text:
3 WVa reporters who condemned interview of ex-coal CEO fired
Dec 13, 2022, 2:52 PM | Updated: 2:57 pm
FILE - Former coal executive Don Blankenship waits outside the West Virginia Capitol on Wednesday, Aug. 29, 2018, after the Capitol was evacuated due to a fire alarm in Charleston, W.Va. Three reporters from a Pulitzer Prize-winning newspaper in West Virginia have been fired after publicly criticizing a now-removed video interview posted on their parent company's website with a former coal executive who was convicted of a safety violation in connection with the worst U.S. mine disaster in decades. (AP Photo/John Raby, File)
(AP Photo/John Raby, File)
CHARLESTON, W.Va. (AP) — Three reporters from a Pulitzer Prize-winning newspaper in West Virginia say they have been fired after publicly criticizing an interview conducted by their company president with a former coal executive who was convicted of a safety violation in connection with the worst U.S. mine disaster in decades.
Charleston Gazette-Mail reporters Caity Coyne, Lacie Pierson and Ryan Quinn said Tuesday that they were fired due to their comments on Twitter about the video interview, now removed from the paper's website, with former Massey Energy CEO Don Blankenship.
Quinn said no specific policy was cited. "The person who fired me said it was because I had publicly hurt the company on social media," he said.
Pierson said she was told "it was insubordination that we committed on social media" and "that was something they couldn't accept."
In separate interviews, the three reporters said they did not receive invitations to a staff meeting with other reporters and editors Monday, several days after the interview was posted. Instead, they said they were diverted to an upstairs conference room, where they were fired one-by-one behind closed doors.
HD Media President Doug Skaff, who hosted the interview with Blankenship, did not return a telephone message or an email seeking comment Tuesday.
The "Outside The Echo Chamber" feature is posted regularly on the Gazette-Mail's website and hosted by Skaff, who also is a Democratic member of the state House of Delegates and the chamber's minority leader.
Last week the newspaper posted the interview with Blankenship, whose former company owned the Upper Big Branch mine where a 2010 explosion killed 29 men in southern West Virginia. Blankenship was convicted in 2015 of a misdemeanor for conspiring to violate mine safety laws and was sentenced to one year in federal prison.
In 2018, Blankenship ran for the U.S. Senate seat held by Democrat Joe Manchin, portraying himself during the campaign as "Trumpier than Trump." Blankenship lost in the Republican primary, and Manchin eventually won re-election.
In the interview, Skaff is joined by a former television reporter in asking Blankenship about the Republican-dominated legislature, the coal industry, the mine explosion and the 2018 and 2024 elections.
In response to a question about the dwindling coal industry, Blankenship calls climate change "an absolute hoax." The comment goes unrebutted, even though scientists say their confidence in the fact that global temperatures are rising and that the increase is caused by human activity is equivalent to the scientific certainty that cigarette smoking is deadly.
Blankenship also is asked to promote his 2020 book about the mine disaster, in which he repeats his claims of innocence and blames the administration of then-President Barack Obama.
Investigations found that worn and broken cutting equipment created a spark that ignited accumulations of coal dust and methane gas. Broken and clogged water sprayers allowed what should have been a minor flare-up to become an inferno.
In concluding the interview, Skaff tells Blankenship: "Thanks for what you did for the community down there. I know your heart's in the right place. And you want to see southern West Virginia built back to the best that they can."
It's unclear why the interview was removed from the website.
Quinn first fired out a series of tweets Dec. 8 that Pierson and Coyne supported in protest of giving Blankenship a podium without the chance for journalists to ask follow-up questions.
"Today I'm announcing my candidacy for any job in the world," Pierson, the newspaper's Statehouse and politics reporter, wrote on Twitter after her firing. "I'm joining Caity and Ryan as having spoken our principles and living to tell the tale after being fired for our tweets."
"We understand the need to draw eyes to the website on the business end of news," Pierson also wrote, "but stunts like this erode the integrity and credibility of the whole Gazette-Mail.
"This choice mostly hurts staff writers, who had no say in this decision, or a lot of decisions for that matter."
In April 2017, then-Gazette-Mail reporter Eric Eyre won a Pulitzer Prize for investigative reporting on the opioid crisis. HD Media bought the paper at a bankruptcy auction in 2018, and Eyre no longer works there.
In addition to the opioid crisis, the Gazette-Mail extensively covered the mine explosion, its aftermath and the federal government's prosecution of Blankenship.
"I don't have the words for how screwed up this is," Coyne, the paper's now-former health reporter, said of the interview. "I've met families whose loved ones died in UBB. I've watched them cry as they remember their relatives and their fight for answers after the disaster. Who cares where Blankenship's heart lies. What a slap in the face to them."
Coyne had previously announced she was leaving the paper for a new job in January.
Quinn, who was the newspaper's education reporter, had told management last month that he was planning to leave. Instead, he said, he was offered a raise to be an investigative reporter.
Then the Blankenship interview happened.
"I'm all for giving everyone a say etc. but there was no news value to this," Quinn wrote. "Embarrassing."
Kayla Young, another Democrat in the state House of Delegates, said Tuesday on Twitter that she doesn't support giving Blankenship a chance to air his opinions. She also said there's a conflict of interest for Skaff hosting a news media show and that she has spoken to him about her feelings.
"Something's got to give," Young said. "We as a community are worse off to lose reporters who sincerely care about their work and we will be less informed as a result."
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text:
1Early life and education
2Career
3Awards and recognition
4Bibliography
American abolitionist and prison scholar
Gilmore in 2012
(1950-04-02) April 2, 1950 (age 72)
New Haven, Connecticut, U.S.
scholar, professor
Rutgers University (Ph.D., 1998)
From military Keynesianism to post-Keynesian militarism: Finance capital, land, labor, and opposition in the rising California prison state[1] (1998)
Doctoral advisor
Neil Smith[2][1]
Geographer
Graduate Center, CUNY, University of Southern California
Prison-industrial complex, Race
Ruth Wilson Gilmore (born April 2, 1950) is a prison abolitionist and prison scholar.[3] She is the Director of the Center for Place, Culture, and Politics and professor of geography in Earth and Environmental Sciences at The City University of New York.[4] She has been credited with "more or less single-handedly" inventing carceral geography,[5] the "study of the interrelationships across space, institutions and political economy that shape and define modern incarceration".[6] She received the 2020 Lifetime Achievement Award from the American Association of Geographers.[7]
Ruth Wilson was born on April 2, 1950[8] in New Haven, Connecticut.[2] Wilson's grandfather organised the first blue collar workers' union at Yale University. Her father, Courtland Seymour Wilson, was a tool-and-die maker for Winchester.[5] He was active in the machinists' union. He later was assistant dean of student affairs at Yale Medical School, then went to Yale-New Haven Hospital in the Office of Government and Community Relations.[5]
In 1960, Wilson attended a private school in New Haven as one of its few working-class students and the first, and mostly only, African American student.[5]
In 1968, she enrolled at Swarthmore College in Pennsylvania, where she became involved in campus activism. In 1969, Gilmore, Fania Davis (the younger sister of radical activist Angela Davis), and other students occupied the school's admissions office hoping to persuade the administration to admit more black students. Following the sudden death of the university president, white students spread false rumors that the occupying students were to blame. The next morning, Gilmore learned that her cousin, John Huggins, along with another Black Panther, Bunchy Carter, had been murdered at UCLA.
In the wake of those events, Gilmore left Swarthmore and returned home to New Haven.[5] She then enrolled at Yale, where she obtained a bachelor's degree in drama.[5]
Career[edit]
Gilmore earned her Ph.D. from Rutgers University in 1998 in economic geography and social theory, inspired by the work of Neil Smith.[9][5] After finishing her Ph.D. she was hired as an assistant professor at UC Berkeley and began working on her concept of carceral geography. Carceral geography examines the relationships between landscape, natural resources, political economy, infrastructure and the policing, jailing, caging and controlling of populations.[5] The community of academic scholars in this area is associated with the Carceral Geography Working Group (CGWG) of the Royal Geographical Society with the Institute of British Geographers. Gilmore gave a keynote address at the 2nd International Conference for Carceral Geography at the University of Birmingham, UK, on 12 December 2017.
She is a cofounder of many social justice organizations, including California Prison Moratorium Project.[10] In 1998, she was one of the cofounders of Critical Resistance along with Angela Davis. In 2003, she cofounded Californians United for a Responsible Budget (CURB) to fight jail and prison construction and currently serves on its board.[5]
Gilmore has been a leading scholar and speaker on topics including prisons, decarceration, racial capitalism, oppositional movements, state-making, and more. She is the author of the book Golden Gulag which was awarded the Lora Romero First Book Publication Prize for the best book in American Studies by the American Studies Association in 2008.[11] Other writings of hers have been published in such venues as Race & Class, The Professional Geographer, Social Justice, Global Lockdown: Race, Gender, and the Prison Industrial Complex, and the critical anthology The Revolution Will Not Be Funded: Beyond the Non-Profit Industrial Complex, which was edited by the Incite! collective.
