text:
"It's a part of my track when I warm up. I have my track onstage, but I also have blocking offstage where I know, 'OK, this is the point in time where I warm up.' If I don't adequately get my body ready, I could injure myself."
We caught up with Andrew Mayer, ensemble member in the trailblazing new musical Natasha, Pierre & the Great Comet of 1812. I met with Andrew at Corso Coffee, just across from The Imperial Theatre on West 45th Street, where Andrew was about to begin another eight-show week. We dive into his pre-show routines, what he has learned working on this show, lessons on mindset, and much more. I've broken down this interview into two parts – check out Part II here. Enjoy!
How do you find the energy to sustain eight shows a week? Particularly in this high-energy, demanding show?
"This show is the most challenging thing I've ever done. It's genuinely hard on the body and the voice. When I was learning the track, I was learning what I had to do while playing, and singing, in addition to moving, in addition to climbing about 300 stairs a show. You put all these different skill-sets together. I had to learn to sing while playing different notes from each other, harmonizing with myself, and in different rhythms sometimes. When I play, in my head I hear the pitch, and then it translates to my fingers. Now, I hear a pitch and I play it, but I have to sing another pitch. It burned a new neural-pathway in my brain to be able to do this.
Today is the first of our eight show week. So, today is a longer pre-show routine. Longer warming my hand up, and my body, because each day it gets easier in some ways and harder in other ways. On the front end, I'm waking my brain back up to what this is. On the back end, I'm more interested in cooling my body down. I might be hurting by the end of the week, whereas now I feel good."
BREAKING DOWN ANDREW'S PRE-SHOW ROUTINE
"I'll usually warm up at home vocally. Depending on how my voice is feeling and what happened the day or night before, I need to adjust accordingly. Then, I'll get to the theater no later than forty-five minutes before. Even though my call is half-hour, I'm usually there 45-minutes to one hour before. I need to bring my mind into the space. There are so many moving pieces, physically and mentally, that I need to go through the steps. I warm up my violin, the instrument itself, and I warm up my hand. I play scales, similar to what you do with a vocal warm-up, but just with the violin. I tune it. Then, I stretch a little bit physically. I don't do anything too intense at at the top of show. I save the more intense stretching and rolling out for after intermission. The biggest production number, as far as how taxing it is on the body – I have a song and a half to warm up right before it. I have a very specific eight to ten minutes where I don't even go to my dressing room. I'm in costume, and I go straight to the warm-up area to roll out or stretch (dynamic stretching, not static stretching) and almost sweat before I get out onstage. Then, my body is primed for the intense physical activity, the shock it's about to go through. It's a part of my track when I warm up. I have my track onstage, but I also have blocking offstage where I know, 'OK, this is the point in time where I warm up.' If I don't adequately get my body ready, I could injure myself. People have and they HAVE warmed up, so I want to be as preventative as possible."
ROUTINE FOR TWO-SHOW DAYS
"During a two show day, I'll do that whole routine once. In between shows, maybe I'll nap. I'll definitely eat. I don't like to eat too close to curtain. I'll usually be hungry in Act Two, honestly. I've moving so much that I stick with protein. Protein bars and coffee. Coffee is life. Not for everybody, but for me. I try to not drink it when I don't have to do a show, so it really works when I do have a show.
I'll nap, I'll eat. Sometimes I have PT or something. The second show, I don't do as intense a warm-up, because I don't want to overdo it. Some basic tuning. I do a half version of the full warmup for the second show."
ON BALANCING WORK AND LIFE IN NEW YORK CITY
"I'm still figuring that out. Eight shows a week, I've done before. For the amount of time that I anticipate I will be doing this, I've never done it that long. The body acclimates. I'm more primed, in less pain, and better cardio now than I was in tech. It's easier on my body to do the show, but I can't take that for granted. On a Tuesday night, I know I have a two show day the next day, so I'm not going out too much. Sleep. Sleep is one of the biggest things for me. Personally, I'd rather sleep than almost eat in some ways. My voice responds to sleep. My body responds and heals. I need those eight hours.
