUSS: You must have time programmed for both free and facilitated discussions.
WRITE: I love letting students write their thoughts and projections about a show after looking at the marketing collateral. Pick up the Avant Card or get on the website and take a look at the images used to promote the show to the public. I also love giving students time to write their FIRST RESPONSE after a show. It's not a review – they can dissect and critique the show in the responding task – but it's the immediate reactions, thoughts and feelings after experiencing somebody else's world.
If you'd like some more ideas, or you'd like to offer some feedback and ideas for the next lot of Education Notes, email me xanthecoward@gmail.com
Images by Al Caeiro
Categories: Children's Theatre, Performing Arts, Reviews and Theatre
Tags: Helen Howard, joss mcwilliam, matrix, Michael Futcher, pirate gold, pirate hat, pirate map, pirate treasure, pirates, QTC, robert louis stevenson, thomas larkin, treasure island
Queensland Theatre Company & Matrix Theatre
Kawana Community Centre
Thursday 2nd August 2012
Reviewed by Poppy & Tayah
If buccaneers and buried gold
And all the old romance retold
Exactly in the ancient way
Can please, as me they pleased of old,
The wiser youngsters of today
So be it.
Treasure Island is going everywhere, all over Australia. It's a famous show. It's a famous book. Did we read the book? We didn't read the book. There would be boys who already read the book because it's a boys book, about pirates. It's a pirate ADVENTURE! But it's not just for boys, this show, is it? It's for mums too. It's definitely for mums because our mums liked it, didn't they? And it's for girls too because we liked it, didn't we? It was excellent!
The story starts with the story being told. It's a clever start because you know it's a story and it's not real. It seems real but it's not. It's a play. And that's the job. To make it real.
It was a little bit scary because they looked like real pirates. They're actually actors, wearing costumes especially from the theatre. I liked the costumes. There were lots of coats. Pirates wear big coats. And hats. And boots. But Thom had just boys shoes on because he's a boy in the show.
It was a big surprise to see the skeleton! It scared me out of my skin! I jumped up on mum's lap and hugged her around the neck!
We could hear the gun shots and the canons. There were real guns. Well, not real real guns but just like the real ones. At the end we found out that that's a replica. They were nice to take the time to answer kids' questions. I didn't have any questions. I just wanted a photo with the actors.
It was excellent!!!!!!!
It was interesting and really exciting. It was so funny. They were really funny.
Tayah's favourite part was:
at the end when we got photos taken and we got to have a look back stage.
Poppy's favourite part was:
after the show, when we got to meet the actors and explore back stage. It was all my favourite, I loved all of it but going back stage was my favourite part after the show.
Notes from the Mama:
Treasure Island is good old-fashioned fun and fanciful storytelling.
QTC's touring version, by Helen Howard and Michael Futcher, reminds parents and teachers to get the kids away from the screens – big and small – and back into the theatre, where the real excitement is and where the best stories – those that shape our imagination and dare us to dream big – are brought to life on stage in front of our eyes. We believe it. It's the Tinkerbell factor.
This production boasts two generous, energetic and dynamic actors (Joss McWilliam and Thomas Larkin), who portray a multitude of roles between them with an abundance of good humour and a great deal of physical prowess. Ducking in and out from behind the fourth wall and swapping between roles at a rapid pace, these guys give us (Kevin Kline) Pirate King style antics and the kids (and mums) love it!
For the really little ones, take some (quiet) snacks and expect them to get a little restless 30-40 mins in (at 55 mins run time, this one's a bit of a stretch for some under eights. The target audiences are Years 4-7 and Years 8-10).
For the older kids/students, read Treasure Island online before you go or BUY OR BORROW THE BOOK. I noticed some secondary school students looking a little underwhelmed (sure, there's a lot of exposition but there's also a lot of action!). There were others in the group who were just as excited as the six year olds, to be part of a pirate story for the afternoon! Remember, neither Matrix nor QTC have messed much with the text so the beautiful, rich (old-fashioned) language has been left alone and begs discussion or a revisit if you're taking a class.
There is plenty of scope for follow-up activities, teachers (and parents)! A study of Treasure Island provides such an overwhelming abundance of rich opportunities for further discussion, play and in-depth learning, stemming from its language, history, geography, technology and design, science and arts… let me know if you need an obscure curriculum link!
Have you MYO pirate hat with Thomas Larkin? Get the man a Playschool gig!
This Treasure Island is not just for the kids. If it's coming to a theatre near you, take the whole family. Everyone will love it!
You might remember the Disney version?! HO-HUM!
Also on tour for Queensland Theatre Company (until the end of August) is Stradbroke Dreamtime, which we saw at Out of the Box.