Awards and recognition[edit]
In 2011, Gilmore was the keynote speaker at the National Women's Studies Association annual conference in Atlanta, Georgia.[12]
In 2012, the American Studies Association awarded her its first Angela Y. Davis prize for Public Scholarship that "recognizes scholars who have applied or used their scholarship for the "public good." This includes work that explicitly aims to educate the public, influence policies, or in other ways seeks to address inequalities in imaginative, practical, and applicable forms."[13]
In 2014, Gilmore received the Harold M. Rose Award for Anti-Racism Research and Practice from the Association of American Geographers.[14]
In 2017, Gilmore earned the American Studies Association Richard A. Yarborough Award. This honors scholars who demonstrate an excellence in teaching and mentoring.[15]
In 2020, Gilmore was listed by Prospect as the seventh-greatest thinker for the COVID-19 era, with the magazine writing, "Gilmore has spent the best part of 30 years developing the field of carceral geography [...] She's helped shift the conversation about responses to crime from one of punishment to rehabilitation. As the failings of the US justice system come once again to the fore, Gilmore's radical ideas have never felt more relevant."[6]
An Antipode (journal) documentary film featured Gilmore and key ideas of her work: geography, racial capitalism, the prison industrial complex, and abolition geographies.[16]
In 2021, Gilmore was elected as a Member of the American Academy of Arts and Sciences.[17][18]
Bibliography[edit]
Gilmore, Ruth Wilson, "Abolition Geography: Essays Towards Liberation". London: Verso Books, 2022. ISBN 9781839761706
Gilmore, Ruth Wilson (2007). Golden Gulag: Prisons, Surplus, Crisis, and Opposition in Globalizing California. University of California Press. ISBN 978-0-520-22256-4.
Clyde Adrian Woods; Ruth Wilson Gilmore, Development Arrested: The Blues and Plantation Power in the Mississippi Delta London ; New York: Verso, 1998. ISBN 9781844675616
^ a b Gilmore, Ruth Wilson (1998). From military Keynesianism to post-Keynesian militarism: Finance capital, land, labor, and opposition in the rising California prison state (Ph.D.). Rutgers University. OCLC 48273060. ProQuest 304451485.
^ a b Johnson, Pamela J. (October 1, 2006). "Portrait of an Activist-Academic". News - USC Dornslife. Los Angeles, California. Retrieved November 23, 2016.
^ Kelly, Kim (26 December 2019). "What the Prison-Abolition Movement Wants". Teen Vogue. Retrieved 2020-04-27.
^ "The Graduate Center, CUNY". Retrieved 2014-11-05.
^ a b c d e f g h i Kushner, Rachel (2019-04-17). "Is Prison Necessary? Ruth Wilson Gilmore Might Change Your Mind". The New York Times. ISSN 0362-4331. Retrieved 2019-05-13.
^ a b "The world's top 50 thinkers for the Covid-19 age" (PDF). Prospect. 2020. Retrieved 2020-09-08.
^ American Association of Geographers (2019-12-02). "AAG is Proud to Announce the 2020 AAG Honors". AAG Newsletter. Retrieved 2020-06-13.
^ "Gilmore, Ruth Wilson, 1950-". Library of Congress Name Authority File. Library of Congress. Retrieved November 23, 2016.
^ "Ruth Wilson Gilmore Biography". University of California. Archived from the original on 2014-11-08. Retrieved 2014-11-07.
^ "The Worrying State of the Anti-Prison Movement - Social Justice". www.socialjusticejournal.org.
^ "USC College's Ruth Wilson Gilmore receives prestigious book award". Retrieved 2014-11-05.
^ National Women's Studies Association (2011-11-10). National Women's Studies Association 32nd Annual Conference: Feminist Transformations. National Women's Studies Association. doi:10.13016/M2BZ61B9X. hdl:1903/20632 – via Digital Repository of the University of Maryland.
^ "ASA Awards and Prizes - ASA". www.theasa.net.
^ "Ruth Wilson Gilmore to Receive Award for Anti-Racism Research, Practice". Retrieved 2014-11-05.
^ "Richard A. Yarborough Award | ASA". www.theasa.net.
^ Antipode, Foundation (2020). "Geographies of Racial Capitalism with Ruth Wilson Gilmore" – via www.antipodeonline.org/.
^ "Graduate Center Professor Ruth Wilson Gilmore Elected to the American Academy of Arts and Sciences". www.gc.cuny.edu. Retrieved 2021-05-01.
^ "New Members". American Academy of Arts & Sciences. Retrieved 2021-05-01.
Wikiquote has quotations related to Ruth Wilson Gilmore.
Film on Ruth Wilson Gilmore and 'Geographies of Racial Capitalism' via , Antipode (journal) Foundation, July 1, 2020
Podcast with analysis and discussion of prison abolition and police funding, Intercepted, June 10, 2020
Scopus author
Retrieved from "https://en.wikipedia.org/w/index.php?title=Ruth_Wilson_Gilmore&oldid=1133562465"
American geographers
Women geographers
20th-century geographers
21st-century geographers
21st-century African-American academics
African-American women academics
21st-century African-American writers
African-American activists
Prison abolitionists
City University of New York faculty
Graduate Center, CUNY faculty
Fellows of the American Academy of Arts and Sciences
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text:
Associate Creatives
The Maybe You Like It Podcast
Stage Shows
Pleading Stupidity
Redacted Arachnid
Archived Productions
Audio Shows
The Half-Hour Comedy Hour
MaybeYouLikeIt
Looking back at 2020: Maybe You Like It's first full year
by our Artistic Director Caleb Barron (CB), and our Executive Director, Jake Rich (JR)
CB: I began the year fervently finishing the script for our second stage show 'Pleading Stupidity'. Only days before, Jake had given me the title for it. It's a goofy tale about some silly boys that don't quite get the comeuppance they deserve.
JR: And we were so excited to work on it! We spent ages thinking of a title - at one point it was the unwieldly 'Ice Ice Bandits: Chad and Brad V. The State of Colorado'. In the end, the title had been a line in the script all along!
CB: Through January and February, we rehearsed 'Pleading Stupidity' in Oxford whilst I finished my remaining coursework and my dissertation. Alongside rehearsals we were putting out our first "season" of the Maybe You Like It podcast, staging films and old plays that had never been staged before or were never likely to be staged again. It was an incredibly hopeful start to the year. It felt like we had such a great team on our production, cast and crew, and, though there were moments of stress, it was always such a fun rehearsal room to be in.
It was also the first play I'd written completely alone and being able to work on it with my patient cast and incredibly supportive assistant directors was such a pleasure.
The podcast was being listened to and appreciated, which is all I was ever going to ask of it. It was also an opportunity for Jake and me to grow stronger together as a creative partnership and it really felt like that was happening.
We managed to secure a place with ZOO venues at the Fringe for the summer before our preview run. It really felt as though we were building in confidence as a production company ready to take a step out from being a student company into the professional world.
JR: Oh, the spring, so full of hope! Maggie and Lauren, our brilliant assistant directors, were fantastic. And we also got to work with incredible designers like Rhi Ogden-Jones, Arthur Morris, and Leeya Patel, as well as my dear friend Will Hayman, who, as well as being a lighting genius, I will forever admire for his strength this year.
The podcast, despite its spluttering start, has been such a joy. We've had such a variety of conversations, from very serious character discussions to ridiculous and hilarious sabotage, and everything in between. We've got some really exciting guests coming up too so keep your eyes peeled...
CB: Our run of previews for 'Pleading Stupidity' in the Burton-Taylor studio were a great success. Reviews and responses were generally positive. The changes to make prior to the Fringe were clear but overall people had found the play funny and entertaining (the two most important things for that kind of show). We had really treated the run as previews, so each performance felt like the next step towards performing the show in Edinburgh in the summer rather than a last chance to perform this show.
What I remember distinctly was how close we felt as a company, and how ready for a summer of performing the show we were.
A couple of weeks after our previews, the national lockdown began. At first, as I prepared for exams, I held onto a belief that we might beat this thing in a few months and be able to go about our summer as expected. However, it wasn't long before the Fringe was cancelled, and it was becoming obvious that the Coronavirus was here to stay. We tried to get started with the podcast again (having stopped in March) but it was a period of the year where making anything seemed impossible. I wrote a few poems from April through to the beginning of July but produced little else beyond my exams. For the month of July, I wrote nothing. For me, at least, it seemed that Maybe You Like It could do nothing and that I could do nothing. Not the summer we hoped for.