Sometimes in the morning I'll wake up – I was talking about this with my cast-mate Gelsey Bell – I got to the theater and I didn't feel quite up to it yet. She was like, 'When did you wake up?' And I actually woke up too late that day. She does this thing where she needs to be up for three hours before her voice is ready to be active. I think that's a cool way of thinking about it. Very often I do find it's 2pm and I feel better than I did at 11am. So, maintaining a consistent sleep schedule. Not screaming, not drinking too much, if anything. You find what works for you and you have to be responsible. At the end of the day, this is a job, so you have to maintain that."
ON THE LINK BETWEEN ATHLETICS AND PERFORMING
"This is an athletic event, what we do here. I'm really competitive. Maybe unhealthily competitive, sometimes. I played sports in high school. I played some baseball, I always played soccer. I loved gym class. Actually, as I got out of high school and into college, my interest in athletics, working out, and fitness really took off. There's so many different limitations that exist that we are not in control of in this industry, and the world. There are things we have no say over. Something I do know I have a say over is my own body, my own physical health. I don't want my body to stand in the way of being able to do something as difficult as this, so I train to make sure that I'm physically capable of doing it. I'm in control of my fitness levels. It would be a shame to not be able to do something because of something you can control."
I love the way you put that. As you said, so much is out of our control – related to that – when you were starting out, how did you detach from results and not take rejection personally? Keeping a sense of optimism and enthusiasm when so often told "no"?
"This changes from day to day, especially when I was auditioning. No one is constantly peppy and if they are, they're lying. It's ups and downs. Going in the room and doing the work. I made a transition. At one point, I was going in the room trying to impress people or trying to get a job, or give them what they wanted. In a way, you always need that in your head, because you have to read the breakdown and choose your material appropriately. But after you do that little bit of homework, you have to think you are the answer to their problem. You are potentially the person they are looking for. You are in a position of power, and the key is to not lose sight of what power you do have as a performer. Also, it's important to go in the room and do the work. Live in what you've chosen to do. If you're so busy thinking about other things, and you get caught up in your own head with, "Does he like me? Does he not like me?" Sometimes just performing the piece gave me the immediate satisfaction of keeping it about what I did in the room, and not about whether they wanted me for the piece or not. Of course I want to book things, but that audition is still process of learning how to be more present."
That's something I'm still working on all the time. That's a good reminder. If you're here now, then why be stressed?
"You can be stressed, but if you are, you're thinking about something else. In the room, keep it about the work. I like to imagine stress doesn't exist. Stress is something that is created by either thinking about something in the future, or thinking about something in the past. You're stressed about something in either direction. But, how can I be stressed when I'm right here with you now, talking? I don't think that's possible. I'm here with you. Also, it's business. It really is sometimes. It hurts, don't get me wrong. It hurts every time, especially when you're five callbacks in. But, it's a progression. You were five callbacks in, not because you were bad. You're at that that point because you're doing a really good job, but there's other things in play. Control what you can and the rest is…keep your head down and keep trucking."
In Part II, we cover:
How Andrew found out he got cast in The Great Comet
What advice Andrew would give to his younger self
Overcoming fear and perfectionism
Creating opportunities for yourself
The discipline of practicing and developing a new skill
The Broadway Warm-Up sits down with Bobby Cronin, an NYC based award-winning composer/writer. We cover a lot of ground in our conversation. Bobby was extremely generous with his time and insights, and I am so excited to share this podcast with you.