My day job is to make websites for businesses. I don't do the web design work, I do the marketing. I find new ways to market peoples products on the internet. Now because of my job I do a lot of thinking. Because of this I don't think like normal people, every time I watch a TV commercial I think of how that TV commercial affects the customer they are marketing too. Every time I see an advertisement I think of how it will help the product sell. I think like that about everything.
Now you are probably wondering, "Sean, what does this have to do with Survivorman"?. We'll I'll be happy to let you know. Every time I watch survivorman I think of what he can do to increase his viewers and better ways he could market himself. And every time I watch Survivorman I realize how down to earth Les Stroud is.
Right now there are two survival shows on TV, which both are on the great Discovery Channel. Les Strouds Survivorman show is about him surviving in the wilderness alone for 7 days. Bears show is also about surviving in the wilderness, however his show is fictional and the knowledge he gives is off and would hardly ever in a real survival situation (that is my own option).
Ok so were am I getting at? Well, even though Survivorman is a real show and gives real information about surviving in the wilderness, sadly the show by Bear grylls is more popular. The reason is because the show adds certain parts to make the show more watchable to the public.
If I was marketing Les Strouds show I would give him a few tips to increase his viewers. Such as faking a injury such as a broken arm. Les did put on the split in the first episode to act like he had a broken arm, but the viewers knew what he was doing and that wouldn't be as attending grabbing as an actual clip of him faking himself breaking his arm. If he was to fake an injury then he would start some word of mouth marketing, just like he kinda did when he had the survival team go look for him in the Sierra Nevada's. But him faking an actual injury while surviving would get him way more attention.


Jason serves as SVP / Chief, Creative Development at RPA, where he spearheads all forms of creative for Honda Automotive, North America. In 2015, Adweek selected Jason as one of the Top 30 Creative Directors in the country.
Jason also recently helmed the creation of the "Imaginary Friend Society," a pro-bono campaign for the Pediatric Brain Tumor Foundation, the world's largest nonprofit dedicated to families facing a child's brain tumor diagnosis. He and his team noticed a lack of material that speaks to all the medical and emotional aspects of cancer in a way that's both relatable and engaging to kids. They created this campaign of fictional characters that includes a series of 20 short films to help make cancer less scary for kids, and launched them during Childhood Cancer Awareness Month.
Prior to RPA, Jason was Creative Director at TBWA\Media Arts Lab, where he was the driving force behind Apple's iconic "Mac vs. PC" campaign in three different countries. It won the Cannes Gold Lion, the Cyber Lion, the Grand Effie, numerous One Show Gold Pencils and was declared "Campaign of the Decade" by Adweek and one of the Top 10 Campaigns of the Century by AdAge.
In 2015, Jason wrote his first book, Look at Me When I'm Talking to You: Building Brand Attraction in an Age of Brand Aversion and released it in a completely unique way — on Instagram. It was covered by Adweek and several industry publications, and several big brands and top agency folks followed the daily installments.


Several weeks ago, seems a lot longer, I started a classroom blog. After a false attempt on edublog I decided to use our school server. I wasn't convinced it was the best and actually wasn't happy that there would be no widgets. Now to be honest, 2 months ago I didn't know there was such a thing as a widget or what it would be used for! Last week I realized that I really needed to move my classroom blog to a Pro edublog. Thankfully our tech facilitator had already setup pro blogs for 5 of the classroom teachers – Thank you Grace. Now I'm working on how to link photo albums. I started with Flickr and discovered I needed a "pro" account there too. Once you get started there is no end to what you want to do and how it can be done. I know I still have a lot to learn.
I know I should be posting on the classroom blog, but I'm also trying to figure out how to have students reflect on their work for their portfolios. Last week I asked them to reflect on what we had done in class and was disappointed with the results. Recently I read a post on student reflection. I realized I need to give them guiding questions to help their writing. We'll be trying again this week with some questions and possibly even some photos of students at work.
Just as I want the students to reflect on their learning I need to continually reflect and check my own learning.
How can I use what I've learned?
How might I adapt what I learned?
Where do I go from here? – I am looking forward to the next Coetail course and what other new challenges are in store.
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Thanks Ruth, hope you enjoyed your day off on Friday. I was hoping students would comment on the blog posting I did last week on our class blog, but so far only 3 students have posted a comment. 1 student has posted 3 times! but that still leaves 20 who haven't posted and I asked some questions in the posting. Guess I need to send a reminder email, but then again with a long weekend maybe a lot didn't have access to a computer. I'll see what happens on Monday and ask the students on Tuesday.