JR: My whole summer revolved around Edinburgh. Finishing my undergraduate degree, it felt like I had fallen off the end of a conveyer belt - each thing seeming to lead onto an obvious 'next', until, suddenly, it wasn't clear at all anymore. But, as Caleb explains, we realised we knew other ways to create...
CB: One of the episodes of the podcast we did manage to make in the first lockdown was on the little-known George Bernard Shaw one-act play 'Press Cuttings'. I'd studied Shaw as part of my dissertation, and I found this suffragette farce to have as much comedy to offer today as it did a century ago when it was first staged.
We discussed on the podcast producing it as a radio play ourselves but a couple of weeks after that it seemed it could be a possibility. We didn't require any rights, we didn't need a budget, we could just produce it from home.
We gathered a cast and rehearsed and performed the play entirely over Zoom. Jake and I shared the editing (Jake did almost all the editing) and we released it in September.
It was an incredibly frustrating and slow process for what was a quite simple hour-long play, but this was our first attempt at a radio play, and we wanted to do it right. I spent a long time with the cast working on character and voice and looking into the history of the play together. It felt like we were doing it right. It was no Edinburgh but given the circumstances it was a really good feeling to make something, and something that I remain proud of as a final product.
JR: I am so proud of Press Cuttings. From some awesome performances, recorded in bedrooms (I also participated), I was able to really dig into creating an auditory experience. We made the play in 3D stereoscopic sound by Caleb physically blocking the space in his head, and writing it down in time codes for me to use with the audio. You really can hear the characters walking around the room. The final project contained around 30 tracks of voices, ambience and sound effects. I even had to take overlapping speech and make it sound like only one voice was coming down a telephone! I think by frustration Caleb really means excitement, he just wanted to get it out! If anything I wanted to spend longer on it!
CB: Over the summer the podcast had resumed, and we managed to get a broad spectrum of guests and work out how to make it all work over Zoom. I also started a second podcast, 'Do Try This At Home', with Harrison Gale that focused on screenplay writing and fixing films that were mediocre or worse. These were great ways to keep creatively engaged as I toyed around with what I could write next and procrastinated over edits to the 'Pleading Stupidity' script. The podcasts, with a very small but dedicated listenership, have certainly been more for me and Jake than for any real commercial growth but they've helped us to keep making at a time when there's nothing for us, as a theatre company, to produce for the stage.
Whilst recording 'Do Try This At Home', Harrison mentioned to me that she'd been thinking about how much fun it'd be to make an audio sketch show for the festive season in the style of old-timey radio shows when everyone in the household would gather 'round the wireless. She invited us to produce it and we got together the team of Harrison, Jake, James Akka and myself to devise and perform the whole thing. It wasn't until the end of October that we actually got started putting together a few sketch ideas over Zoom and writing some of them up. We decided we wanted to produce and put out the whole thing for free, but we did want to partner with a charity to encourage listeners to donate to. Having all met and worked together in Oxford, we soon partnered with the Gatehouse that work with people in Oxford experiencing homelessness and that are vulnerably housed. They were extremely accommodating of our goofiness and absurdity.
The release date was set for 27th December and we got stuck into writing, recording and editing a weird and wonderful show that I am extremely proud of. The night we released it we encouraged people to treat it like those old-timey radio shows and listen live with us, with live commenting on YouTube. It made for a real event that felt live and felt like it had the excitement of an opening night in a theatre, a feeling I had missed dearly in the ten months since 'Pleading Stupidity'.
JR: Yeesh, why did I sign up to work over Xmas again? Seriously, it was an honour to work with such funny people on their first sketch project! And you know what, for a first stab, with no audience to test things out on or play off, it was pretty damn good! It was a stressful time, writing, recording, editing, and releasing the whole thing in just a few weeks, and with no marketing budget to speak of it felt a little thankless at times. But the end result is lots of fun and I'm very glad we did it: Here's to next year!
Thanks to David Kay and the Gatehouse team for being so supportive. By my calculations, we've raised around £350 so far, with donations still open!
And yes, those opening night nerves! How I'd missed them... sort of.
CB: Overall, it's a funny old year to reflect upon. I haven't seen Jake in person since March, and yet we have produced a play, a sketch show, and a podcast together to a high standard. We're now beginning to really come together as a company, with a broad group of associates that we love working with and that (I think) love working with us. It's our first full year as a company and almost nothing has gone to plan but it's been exciting to work it out together and to keep working as collaboratively as we possibly can. Having started the year writing alone to finish a stage play, I ended the year writing in a sort of online writers' room with three others each inputting our own voice and ideas into an audio production. I want to end the year thanking everyone that has listened to, or engaged in, anything we've made over the past year. I want to thank my family for their patience as I hide away for hours at a time editing podcasts in audacity. I want to thank friends for the continual support and for not getting mad every time I clog up the social media feeds. And I want to thank Jake, and everyone that Maybe You Like It has worked with this year. Though I haven't seen almost all of you in ten months, we have been able to make stuff, to create, together and that is the most exciting thing that can be done.
JR: Couldn't have put it better myself. Especially the social media point. Please, you can unmute me now. Thanks to Caleb and everyone we've worked with this year for all your hard work and the fantastic stuff you've created. And thanks to my tutors and coursemates at Central, for teaching me so much in so little time. As I often say, most things humans take pleasure from, if you boil them down, are stories - telling them, hearing them, reading about them, seeing them. Here's to continuing this story in 2021. Maybe You'll like It, Maybe You Won't.
Ellie on the Fringe Experience
So it's Day 14 of the Fringe Festival and we only have 4 shows left! This morning the gang (bar Daniel and James who are resting poorly voices) are heading up Arthur's Seat for some wholesome group bonding and incredible views of Edinburgh. If the rain stops, that is.
Getting everyone up and out of the flat in the morning has proved to be somewhat of a challenge over the past two weeks. Sharing one bathroom between 7 people has led us to be late for rehearsals with Caleb more than once (sorry Caleb...!), but for the most part we've made it work.
We've settled into a good routine of waking up about 10 or 11 before heading into town, either to see shows or begin flyering. We've found flyering is most effective in big groups, all dressed in Spider-Man suits. After all, there's just something about Daniel Ergas' balletic leaps across the mile that really stops you in your tracks - just long enough for one of the rest of us to swoop in and give you a flyer and our sales pitch! It seems to be working too as we've been getting great audiences.
Working out how to stay healthy at the Fringe has also been a learning experience. At the beginning we keenly brought homemade sandwiches into town with us, but now we're surviving on a nutritious diet of takeaway food - Nile Valley wraps are a particular cast staple. What I think has surprised us all the most is how truly exhausting the whole experience is. Running round seeing shows, stapling reviews on flyers in Fringe Central, and performing our 'Thwip Your Webs' dance on the Mile (all before we've even done our high energy show) has led to mid-afternoon naps on beanbags becoming an essential part of the day.
By the time the show comes around however we're all up and buzzing again. Our audiences have been amazing - their laughter really gives us the boost we need to fling ourselves round the stage every night. It's also been really interesting seeing what jokes play every night, and learning to adapt our performance to how our audience is feeling. For example, playing to a thoughtful audience interested in the story of the failed production process is different to a room of raucous Marvel super-fans. Whatever the room is like, I think I can speak for everyone when I say we are having the time of our lives performing the show every night. It's definitely hard to come down from the high every night, which often results in late nights sitting on the floor together eating pasta/McDonald's/Gemma's amazing Jersey brownies.
And how could I talk about the Fringe without mentioning all the incredible shows we've seen?! After much contentious debate, we've decided Canary and the Crow, Drink Rum with Expats and War of the Worlds are our top three. I'm going to be cheeky and add two of my favourites, Electrolyte and HoneyBee - both of which had me bawling and re-evaluating my existence. With only four days left, we're starting to come to terms with the sad reality that we won't be able to see all the things we want to. There is so much incredible theatre and I honestly feel so lucky that we get to be a part of it all.
Segueing into a final gush, I cannot explain how grateful I am for this entire experience. I joined the cast after their Oxford run, so am still pinching myself that I get to be a part of it all. The group has such a tight bond, which I'd say is a key part of how we've all made it through such an emotionally exhausting yet exhilarating experience. Only four days left so we are going to rinse every last bit of fun the Fringe has to offer us. And on that note, we're getting off the bus for our walk (the rain has stopped!). Wish us luck!
Cast Member James Akka Talks Preparation
Next week begins my second year up in Edinburgh, and it's beginning to look a lot like Fringemas. I've now said to multiple (presumably baffled) people that it feels like I'm a child again, waiting for Christmas morning. As I'm writing this, only 7 more sleeps! Can't wait to unwrap a brand new 9 Hour Bus Journey to Edinburgh.