LISTEN TO THE PODCAST WITH BOBBY CRONIN HERE
In this interview, we cover topics such as:
* Bobby's background, early influences and mentors
* Bobby's creative process and the craft of writing
* The relationship between directing, writing and acting
* Bobby's advice for actors
* Selflessness, resilience and positivity
* Manifesting dreams
INTERVIEW HIGHLIGHTS
On his background & early music influences
You know, I grew up listening to Led Zeppelin from one brother, and Neil Diamond from another, and Fleetwood Mac and Pat Benatar from my sisters; all these different styles going on, but I'd never heard theater music. When I finally did, I remember asking my Mom, "What is that?" She said, "It's from what's called a musical. A musical is when they use songs to tell a story. Like a movie, but with singing." And I was like, "I love this." Fast forward to the performance. I was in the back of the theater, I was sitting right next to the spotlight. It was in the gym of the school. The lights went down, the spotlight came on, and I swear it was as if something inside of me woke up. I saw the curtain open, and the light hit, and like I was in a dream, I walked from the back all the way to the front. I remember saying to my Mom, "I want to do that. I want to be a part of that."
On catching the bug & inspiration from MT writers
My high school drama teacher Frank Roberts started introducing me to different musicals in class. He would show PIPPIN. I remember SWEENEY TODD and thinking, "This is incredible." I actually went to college for hockey, so trying to do both was really difficult, but I was able to do it. Once I started really learning musicals, I became so inspired by Stephen Schwartz, I became very inspired by Jerry Herman. He was able to do something that a lot of writers don't, which is this incredible melodic hook that would keep coming back. With any Jerry Herman song, you could sing the title. I love Sondheim – I love, lyrically, Sondheim. I would leave a Sondheim show unable to sing you a thing, however I was so moved – it's so smart, so different. So I would say in theater, Schwartz, Menken, Jerry Herman…but my real influences are QUEEN, Elton John, Billy Joel.
What excites Bobby about writing in 2016, and on the flip side, what are the challenges?
When I first started out, I was a director. I did national tours, I had my own production company here – I was directing on a project with Stephen Schwartz's music. Stephen said, "Bobby, you're a writer. Why aren't you writing?" He really pushed me to find my voice and to use it. I switched careers in my early thirties, which was scary, but exciting. Once I knew what I really wanted to do, which was to write, the audiences were looking for a challenge. They wanted to hear something they hadn't heard before. Because of cable, ShowTime, HBO, Netflix – people want unconventional stories. They want something that's going to challenge them, surprise them. That's my favorite part of writing now. It gets to be, "What's the strongest way to tell this moment? What's gonna challenge people?
On watching his work being performed
"I feel like I have three modes – there's writing mode, there's rehearsal mode, then there's performance mode. I love the first two. My first big production in London, I will never forget opening night. There was a joke coming – I knew it was filthy. I didn't know if the Brits would laugh. Right before the joke came, I was close to fainting. I was seeing stars. Then the audience burst into laughing and I was like, "Thank God. Thank God." For that project specifically, certain notes were really rough – it's a super contemporary, pop driven score. I was always thinking, "Is the actor gonna hit it?" They never missed. Not once. My thing is – I always go to see my projects once. That's it. I know I have to get better at that, but it's just so stressful for me.
Part of it goes back to what I was saying earlier – writing for me has always been so private. To share it with hundreds of people at a time, it's scary for me. I'm sure it's what an actor feels like. I'm literally putting who I am in front of thousands of people."
What Bobby looks for in the actors he collaborates with
My favorite type of actor is someone that comes in with choices. Someone that's bold and brave. Fearless. Nuanced. They've done homework. Even if I just give them a song and we're working on the fly – someone who will ask questions. If I hire an actor for a project, and something that I wrote is not in their range, I will change the key. I look for someone that will embody a character. Someone that will understand every single word and every single note. Why is this word stressed? Why is this word held over the bar line? Things like that. That, to me, is a very smart, detailed actor, and that's what I love.
On what makes a great audition
Be yourself. Remember, it's your audition. It's not my audition, it's YOURS. From behind the table, we are praying that every person who comes in will be the one we are looking for. That makes our jobs so much easier. As a writer, part of my decision making process is – Do I want to spend six weeks with this person? Do I trust that this person will be passionate about the project? Easy to work with?