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Acquisition by FedEx
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TNT takes note of European Commission's decision to enter Phase II review of proposed acquisition by FedEx
Publish Date : 31 July 2015 17:00 CET -
TNT takes note of the European Commission's decision to initiate a Phase II review of FedEx's proposed acquisition of TNT.
The Phase II review is part of the European Commission's customary investigation process.
As indicated in April 2015, FedEx and TNT expect the transaction to close in the first half of 2016.
TNT looks forward to the success of the intended acquisition. The company will continue to cooperate with FedEx and the European Commission with a view to a positive outcome.
Once approved, the joining of FedEx and TNT will create benefits for all stakeholders. It is intended to provide customers access to a considerably enhanced, integrated global network, combining TNT's strong European capabilities and FedEx's strength in other regions globally, including North America and Asia. TNT's customers would also benefit from access to the FedEx portfolio of solutions, including global air express, freight forwarding, contract logistics and surface transportation capabilities.
During the transaction approval process, TNT remains focused on executing its Outlook transformation and turnaround strategy, in line with the objectives set out during the company's Capital Markets Day on 18 February 2015. More specifically, TNT remains committed to delivering an outstanding customer experience.
TNT is one of the world's largest express delivery companies. On a daily basis, TNT delivers close to one million consignments ranging from documents and parcels to palletised freight. The company operates road and air transportation networks in Europe, the Middle East and Africa, Asia-Pacific and the Americas. TNT made €6.7 billion in revenue in 2014.
Cyrille Gibot
M: +31 (0)65 113 3104
E: cyrille.gibot@tnt.com
Gerard Wichers
E: gerard.wichers@tnt.com
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Nile Rodgers & Chic at the Scarborough Open Air Theatre in Scarborough, UK
Mick McDonald and Chris Betea
Concert Reviews, Rock, UK
Dirt Fest 2016 Artist Spotlight: Keith Wampler of The Convalescence
Dirt Fest 2016, Interviews
Dan Davidson Releases Heartwarming Music Video
Country, Music Videos, US
Mono In Stereo Release "Different Kind of Man" Music Video
Erik Heemsoth
Full Nelson by Massive Wagons
UMC announce huge Mott The Hoople 6-CD Box Set: 'Mental Train' - The Best of The Island Years 1969-1971
Artist Feature, Rock, UK
Punk Rock Bowling Festival in Las Vegas, Nevada on May 26-30
Madam X at Diesel Concert Lounge in Chesterfield Twp, MI on 04-May-2014
Many 1980s bands try to cash in on former glory and play a reunion of just one or two original members. Not so with Madam X; the original lineup reunites after 30 years! This band proves there is the rare gem that still with the chemistry and magic they had from that magical era.
Madam X arose out of the mean streets of Detroit in 1981 with Maxine Petrucci (guitar), Roxy Petrucci (drums), Bret Kaiser (vocals), and Chris Doliber (bass).
They would relocate to NYC shortly after inking a record deal with Jet Records. Produced by Rick Derringer, they released their début album We Reserve The Right in 1984. This album spawned the cult classic High In High School. The video for the song became a favorite on MTV and resonated later on with the now infamous April 20th (4/20) observance for marijuana legalization.
The band experienced various lineup changes over the years. Roxy Petrucci would leave the band to join Vixen. Doliber and Kaiser also left to pursue other projects.
Fast forward to 2014 and the band, with its original classic lineup, is back! They are planning on releasing a new single, their first in decades. The new single, Another 80's Rock Song (The Party Never Ends), was recorded at Metro 37 Studios in Rochester Hills, MI, and co-produced by Kevin Sharpe and Greg Stryker.
The teaser of Another 80's Rock Song can be heard here on SoundCloud.
The announcement of the Madam X reunion has garnered much attention worldwide. The producers of the Sweden Rock Festival, scheduled for June 4-7, invited Madam X to perform. A festival lineup which includes Black Sabbath, Alice Cooper, Rob Zombie, Billy Idol, Ted Nugent, Megadeth as well as many others.
Before heading off to Sweden, Madam X played a 'one-off' gig on May 4th, at the Diesel Concert Lounge just outside of Detroit, MI. This was their only North American appearance and this group of seasoned musicians put on a stellar and electrifying performance!
Playing through an hour-long set of classics, they delivered a true rock n' roll stage show just as riveting and rocking as if it were 1984 all over again. The classically trained sisters Roxy Petrucci (drums) and Maxine Petrucci (lead guitar) are just like a fine wine that just gets better with time and they 'kicked ass' all night long.