To step away from the laboured metaphor: excited would be an understatement. At the first readthrough for the Oxford run of Redacted Arachnid back in January, I remember our director Caleb tentatively raising the idea of bringing the show to Edinburgh, and since then it's been an unimaginably joyful ride. The whole team immediately bonded on a level I haven't experienced from other shows, and would be lucky to again. We joined forces like some sort of ComedyVoltron, with fewer guns and more obnoxious in-jokes (I'd list some, but nobody wants that). We made a show, together, that we were all very genuinely proud to show to Oxford (in a sold-out run, I might brag). That tentative suggestion of coming to Edinburgh seemed like such an obvious choice for Redacted Arachnid: it's a funny multi-roling show where we wear an assortment of hats(!) and make jokes about an obscure theatre story. May as well have called the Oxford run our Fringe Preview [Ed: We are calling it that!].
Lucky enough to have Ellie join the cast in May (or as my Mum keeps calling her, Lily), we've really tried to take the show back to square one and make it the best version it can be. There's been role-switches, line cuts, line additions, and cast brunch every Saturday. We're all been busy people in Oxford term time, so having set rehearsals on a regular basis has made sure we haven't stopped thinking about the show since the original run. Brunch has been good because it's brunch.
In the final stretch, now, we aren't in Oxford anymore (Toto), so focus on the show has been more individual. We've all got things we want to achieve on stage in Edinburgh, and having had a few weeks away to work on our lines and our characters individually is one reason it's really exciting to get it back in front of an audience. Being at home has also meant me sending some (read: a lot) of pictures of my dog in his little spider-dog outfit to the group chat, which I'm sure everyone has loved.
The Fringe last year was far better than I had dreamed it would be, and I'm sure this year will smash my expectations too. I say that now; after three weeks of living with everyone I may be keen to get back home as soon as possible. Who knows! I can say that by August 18 I'll be in the mood to not see a Redacted Arachnid flyer ever again, dreaming of Flyers Roasting on An Open Fire. See? Brought it back around to the laboured Christmas thing. Maybe at the Fringe this time next year I'll be doing standup.
P.S. For my producer Jake reading this: I was joking about burning flyers.
© 2019-21 Maybe You Like It Productions
Designed By Jake Morry


We will talk about issues in popular culture against the backdrop of some lit tunes. New topic every week; it's going to be loco.
I'm the realest Bionicle you've ever seen.
I am your DJ, Rhodes Daigle, and I have an odd amount of knowledge pertaining to a plethora of Australian based post-psych rock bands, but most importantly, King Gizzard and the Lizard Wizard. Also I main Villager in Sm4sh.
hey the other week you were mentioning stoner metal was too long to play on the radio, which is pretty spot on. However there is a band called Weedeater that has some short songs that embody the kind of fuzz distortion that you find in a lot of the genre's lead guitar. Obviously you can find Red Fang and Orange Goblin songs that are just about five minutes but Weedeater has got some tracks that are under the 2:30 mark but they still represent the style well. The tracks Mancoon and Wizard Fight are prime examples. I haven't listened since that program so if you have been able to play some stoner metal then I apologize for wasting your time.. still give em a listen. and hey if you already know about them then great.
YES I actually am familiar with them, they just slipped my mind at the time. Glad you listened!


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http://dx.doi.org/10.17093/alphanumeric.998384
Contributions to Theil-Sen Regression Analysis Parameter Estimation with Weighted Median
Cem Öztaş
M.Sc., Department of Econometrics, Faculty of Economics and Administrative Sciences
Cumhuriyet University, Sivas, Turkey, cemoztas5800@gmail.com
Necati Alp Erilli, Ph.D.
Assoc. Prof., Department of Econometrics, Faculty of Economics and Administrative Sciences
Cumhuriyet University, Sivas, Turkey, aerilli@cumhuriyet.edu.tr
Regression analysis is one of the most commonly used estimation methods. In statistical studies, some assumptions must be fully met to make good estimations with regression analysis. Some of these assumptions are not always fulfilled in real life data. For such cases, alternative methods are used. One of them is Theil-sen method, which is one of the non-parametric regression analysis techniques. In this study, different analysis techniques were proposed by using the weighted median parameter instead of the median parameter used in the Theil-Sen regression method. With the proposed four different algorithms, new approaches to Theil-Sen regression analysis estimation have been introduced. It has been seen that the obtained results are successful compared to the classical Theil-Sen results.
Keywords: Mean Absolute Error, Non-Parametric Regression, Theil-Sen Method, Weighted Median
Jel Classification: C46
Öztaş, C., Erilli, NA. (2021). Contributions to Theil-Sen Regression Analysis Parameter Estimation with Weighted Median. Alphanumeric Journal, 9(2), 259-268. http://dx.doi.org/10.17093/alphanumeric.998384
Akritas, M.G., Murphy, S.A. and LaValley, M.P. (1995). The Theil–Sen estimator with doubly censored data and applications to astronomy. J. Am. Stat. Assoc., 90, 170.
Alakuş, K., and Erilli, N.A. (2014). Non‐Parametric Regression Estimation for Data with Equal Value, European Scientific Journal (ESJ) ,2014, 4, 1857‐ 7431.
Birkes, D. and Dodge, Y. (1993). Alternative Methods of Regression. John Wiley and Sons Inc., NY. USA.
Bowerman, B.L., O'Connell, R.T., Murphree, E.S. and Orris, J.B. (2015). Essentials of Business Statistics, 5th edition. McGraw and Hill pub. USA.
Erilli, N.A. and Alakuş, K. (2016). Parameter Estimation In Theil-Sen regression analysis with Jackknife method. Eurasian Econometrics, Statistics & Empirical Economics Journal, 5, 28-41.
Erilli, N.A. (2015). İstatistik-2. Seçkin Pub., Ankara.
Fernandes, R. and Leblanc, S.G. (2005). Parametric (modified least squares) and non‐parametric (Theil‐Sen) linear regressions for predicting biophysical parameters in the presence of measurement errors. Remote Sensing of Environment, (95), 3, 303‐316.
Gujarati, D. (1999). Temel Ekonometri. Translate: Ümit Şenesen, G. Günlük Şenesen. Literatür Pub., İstanbul.
Hardle, W. (1994). Applied Nonparametric Regression. Cambridge University, UK.
Horowitz, J.L. (1993). Semiparametric Estimation of a Work‐Trip Mode Choice Model, Journal of Econometrics, 58, 49‐70.
Hussain, S.S. and Sprent, P. (1983). Non-Parametric Regression. Journal of The Royal Statistical Society. Ser., A., 146, 182-191.
Lavagnini, I., Badocco, D., Pastore, P. and Magno, F. (2011). Theil‐Sen nonparametric regression technique on univariate calibration, inverse regression and detection limits, Talanta, Volume 87, Pages 180‐188.
Sen, P.K. (1968). Estimates of The Regression Coefficient Based on Kendall's Tau. J. Amer. Statist. Ass., 63, 1379-1389.
Shen, G. (2009). Asymptotics of a Theil‐Sen‐type estimate in multiple linear regression
Statistics & Probability Letters, volume 79, Issue 8, pp. 1053‐1064.
Takezawa, K. (2006). Introduction to Nonparametric Regression. Wiley‐Interscience, Canada.
Theil, H. (1950). A Rank Invariant Method of Linear and Polynomial Regression Analysis. III. Nederl. Akad. Wetensch. Proc., Series A, 53, 1397-1412.
Zhou, W. and Serfling, R. (2008). Multivariate spatial U‐quantiles: A Bahadur–Kiefer representation, a Theil‐ Sen estimator for multiple regression, and a robust dispersion estimator. Journal of Statistical Planning and Inference, 138:6, Pages 1660‐1678.
Wilcox, R. (1998). A note on the Theil-Sen regression estimator when the regressor is random and the error term is heteroscedastic. Biometrical J. 40, 261–268.
Received: Sept. 21, 2021
Accepted: Nov. 22, 2021
Published: Dec. 31, 2021
Full Text [575.8 KB]
2021 Öztaş, C., Erilli, NA.
This is an Open Access article, distributed under the terms of the Creative Commons Attribution licence, which permits unrestricted re-use, distribution, and reproduction in any medium, provided the original work is properly cited.
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Watch A Mind-Blowing Visualization Of 'The Rite Of Spring' : Deceptive Cadence Composer and artist Stephen Malinowski has created an incredibly illuminating — but very easy to understand — path into exploring Stravinsky's music, thanks to what he calls his "Music Animation Machine."
Deceptive Cadence
From NPR Classical
Issues & Ideas
NPR Classical
Watch A Mind-Blowing Visualization Of 'The Rite Of Spring'
Rite Of Spring
May 27, 20136:00 AM ET
Anastasia Tsioulcas
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Stephen Malinowski YouTube
Composer, pianist and software engineer Stephen Malinowski has created one brilliant solution to an age-old problem: how to communicate and understand what's going on in a piece of music, particularly if you don't know standard musical notation. Over the course of some forty years, he's honed what he calls his "Music Animation Machine" from a 20-foot printed scroll to the software and iPad apps he's created — but the results are art.