Look at every famous musical theater person. Do any one of them have a "beautiful" voice? Patti LuPone. Bernadette Peters. Mandy Patinkin. These are all unique, but so story-based voices. They make us feel something. It is so passionate. The story is getting told. Carol Channing. As she got older, she could hardly carry a tune, but there is something about her. And that's what we're looking for.
On the best advice he ever received
The best advice that I got would be from three people, and they all said the same thing. They would be Stephen Schwartz, Hal Prince and Alan Menken. They all asked me the following question: "What do you want?" I had never really envisioned anything. So, I really couldn't answer it. It took a lot of self-exploration. I made a vision board. Who do I want to be? What footprint do I want to leave in this world? That's what helped me transition out of directing and into writing – If this is a secret passion of mine, why am I keeping it secret? These pieces of advice were five years apart, by the way, but always the same question.
FOLLOW BOBBY CRONIN
BOBBY'S BIO
An award-winning composer/writer rep'd by Sarah Douglas (Abrams Artists) & James Beresford (Shepherd Management, UK), Bobby's projects include: The Cover which is being developed for Glee's Ali Stroker, had a lab presentation at West Texas A&M 2015 and made the short list for the New American Musical Theatre Prize, with bookwriter Crystal Skillman, also chosen for 54 Below's Development Series; Mary & Max [based on the claymotion film of the same name] with Crystal Skillman, Honumculus Mask Theatre, AchesonWalsh Puppetry Studios, and director Stafford Arima; 'Til Death Do Us Part (2016 Overtures Series directed by Kent Nicholson; 2012 Alec Baldwin Fellowship Winner, UK's S&S Award Finalist) with bookwriter Caroline Prugh; Sunset City with bookwriter Wade Dooley (2013 Running Deer Theatre Lab, 2014 Goodspeed Mercer Project, 2014 the Pitch, 2015 The York Theatre, NYC);Welcome To My Life (W2ML); Alone in the U.S. with Terry Berliner, which was commissioned by CAP21 and performed at Penn State, CAP21, NYFA, Marymount Manhattan College (Best Production winner) and was produced at the University of Cumbria under the title Alone in the UK; The Concrete Jungle, commissioned in 2011 for London's esteemed ArtsEd (President: Andrew Lloyd Webber) opened in London June 2012; Daybreak (winner of the 2011 New Jersey Playwrights Contest) premiered in Wayne, NJ & London's Tristan Bates Theatre June 2012. Bobby composed the scores and songs for several musical films, which have been in and won festivals all over the country, for NYFA, where is also on faculty teaching pop/rock performance and history, audition technique, business, and performance lab. He was part of the 2015 Prospect Theatre Company's Off-Broadway show Fright Night where his 15-minute musical My Boyfriend Is An Alien written with Christine Toy Johnson premiered. His music is featured in the new webseries Settling Up and won "Best Score of a Mockumentary" for the webseries Thank You, Next and Best Music/Lyrics for Ten Reasons I Won't Go Home With You in 2010's MITF. Bobby was one of the NEO Writers for the York Theatre Company's 2014-2015 season with Stephen Flaherty as his mentor. He was commissioned to write a pop song for the 2013 winner of Italy's televised singing competition Lo Canto. Other: 54 Below, Lincoln Center Songbook Series, Birdland, Symphony Space, London's The Players Theatre & St. James Theatre, etc. "Reach The Sky: Live" & "The Concrete Jungle International Studio Cast Recording" available on iTunes featuring theatre stars Caissie Levy, Kate Shindle, Jared Gertner, Rebecca Trehearn, & Alex Gaumond. Bobby has taught Master Classes around the world for musical theatre actors on song interpretation, audition technique, and his specialty, the ever-popular pop/rock genre. He's a Yale graduate where he won the Michael P. Manzella Award for excellence in Arts, Scholastics and Character. Member of ASCAP, Dramatists Guild. @bobbycronin IG: croninbobby SC: rojocro
www.bobbycronin.com
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HAPPY NEW YEAR! Start the new year the right way with The BW 30/30/30 Challenge for the month of January.