One would think they had been in a time capsule as their talents (and looks!) showed no sign of aging. Multi-octave singer Bret Kaiser sounded perfect this night. He sounded so good that it was almost as if he were in the studio laying down tracks. Chris "Godzilla" Doliber caused a minor earthquake with his rumbling bass lines. Not content with just smashing his bass on the stage he also managed to concuss himself smashing into his skull a few times, unknowingly gashing his head and still finishing out the set!
Dirty Girls
Shes Hot
Come One
We Reserve The Right
Drum Solo
Bass Smash and Guitar Solo
Metal Veins
Another 80'S Rock Song
Metal Health (Quiet Riot cover)
Madam X are:
Bret Kaiser (Vocals)
Maxine Petrucci (Guitar)
Roxy Petrucci (Drums)
Chris "Godzilla" Doliber (Bass)
Madam X
Madam X online:
facebook.com/pages/Madam-X/192161969241
http://www.roxypetrucci.com
BroadzillaChesterfield TwpDiesel Concert LoungeMadam XMichigan
Ded Bugs, Rat Heart, Better Off Damned at Plush in St. Louis, MO on 02-May-2014
The Slackers and Green Room Rockers at The Brass Rail in Fort Wayne, IN on 05-May-2014
Mick McDonald
Hailing from Boston and now residing in the Metro Detroit area, Mick has spent several years photographing concerts and interviewing musicians in the music industry. After spending a few years shooting and writing for MOTORCITYBLOG.net, he founded and started the National Rock Review in the fall of 2013. Recruiting staffers from around the world, he has led the National Rock Review team in to a respected and established publication in the online music news/press industry in a short period of time.
Black Lips at The Pyramid Scheme in Grand Rapids, MI
Brendan Tracey
Clutch at the Fillmore in Detroit, MI
Jay Dunbar


The Tyler Public Library wants to ensure they have something to offer for the entire family this summer. Earlier this month they announced that they have partnered with the Tyler Transit to offer free bus rides to the kids during the summer and now they are offering a new program for the adults with a paranormal twist.
We are excited about our paranormal events and we want people to celebrate literacy with us and attend some fun events that will go hand in hand with the themes of their spooky summer reads.
The paranormal activities kicked off Wednesday, June 7th at 6 pm and is an after-hours ghost tour with Professional psychic and ghost hunter Mick McCaskill.
On June 14th at 5 pm, wildlife expert and Cryptozoologist Jeff Stewart, also known as "The Cyptohulk" takes the lead.
And wrapping up the series on June 21st at 5 pm the Library will welcome UFO expert Nick Redfern and psychic Buffy Clary.
Registration for the (ASRP) reading program is free and once registered you can log the books you read online here.
For more information about the ASRP program or future events contact the Tyler Public Library at 903-597-READ (7323) or online at www.TylerLibrary.com.


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TIS Intelligence
TIS Event
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China official PMI shows prices slipping into stagnation once again in May, ending beneficial reflationary trend for industry
By Brian Jackson, China Economist, IHS Markit Key Points: China's official manufacturing purchasing managers' index (PMI) was unchanged at 51.2 in May, according to a release from the National Bureau of Statistics. The index declined in April from a five-year high of 51.8 in March. Output expanded at a slower...
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Sarana Menara purchases 13.32% shares from shareholders for US$406 million
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SOE Ministry dismisses Budi Tjahjono as president director of Askrindo
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Waskita offering 17 toll roads to investors to raise funds
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2 Rooms are for rent in a bright house with a garden in Blackrock, Dublin. The house has a spacious living room with a fireplace and comfortable seating that you will share with the live-in landlady. The property also has a 2nd sitting room which is attached to the modern, fully equipped kitchen.
Blackrock is a residential area located to the south-east of central Dublin. This house is within walking distance from the coast, and tenants can access the city centre by walking 11 minutes to Blackrock train station. When in need of open space for relaxing, tenants can walk 11 minutes to Blackrock Park, which is pleasant in summer.
This property is a house rather than an apartment.
The cosy garden is the perfect place to relax in summer.
The house is sunny as it has plenty of windows and white walls.
The 2nd floor has a spiral staircase which adds character to the interior.
Both bedrooms for rent have their own private bathroom!
The property is situated on a street with quaint, charming terraced houses.
Blackrock shopping centre is near to the house.
Parking facilities are offered by the landlady, but tenants must pay extra.
The first living room is only for the landlady, but when she is away for work tenants can make use of it.
Blackrock train station is 11 minutes from the property.
Angela is a kind, friendly woman in her 50s who works from home.
When you book, be sure to tell Angela about yourself, your previous visits to Dublin, and your plans in Dublin. It will help her to understand your needs.