His animations posted on YouTube have gleaned over 100 million page views, from Debussy's "Claire de lune" to the Allegretto movement of Beethoven's Seventh Symphony. And Bjork enjoyed his work so much that she commissioned him to create the animations for her "Biophilia" project.
Most recently, Malinowski has created animations for Stravinsky's ballet The Rite of Spring, just in time for the ballet's 100th anniversary on May 29. (He even created a one-minute version for our own #ritenpr project.) Through this visualization, you can start to follow and understand the composer's dazzlingly dense interplays of melody, instrumentation and the relationships between the instruments.
I reached the California-based Malinowski by phone a few days ago to discuss his work on The Rite of Spring, and to talk a bit more about how his Music Animation Machine came to be — and how it's evolved in the four decades since its original incarnation.
I think what you create is just incredible and brilliant— especially as a way for non-musicians to get a better grasp of what they're hearing. From your vantage point, what's the benefit of visualizing scores?
People usually respond to sound in a unitary way. It's the reason why you can't follow more than one conversation at a time at a party, for example. But with vision, your brain is trained to comprehend multiple things at once: you can take in many more elements simultaneously. In music, there's often much more going on than you can grasp in that moment of hearing. When you have a visualization, your eyes lead your ears through the music. You take advantage of your brain's ability to process multiple pieces of visual information simultaneously.
When I was young and studying piano and really getting into music, I started reading along with scores as I listened to music — that's the way you're traditionally supposed to learn what's going on in a piece. But I started to get really frustrated by very complicated scores.And the symbols in conventional musical notation only go so far. For example, an eighth note takes up the same amount of space on a page as a whole note, though a whole note sounds for much longer. So you have to learn all those symbols in order to perceive what's going on, which can be really frustrating. And the score can never clue you in to the differences in instrumental timbre — how different a note of the same pitch can sound if played by a trumpet versus a violin, for example. And I came to realized that scores are really for musicians, not for listeners. When that information is presented as graphs, it's very easy to understand.
Do you have a standard way of notating different pieces of music?
At this point, I have a toolkit of what I call different renderers. I have about 20 now, and each renders a different visual effect. When I start working with a piece of music, I have to figure out which renderers will work within that particular composer's work. And if it turns out that nothing I already have in that toolkit accurately represents what the composer is doing, I write new programming.
But I feel like I'm only at the very beginning of what's possible. I'm working with the very basics, technologically speaking — it's like I'm at the caveman level of evolution, just as they figured out that if you took an animal bone and blew into it, it would make a sound, and that you could make other nice sounds if you banged some holes into the bone and then wiggled your fingers over the holes.
There are certain elements that the Music Animation Machine can do quite well, like tonality and schemes of harmonic pitch. But it doesn't touch rhythm at all, and of course that's such a strong part of music.
You've mentioned to me that you didn't really know The Rite of Spring particularly well before you took on this visualization project in time for the piece's 100th anniversary. So what did you learn about the architecture of the piece during the process of translating it into visuals?
I was not aware of the kind of harmonic things Stravinsky has going on. There's a lot of bitonality — he'll have multiple tonal areas going one after the other, and then they'll coexist for a while. And I have rendered each of those in different color schemes, so you can see them as they exist independently and then come together, in and out. There are also a lot of places in the score with very subtle shifts in instrumentation and texture, and the software can represent those differences in timbre. It's incredible — Stravinsky continually torques you, startles you, and frustrates your anticipations


Meet Directors/Coaches/Fans: If you have any additional information or if you know of an invitational not listed or if there is a mistake, please email! We will be updating this post as we receive more information!
6-9-18 Saturday New Englands UNH!!!!!!!


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Nancy Magee
Redesigning Volunteer EMS
More than a hashtag: A shared passion to move EMS forward
Examples of successful volunteer EMS organizations show volunteerism is an essential pillar of EMS service delivery
Among those who pontificate on the future of EMS, it has become a foregone conclusion that the volunteer model of fire and EMS response is a nostalgic, but antiquated notion that as an institution, is taking its last, agonal breaths.
For more than 20 years, various industry stakeholders and overtaxed service chiefs have been harbingers of doom, convinced that societal changes and increased public expectation have rendered the concept of community-based voluntary EMS response an option that is no longer viable. But despite the formation of hundreds of focus groups and task forces, there is still no realistic solution or cohesive plan to replace volunteers in EMS or the fire service.
Nor should there be.
The idea that furthering EMS without volunteers is either practical or prudent needs to be abandoned. Our desire to band together in times of crisis, to work together to help both neighbors and strangers through tragedy and natural disaster has always reflected who we are as a nation. (Photo/Bishopville Volunteer Fire/EMS)
EMS Week 2019: Culture change 'beyond the call'
EMS Week: What it means to be 'Always in Service'
5 myths about the EMS volunteer shortage
The idea that furthering EMS without volunteers is either practical or prudent needs to be abandoned. Our desire to band together in times of crisis, to work together to help both neighbors and strangers through tragedy and natural disaster has always reflected who we are as a nation.
Volunteerism is quintessentially American
In the 1830s, French political scientist Alexis de Tocqueville wrote extensively about the tendency of Americans to form voluntary civil associations as a means of accomplishing community, commercial and personal goals. He believed this to be fundamental to the foundation of our democratic society.
Volunteer firefighters in America can trace their roots all the way back to Philadelphia in 1763 and the establishment of Benjamin Franklin's Bucket Brigade.
Julian Stanley Wise was organizing the first formal volunteer rescue squad in Roanoke, Virginia, in 1928.
The First Aid Council of New Jersey is celebrating its 90th anniversary this year. Member squads have continuously responded in force to catastrophic events and everyday emergencies since before the 1937 Hindenburg disaster.
Today, EMS and Fire department volunteers are the health and safety net for most of the approximately 57 million (18%) people living in rural America, and rural areas make up 95-97% of the nation's land mass. Volunteers are also frequently the first line of defense in suburban America, where low call volume and crushing tax burdens make response by municipal and private for-profit services untenable both financially and logistically.
Identify the threats to EMS to further the profession
The truth is that behind the scene, volunteers have been doing the heavy lifting in emergency response since this country's inception.
But in 2019, EMS in America is in crisis, and maybe the volunteer model has simply been the canary in the coal mine. At what has obviously become an inflection point, it is critical that all stakeholders in EMS drop the excuses, put down the pitchforks and face reality. It is not "time for change." Change has already passed us by while we as a profession were busy with infighting, bickering and backstabbing each other over petty grievances, tribalism and egocentric aspirations.
To survive and succeed, many EMS organizations both paid and volunteer will be forced to accept the need for drastic organizational changes if they wish to continue their mission.
"If you dislike change, you're going to dislike irrelevance even more." — General Eric Shinseki, U.S. Army (Ret.)
To understand the root of the challenges facing EMS, we must understand what the problem is not:
It is not a decline in volunteerism in America. One out of four Americans volunteers formally on a regular basis. This has not changed since research has been performed on volunteerism in America. In fact, some studies show as many as 90 percent of Americans would volunteer if they had any idea how to, or where they would be accepted.
It is not the aging workforce. Founded in 1964, in southwest Florida, the Points of Light award-winning Sun City Center Emergency Squad answers close to 5,000 calls a year in addition to providing no-cost wheelchair van transport and a multitude of other community services and public education. Their membership consists of nearly 400 volunteers ranging in age from 18 to 80.
It isn't 'kids these day' either. Post 53 in Darien, Connecticut, has been run by high- school teenagers and adult advisors for almost 50 years. Another award- winning agency, their story has been shared worldwide. If you are an EMS volunteer, or an EMS educator looking for inspiration, find an opportunity to attend a showing of High School 911.
Every year, multiple volunteer services are recognized for excellence in service not only in their service areas and home states but nationally, including by the Zoll Excellence in EMS awards.
It is time to stop perpetuating the idea that successful volunteer EMS agencies are the black swans of EMS.
Before that deceased tag is affixed to the volunteer service model, perhaps a more feasible and rational idea would be to re-assess our volunteer EMS and fire services for life threats, by:
Opening funding streams to allay the financial chokehold
Stopping the bleeding of both new and experienced personnel
Assessing and treating the pervasive, systemic infections of institutional stagnation, malignant mediocrity and maladroit leadership
Discover a way for EMS agencies to understand that forming alliances is not a threat to cultural identity, but a way to use both economies of scale, and a shared passion for this work to move forward in a nation that desperately needs to have their emergency caregivers clinically prepared and absolutely committed to showing up, holding their hands, drying their tears, tending their wounds and keeping them safe.
It's time to make years of EMS slogans and public promises mean more than a hashtag.
#Readytoday #Preparedfortomorrow
#Everydayheroes
#Calledtocare
#Onemissiononeteam
#EMSmorethanaJob
#Dedicatedforlife
#Alwaysinservice
#Beyondthecall
This article, originally published on May 20, 2019, has been updated.