"As an active musical theatre and artist and educator, I signed up for the BWU thirty day challenge thinking that it couldn't hurt to commit to something that gets me singing and moving every day. About 4 days in, I noticed that my attention to my body, diet, and mental health improved. I amped up my other activity and made a conscious effort to eat healthier. It made such a tremendous impact on my mental health that I am going to do it again. The care that went into crafting a warm up that invites you to maintain your body and mind as a performer is evident in every second of The Broadway Warm Up."
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The Broadway Warm-Up 30 Day Challenge!
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The Broadway Warm-Up 30 Day Challenge was such a hit in September we're bringing it back on 11/1/2016! A great way to stay motivated, be part of a community of like minded professionals and bring your "A" game to this audition season!
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In Conversation with Sam Carner: Part II
Part I of The Broadway Warmup's conversation with writer and lyricist Sam Carner covered topics from Sam's early days to navigating the art of collaboration with composer Derek Gregor, to the craft of lyric writing and more.
In Part II, we discuss:
* The qualities of the actors Sam wants to work with
* Writing theater for young audiences
* Favorite books, authors
* The role of inspiration in creativity
* "New Musical Theatre" v. Traditional Musical Theatre
What do you look for in the actors you collaborate with?
I look for the appearance of fearlessness. People who don't seem concerned with how they look. One thing Danielle Wade said that I loved was, "I can't be afraid to be ugly." I think that is really important. I don't think any of us can be afraid to be ugly. That kind of total commitment to being in the moment is something I always look for in performers. I look for emotional and vocal agility – being able to have a turn on a beat, you know, ideally emotional depth to play two different emotions at once. Willingness to look "bad" or be unembarrassed by doing something that might be embarrassing. A likability onstage. Who do I want to spend two and a half hours watching? I look for a sense that any moment is calibrated to the moments that have come before and after. Every dot in the performance is connected. Some people do that naturally, others have to learn it. What are you playing? How did you get there, how are you going to get out of it?
What are your pet peeves in performers?
For a lyricist it's when someone just sings words. They don't infuse them with meaning. Or swaps words out that don't make any sense. I realize how easy that is to do but sometimes it just makes no sense. I will say my biggest pet peeve is when people say, "There's so many words!" Maybe that betrays a certain insecurity on my part, but what I want to say is, "Okay, what words do you think don't belong? What words aren't necessary in telling this story?" I've made a lot of choices about that, finding the words.
How about a willingness to roll with the punches when you are developing a new piece?
Flexibility. If something changes it's not a comment on you necessarily. Sometimes you showed us what we wrote is not the right thing.
Being able to detach from that as a personal thing and making it about the work instead.
If something's done right that's when you get to change it. Because when it's not done right, you think, "Well, if it was just done right then maybe it would work." When it is done right, it makes me realize, "That's exactly what I wrote and I don't like it".
Actors who give their full commitment so you can see what's working and what's not.
Absolutely. And quickness. At this stage – the perverse thing about development is you don't get as much time as something that's been done a million times. When you're doing a new show that could use five weeks, you get a week or 29 hours. We need actors who are quick.
You've worked on theater for young audiences as well. How is the process of writing a children's musical different?
In a certain respect children are much less judgmental. They're used to things that they don't understand. They'll hear words, and they'll see things they don't understand all the time going through life, and that's part of the process. What they're not tolerant of is not understanding the action. You have to be very clear on WHY someone is doing what they're doing. What you can get away with is what they say about it. I also might make a little reference that's more for the grownups than it is for the kids.
They'll feel like they're getting a little shoutout!