Nancy Magee combines a business woman's perspective on marketing, efficiency and customer service with an EMS volunteer's heart. Nancy, a Connecticut native, now resides in Louisiana and offers her Volunteer Survival Series workshops and consulting services through MEDIC Training Solutions to agencies across the country. Contact Nancy at nancy@medicsolutions.org.
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Discussion » Statements » Rosie's Corner » A president is supposed to guide us through NOT CREATE problems. Why do we allow the gaslighter-in-chief to be our biggest problem?
A president is supposed to guide us through NOT CREATE problems. Why do we allow the gaslighter-in-chief to be our biggest problem?
We have 'Freedom of the Press.' Therefore, the liberal leanings of the media abuse the truth.


CBrowse (Contig Browser) is a SAM/BAM-based contig browser for transcriptome assembly visualization and analysis. It takes the contig sequence file and its relevant SAM/BAM file as the input, processes the input data, detects polymorphisms and repeats, and generates image, JSON and MySQL-compatible text files that can be directly utilized by different viewers of CBrowse.
CBrowse: a SAM/BAM-based contig browser for transcriptome assembly visualization and analysis.


Farming is a full time job, but I also work part time at a church.
Alpacas are wonderful animals that provide a warm and extremely soft fiber, so it was only natural to take the fiber from the yearly shearings and process it into beautiful yarn and rovings for others to enjoy.
I've been in the alpaca breeding business for 10 years, and began selling yarn and rovings about 5 years ago.
I find inspiration in the alpacas. They have such a calm demeanor that each day spent working with them is like meditating.
I hand dye yarn and roving, spin wool from my sheep, make fused glass buttons and jewelry, felt paintings and felt jewelry, stitch markers, knitting patterns.
I find inspiration in my gardens, in the landscape around me as I live on a farm surrounded by fields with Sugarloaf Mountain in the background, and in the flora and fauna here on my farm and on my travels afar.
I'm part of a cottage studio tour 3 times a year (countrysideartisans.com). I have two golden retrievers that greet the customers, escorting them to the studio. They wear bright red handkerchiefs and signs that read, "Need Yarn?" and "Need Jewelry?".
I'm a knitter and handspinner who also dyes, crochets, felts, and experiments with fiber. My product line includes handspun and hand-dyed yarns and roving as well as finished knitted and crocheted items, felted soap, handmade knitting needles, fiber-themed badges and magnets. My pattern for the "Arabesque Tote Bag" was published in the Winter 2008 issue of Knitter's magazine. I'm also a distributor for both Nancy's Knit Knacks and Spinolution as well as two local fiber farmers and will have their products at my booth as well.
Very close to full time, and moving more and more in that direction. I'm also a work-from-home Realtor.
I was making things as a preschooler, thanks to the very patient and creative great-grandmother who kept me while my mother worked. It's part of me and who I am. I have a BA in Fine Art/Design and also paint, but fiber arts are my first love and abiding passion.
I've been creating things with yarn, needles and fiber since I was three years old. However, my business was officially established in 2008.
The colors and shapes of nature are most inspirational, though I also have learned a lot about color by studying fine art and painting.
I've always wanted to create, and to make my living pursuing the things I love to do, but it has only been in recent years, after a painful divorce, that I've realized that I CAN follow my dreams, rather than the dreams and expectations that others have for me. I approach my fiber business with great enthusiasm and love, and a desire to share with others the peace and joy that these creative pursuits bring me.
At my booth I plan to be assisted by Debbie White of Forevermore Farm, whose wool rovings I distribute and use in much of my dyeing.
handspun yarn, roving, knit goods (which i will not be bringing to the yarn party), patterns.
i do! i teach, knit, dye, spin, recycle sweaters, and design patterns full time.
i had just gotten into knitting when my husband and i moved to vancouver, bc. the wool shop that i liked best and that was nearest my house was literally a wool shop. they had a small amount of yarn, a lot of processed roving for spinners, and other forms of wool for quilters etc. the front of the shop was tiny and there were spinning wheels everywhere. i noticed they had spinning lessons so my friends sarah and i signed up, next thing you knew we also signed up for dyeing, i found 2 spinning wheels at a thrift store and voila! a fiber artist in the making.
knitting 6 years. spinning and dyeing 3.5 years. full time? i just started being full full time in january 2009. yikes!
rovings, fleeces, yarn, knitted items.
Brookmere has had creative crafty talents for many years. Some for fun, some for necessity, enjoys staying busy and productive!
Brookmere Alpacas will be sharing a booth with Cedar Wool Farm.
grew up raising sheep. Natural progression, from meat breed to fiber breeds, and voila!
Oh golly, I'm sure there are funny stories. I can't think of any at the moment. What I can say is tat I'm happy and blessed to be doing the things I love and that bring me so much joy!
I have been knitting since I was 9 (a very long time) and spinning for the last 20 years.
I love working with fiber. My newest passion is alpaca and I've spent alot of time (and money) acquiring information about the animals and their fiber and have quite a number of fleeces. Each fleece is a learning experience. I love taking the raw fleece to finished yarn and then creating a handknit item -- from their back to mine (or yours). After a hiatus of several years I have begun to dye again and I'm quite excited about adding bright colors to the array of natural colors of the alpaca. Blending batts and creating one of kind alpaca yarns is becoming quite a passion. I also have yarn created from rovings out of the dyepots of other fiber artists.
I donate a portion of the proceeds to the Cystic Fibrosis Foundation. My fiber career took on new meaning 6 years ago when my first grandchild, Noah, was diagnosed with CF. I quit my outside jobs to become his daytime caretaker and found that knitting while he was napping was a natural mix. Having so much completed, I decided to create a company to offer these items to others and give back to CF research at the same time. Now that Noah is in school, I have the time and opportunity to drag out the dyepots once again and create the colorways that have been swimming around my noggin for quite a while. Every turn of the carder, treadle of the spinning wheel and stitch off the needles is done with Noah in mind. His sister Rachel is a carrier of the CF gene, but thankfully doesn't have the disease. Offering my yarns and knits gives me the opportunity to tell everyone about CF and how important your dollars are to research for a cure.
Farm tenants up and left their cats and sheep and we did not want to sell them so we just kept taking care of the sheep year after year and we had all of their fleeces and didn't have the heart to through it away so my mom got me a spinning wheel for Christmas and that is where the trouble began.
Feederbrook Farm is focusing on educational programs and field day opportunities for individuals and schools alike. We aim to educate people on the importance of fiber and it's origins. We offer classes in animal husbandry, spinning, hand painting, knitting and weaving. This year we are excited to offer opportunities to learn about natural dyes and gardening as we are going to grow plants, harvest them and use them to dye fiber using different mordants. In addition this is our first year for the Feederbrook Farm Fiber Project. A year long educational seminar that takes you from the sheep to the finished product. Participants get to choose a sheep from the flock that is their critter for the year. Feederbrook Farm is offering new/unique approaches to fiber and hands on educational opportunities.
Feederbrook Farm and Potosi Farm will be sharing a booth.
Potosti Sheep Farm is still on the waiting list.
Potosti Sheep Farm makes hand dyed and hand painted BFL yarn and hand spun natural colored Shetland yarn, hand dyed roving, sheep skins, finished goods ( hats, lap blankets) and fleeces.
23 years ago I learned to spin. started with 3 sheep just for spinning fleeces and the rest is history. I think I have had almost every breed...mostly given to me. The BFl are my true love. Sheep are an addiction. I have judged at PA farm show and NYS Wool Festival sheep to shawl competitions. volunteer for 4H shows every year and love to work with 4H kids.
On the farm and from the wonderful sheep I care for.
Feederbrook Farm and Potosi Farm are two farms that are both one women operations that have partnered up to make a coop. We work together on a number of different levels ( Fiber, Sales, Breeding stock and education).
Located just outside of Sperryville, VA, near the Shenandoah National Park, about 1-1/2 hours southwest of Washington, DC.
I make lots of different handpainted yarns, handpainted combed top in a variety of fiber blends, and natural and dyed roving from rare and endangered sheep breeds from around the world.
I work pretty much full-time (as much as possible along with raising our 11 and 9 year olds and doing some accounting work for my husband's business).
I've been knitting since I was 15 years old, and started spinning about 6 years ago. In college I majored in ceramics and fine arts for a while (before finally graduating with a degree in English Literature with a Concentration in the Romantic Poets ... very practical!) and had been wanting for a long time to do something more creative as a profession, rather than the commercial real estate I had been doing for over 10 years. I took several dye workshops in late 2002, and it was like a lightbulb (or an explosion) went off in my head: this was what I knew I wanted to do. And so I did. In the process of becoming a spinning addict, I started researching different types of fiber and found so many different sheep breeds, many rare or significantly endangered, that I decided to make rare and endangered breeds the focus of the fiber portion of my business. I especially love getting a hold of fleece from an endangered breed that I've had a hard time finding ... most recently, I was able to get some Arapawa from New Zealand, and Hog Island from here in Virginia. Very cool!
I started Spirit Trail Fiberworks in early 2003.
Inspiration really is everywhere! The colors of the natural world (and I'm lucky to live where I do, right near the Shenandoah National Park, in a very beautiful and rural part of Virginia) can be really inspiring. Sometimes just thinking of an image or an emotion while I'm dyeing will inspire new or different color combinations. Sometimes I just let the colors flow in a very organic and stream-of-consciousness sort of way, which is alot of fun, too. And sometimes my own mood will inspire a color combination. I also get a whole lot of inspiration from the farmers around the world who raise rare and endangered breed sheep. It is such a labor of love, and hard not to be inspired by their love and dedication to saving these breeds from extinction.
Words of wisdom: I think Julia Child said it best: "Find something you're passionate about, and keep tremendously interested in it." Doing something which feeds your soul is so important, even if it's only part time, evenings or weekends. Finding new and different fibers, experimenting with color and texture, never cease to interest and excite me.
Jennifer was with us in 2008 too. You can read her bio here!
We're having a contest to help promote the event. Prizes include this lovely handspun yarn, a set of Ravelry-themed stitchmarkers, and perhaps a few other goodies to be announced later.
1. Write a post about the Homespun Yarn Party on your blog between now and March 14 at 12 PM EST.
2. Leave a comment here (on the HYP blog) with a link to your blog entry, so we know you've posted. Be sure to give us a way to contact you if you win!
3. At the event, we will draw at least two winners from among the contest entrants.
You don't need to attend to win, so even people who can't make it to the party can have fun with us!
While you're at it, if you'd like to link to the Yarn Party blog on your blog sidebar, here are some buttons you can use (right click on the image and click "save image as" to save it to your computer and then upload it to your own server space).
Please spread the word by conventional means as well - tell your friends about the event, announce it at your SnB or guild meeting, hang a poster at your school or community center, ask your LYS to request postcards.
3/16/09 UPDATE: The winners are Andrea of Spinster Yarns and Fibers, and Nora of Atomic Knit Forum! We'll be in touch this week to get you your prizes.
We've got some very cool prizes lined up for the Yarn Party this year.
Each of our vendors will be contributing something to the door prizes, and we'll be drawing new winners every 30 minutes throughout the event. We also have wonderful prize donations from several of our sponsors, including Unicorn Fibre Wash, learn to knit and crochet kits from Knitters and Crocheters Care, and much more!
The first 100 attendees will receive a goody bag of random surprises, and everyone who comes will be entered in to the door prize drawings. You do need to be present when your name is called, so plan to spend the day with us.
Can't make it to the event but still want to win something? Or just want an extra chance? Help us spread the word with our blog contest. Watch this space for details!
1. What is your website and email?
hand dyed yarns, fibers, batts. Handspun yarn. Dyed and natural locks and fleece from my fiber flock of heritage/rare breed Leicester Longwool sheep. The shop also stocks lots of commercial roving, yarns, fibers and tools.
I've knit for over 40 years, and have always been passionate about textiles in general.
The shop and farm have been going for 2 years.
Sheep and goats are a delight to be around. They have their own personalities, just like your other pets.
We are pleased to have Knitters & Crocheters Care as our charity partner for this year's Homespun Yarn Party! They will be collecting knitted and crocheted items and will lead a special blanket project at the event (watch for details).
Learned how to spin 3.5 years ago and it became an instant addiction. Then when I learned how to spin, I knew it was all I wanted to do!
About three and a half years now.
Mostly in the need to create things. To create beautiful things. And I am also inspired by other fiber artists and the talent and creativity that each of us has.
Treadle to the Metal will be sharing space with Loop!
I specialize in one-of-a-kind batts for art yarn spinners called "Spontaneous Spinning Batts". I also make handspun yarn.
I've always been "creative" but it manifested itself in my life through dance and creative writing as a kid and young adult. I'd always envied artists who made something tangible, but never seemed to find my medium. Years later, my mother-in-law tried to teach me how to knit and instead of being a good student of knitting I became obsessed with yarn. I googled spinning lessons in my area and found my spinning teacher and mentor.
I've been selling for almost three years, but started getting into spinning and carding almost four years ago.
Making batts is like developing photos in a darkroom but it's better. As I card the different colors onto the drum, the batt appears to me slowly, like a photograph. But the real hook for me with batts is three-dimensional. I love texture and am fascinated with the variety of textures found in different animal and plant fibers. Making batts is an endless experiment in combining color and texture. I'm inspired by each discovery.
My goal is to make hand-carded batts and handspun yarns that are as beautiful as the finished objects produced by those who use them. By focusing on supplies, and not on the end product, I feel like I'm able to share my affinity for fiber with many other crafters. This artistic collaboration is what drives my work. Nothing motivates me more than seeing my customers' finished projects.
Loop was with us in 2008 too! See her bio here.
Check out the sidebar to see our list of confirmed vendors for this year's Yarn Party. We've got a great lineup of local independent yarn and fiber dyers, farms, designers, and artisans. Watch the blog for profiles of our vendors over the next few weeks.
To whet your appetite for some of the great indie dyers we'll have at the show, here's a free pattern that showcases them nicely!
This cowl calls for sock or sport weight and size US 8 or 9 needles and works with several of the yarns that will be featured at the Homespun Yarn Party.
Download the Dragonfly Fire Cowl at Knit & Play with Fire, courtesy of Mia.


Henry "Bill" Warner and John Middaugh bonded together when they served in a war zone during the Vietnam War. They learned to count on each other, and after the war they continued to stay in touch.
This wonderful sacrifice reminds us of what Jesus did for us on the cross. However, instead of sacrificing for a long-time friend, Jesus performed his act of mercy for those who were far from him.
"But God demonstrates his own love for us in this: While we were still sinners, Christ died for us."—Romans 5:8.
This entry was posted in Christian Living, Communion Meditations and tagged Henry "Bill Warner, illustration, Jesus died for sinners, John Middaugh, kidney donor, Romans 5:8, sacrifice, Veteran's Day, Vietnam vets. Bookmark the permalink.


text:
LIVE • MEPs in Malta say still early to talk about punitive Article 7 measures [video]
Constantly Updated: European Parliament delegation in Malta meets PM, police, Attorney General
Last updated on 3 December 2019, 3:15pm
by Massimo Costa
MEPs meet with Prime Minister Joseph Muscat and Deputy Prime Minister Chris Fearne
The basis of trust between Malta and the European Union "does not seem to be there anymore," Dutch MEP Sophie In't Veld has told journalists after meeting Prime Minister Joseph Muscat earlier this morning.
"We have made it very clear that there is a problem. This is now an issue between Malta and the EU, not just between the PM and the Maltese. That trust has been very seriously damaged. Justice being and that truth is coming out and this is the most important thing," In't Veld said.
German MEP Sven Giegold said that Muscat admitted that he knew that Yorgen Fenech was somehow involved.
"He refused to say since when exactly he knows… he understands that he somehow made a mistake. It was a tense meeting. I can only say that this government brings the EU into disrespect, and puts Malta at the EU table in disrespect. How can Mr Muscat represent a member state and say he is legitimate while having announced his resignation?"
On Tuesday, the civil society NGO Repubblika held a press conference outside of the Police Headquarters in Floriana, ahead of its eight national protests tonight. The NGO once again called for the immediate resignation of Prime Minister Joseph Muscat.
Manuel Delia addressing journalists on behalf of Repubblika
"Joseph Muscat must resign now. He should have resigned the moment the news emerged that the gang that plotted and executed the assassination of Daphne Caruana Galizia were close to him. Muscat is protecting these people, including his Chief of Staff Keith Schembri and by doing so he is protecting himself," the NGO said.
"Today, everyone needs to come together to make sure that Malta is not governed by criminals or those who are suspected of criminality. This is not a question of Labour or Nationalist, people who are protesting with us are from both parties," Activist and blogger Manuel Delia said.
Delia said that Malta must move past its tribalistic tendencies for the sake of the nation. "Let us come together to right the wrongs of the past so that we can begin to move on." He reiterated that Labour had a mandate to govern and that it should continue to do so, however, without criminal activity in its midst.
After their meeting with the Commissioner of Police, I'nt Veld said she felt the police were doing good work but refrained from commenting on former chief of staff Keith Schembri. "We have to allow due process to take place," she said.
The Dutch MEP told MaltaToday that it was too early to trigger a punitive Article 7 measure against Malta. "We are still at a very pre, pre-stage, let's not rush things. It is clear the spotlight is on Malta and the rule of law, it's not easy to draw conclusions, but we can see there are big concerns."
Asked by MaltaToday whether Muscat should attend the forthcoming European Council meeting, the MEP said it was up Muscat's peers to say whether or not Muscat should take his seat among them. "There is clearly a problem with trust and credibility, which is essential for working together."
Seven MEPs will today meet the Maltese prime minister Joseph Muscat and his deputy PM Chris Fearne following developments in the investigation into the murder of Daphne Caruana Galizia.
"In light of recent political and judicial developments in Malta and continuing its long-standing defence of the rule of law in the EU, the European Parliament has decided to send a delegation on a fact-finding mission to review the situation on the ground," the delegation said.
Muscat and Fearne will meet MEPs Roberta Metsola (EPP, MT), Birgit Sippel (S&D, DE), Sophie In 'T Veld (Renew, NL - delegation Chair), Sven Giegold (Greens/EFA, DE),
Nicolaus Fest (ID, DE - arriving on 3/12), Assita Kanko (ECR, BE), and Stelios Kouloglou (GUE/NGL, EL).
During these two days, in addition to meeting the family of Daphne Caruana Galizia and civil society representatives including NGOs and journalists, MEPs will also meet justice minister Owen Bonnici, President George Vella, the Attorney General, the Speaker of the House, the Commissioner of Police, and the Chamber of Advocates.
Dutch MP Sophie In 't Veld on the work of the Police Force
Following visits to Malta and Slovakia in the aftermath of the murders of the Maltese blogger and journalist Daphne Caruana Galizia, and the Slovak journalist Ján Kuciak and his fiancée, the Civil Liberties Committee set up its Rule of Law Monitoring Group in June 2018. Having looked into concerns about the progress of the investigations, as well as allegations of harassment, intimidation, corruption and fraud, the final report identified serious shortcomings in the rule of law.
In the 9th parliamentary term, the Democracy, Rule of Law and Fundamental Rights Monitoring Group will monitor and report on relevant issues across all member states until 31 December 2021. Newly arising issues can be added to the DRFMG scope if Members representing a committee majority agree.
Massimo Costa joined MaltaToday as a journalist in 2017.
More from Massimo Costa


Last month's school shooting in Parkland, Florida has New York City officials taking a closer look at safety measures in public schools. One proposal, is more metal detectors in more schools. Jennifer Sigl (SEE-gull) reports on the mayor's proposal and its possible impact on school safety.


I can divide the story of my love affair with bicycles into three chapters.
At the age of 4 I got my first three wheels bicycle from my parents. At that time I could not know that it was just the beginning of a life time experience. I have a very clear image of me riding on my childhood bicycles in these early days of mine.
At the age of 40, my wife bought me a special birthday present: a brand new diamondback bicycle. This marked the 2'nd cycling chapter. I've started to ride different types of mountain bikes on a regular basis, near my home and abroad, in many bicycling tours around the world.
Three years ago – The third and current bicycling love affair of mine has started three years ago, when I've started my first web site about Bicycles and Bicycling.
Many things have changed along these years. In October 2010, I took part in a gorgeous bike riding trip along the Rhine River in Germany, France and Switzerland. We were two bikers on our first, yet short bicycle touring trip, exploring the beauty of the Rhine valley, as well as ourselves and our passion to bicycling.
On May 2015 two of my best friends and I had another great touring bike trip: a bicycle trip in Japan. You are invited to read more about our 450Km ride from Takayama to Kyoto.
An indoor training stand is a solid frame you can sit your bicycle in, allowing you to pedal your bicycle indoors while remaining stationary. It is a great tool for making an outdoor bicycle an indoor bicycle. Exercise stands are a great option for any cyclist who is very serious about their training and won't allow anything, weather included, to get in their way. They are a great way to train when getting out to cycle is not an option. As a serious cyclist, I've gained experience in buying and using exercise stands. In this website I like to share my experience with you.
My official education is electrical engineer, with years of experience in software development. In the last 10 years I am developing software for GPS navigation. Over the years, I had some ideas of how to put my creation in the market. The last one was to build a web site that will help me in the mission.
I have a neighbor and a dear friend, Elad Shippony. For several years, Elad told me inspiring stories about SBI (Site Build It), about working from home, the freedom it offers and as a way to make my dreams come true. Elad Shippony is a major SBI story. Some of Elad's inspiring web sites are in the SBI results list.
But until the end of 2009, I had neither the time, energy, nor courage to make my dream come true: creating my own web site, my own business, and beginning my journey towards the goal of working from home. Elad suggested I use SBI for building my web site for the purpose of selling my software. This is how I was exposed to the wonderful world of SBI.
As you can see, this site is not about GPS software. It is about me and about my main hobby, bicycle riding. My GPS software site is still waiting for me. But I have found so much joy in building www.american-vintage-bicycles.com , that I am willing to put my other dream aside, at least for now.
SBI is the perfect platform for anyone who is just new to creating websites, or for anyone who don't need Dynamic websites. It has a great Action Guide, as well as superb support. It will take you by hand and guide you through the process of creating great "do it yourself" websites, but – it is very limited.
From the other hand, WordPress is leading CMS (Content Management System) in the word. It is based on PHP scripting language, as well on the Open Source phpMySQL server. As I became more experienced in creating websites, I feel that I am ready to move on to a more advanced (and challenging) platform, and I am so happy with this move!
bicycle-riding.com – Visit this web site and explore the wonderful world of bicycle riding: Different types of riding styles, bicycles, equipment, clothes, as well as many of my trips and more.
bike-riding-guide.com – Like many others, I believe that my passion for cycling offers better health and positive mindset that keeps me going. Join me with my bike riding guide.
american-vintage-bicycles.com – American-Vintage-Bicycles.Com is about us, and about the history of our vintage bicycles. Be aware: collecting American vintage bicycles is an obsession!
bicycle-storage-ideas.com – Protect your bicycle against weather conditions, such as harsh sun, rain and snow. Keep it in a covered space so that its sensitive parts don't rust and/or get dirty. This website will help you find the best storage for your bike.
bicycle-trainer.com – Bicycle training stands are a great option for any cyclist who is very serious about their training and won't allow anything, weather included, to get in their way. This website will help you find the best exercise stand for your training needs.
bicycle-pumps.com – There are many types of bicycle pumps. There are portable bicycle tire pumps, floor pumps and even electric pumps. This website will help you find the best bicycle pump for your needs.
bicycletrailers911.com – Bicycle trailers are frames with wheels that can be attached to a bicycle and transport items. Before buying one It is recommended reading this guide.
outdoorstorage911.com – Here you can find some great outdoor storage ideas. Keep your garden tools in a covered and secured space so that it serve you well for years!
vintage-tricycles.com – Collecting vintage tricycles and vintage bicycles is not very common. If your are one of these enthusiastics you came to the right place.
For any questions and comments you are invited to visit my Contact Me form.


It seems like the end of the 90s brought up an Early-80s eletro-synth-pop revival. New York trio 46bliss - singer Clare Veniot, vocalist/keyboardist/programmer David Cooper, and Jack Freudheim on electronic drums, programming and software - makes people again drool about bands like Depeche Mode, OMD (Orchestral Manoeuvres in the Dark - or, he-he, was it manure...), and Blancmange. Well, back in those days I was more into the goth-depp of Bauhaus, Siouxsie ad the Banshees, and The Cure, but that's another story (which I almost have forgotten...).
46bliss has gained a lot of positive feedback on their debut album Pistachio Home, which sounds very professional, and indeed danceable if you're in the mood for this type of music. In fact 46bliss sounds like the synth-pop version of mid-80's folk-rock trio The Washington Squares (who sort of was meant like an ode to the 60's folk trio Peter, Paul and Mary). However I find 46bliss a bit too slick sounding, and I really don't like their version of the Beatles' Across The Universe. That said, there are some likable songs on their album, which consist of 15 tracks altogether. There's also another cover version included, Lay Down (Candles in The Rain) (with an arrangement sounding a bit Peter Gabriel-ish) by Melanie Safka. There are also put in some short intemissional tracks in-between the regular songs, Troubador, Bardo Takes Time and Alpha & Omega, being small cryptically breaks in the electro-flow.
So, call me old-fashioned, but I guess I miss guitars. Well, of course there are some guitars and bass-guitars among the additional musician credits. But, as I said earlier, I find the album a bit too slick. To mention a few tracks, the rhythmical Wildfire, the pop-catchy Anything (a bit like James, of the Manchester wave, maybe?), and the ethno-pop-song Cura Animarum. And I guess Boy Behind the Veil has a certain hit potentiality. Anyway, pistachio has never been among my fave flavors.


text:
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These 2 semi-detached villas for sale in Fethiye Town can be found just 400m to the sea front promenade and walking distance to the busy town centre and harbour.
A nearing completion project that sits close all Fethiye amenities and within easy reach of all the resorts and beaches.
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