Writing for kids gives grownups a license to have fun. They wear a different critical hat than they would otherwise. There's no need to be hip, or edgy…No one wants you to be edgy for kids. I don't think people want you to be edgy normally, you just feel like you're supposed to! Sometimes I don't even know what edgy means, though I think it should be thought-provoking.
What are some of your favorite BOOKS? Favorite authors?
I'm a big fan of P.G. Wodehouse. It's always entertaining. He basically writes farces. He is one of the fathers of Contemporary Music Theatre as we know it, as a lyricist and bookwriter. He wrote the early shows with Jerome Kern which were one of the major inspirations for Rodgers & Hart when they got started. He wrote the original book for Anything Goes. He also wrote some wonderful comic novels.
I also enjoy John Irving very much. Recently I've been getting into Robertson Davies. And I love Jane Austen. The thing that all of these have in common is a certain kind of comic sensibility.
What other things do you view as catalysts for your creativity?
It's really, "What problem am I trying to solve?" It's about asking better questions.
You don't have to wait for inspiration to strike.
Inspiration won't strike, it doesn't strike. The only inspiration comes in what question you're asking yourself.
So when you're having writer's block you say, "How can I ask a better question?"
What advice would you give if you could talk to yourself when you were 20?
Every deal has its up sides and down sides. The biggest one would be to trust your instincts, both about collaborators and associates. If something feels off, it probably is.
What excites you most about writing for the theatre today? On the flip side, what are the most significant challenges you feel that writers for the theatre face in 2016?
There's so much development being done around the country, around the world. In colleges, there's so much opportunity to do developmental work. With YouTube and things like that, it preserves the opportunity to observe and disseminate fragments of what you write. The challenges are economic. It's so expensive to produce theater at any scale.
How do you define New Musical Theatre and how does it differ from traditional Musical Theatre?**
One of the definitions is economic. "New Musical Theatre" material can be done by one performer standing at a mic, which makes it independently produceable. With that comes a specific relationship with the drama and the audience, so I would say that the difference between a pop song and a theatre song is that a theatre song is happening NOW in real time, and the person I'm singing to is right in front of me. A pop song happened in the past or it happened in my mind. I'm now revisiting that feeling, and heightening it into art. There's this sort of ambient, heightened quality to it. "New Musical Theatre" blends the two.
**For this last question, Sam referred me to a comprehensive blog post he did on this topic, defining the genre. It's a wonderful read that provides specific examples from NMT mainstays like Jonathan Reid Gealt's "Quiet,"Adam Gwon's "I'll Be Here," Joe Iconis's "Blue Hair" and Carner and Gregor's very own "Make It Here."
Check it out here: What is "New Musical Theatre"? by SAM CARNER
NEW THOUGHTS FOR ACTORS
Posted on September 25, 2016 by The Broadway Warm-Up
I remember stumbling upon Jack Plotnick's New Thoughts For Actors the summer after my freshman year of college. Overwhelmed and stressed, filled with self doubt and burnout, Mr. Plotnick's comprehensive look at the professional pursuit of acting came at an important time. His lessons are inspiring, empowering and motivational. So much of the fear and judgment I was experiencing dissolved as I read and resonated with his words. Now that I'm in New York where so little is promised and so much uncertain, the same doubts and gremlins resurface. I turn to New Thoughts For Actors in times of dismay and I am instantly grounded and refocused by its simple, straightforward lessons.
I've developed a practice of repeating Mr. Plotnick's ACTOR AFFIRMATIONS before auditions and performances. They've helped quiet the "vultures," as he calls them, the ego voices in my head that only lead to self sabotage. They've helped empower me to put my best foot forward and focus on the present moment. I thought I'd share them with you, and I hope you consider adding them to your toolbox.
ACTOR AFFIRMATIONS:
· I release and destroy my need to get this job.
· I am going to take it from where I am. However I'm feeling and however prepared I am is a fine place to begin this scene.
· I release and destroy my need to control this scene. I know that I am not strong enough to control it, and therefore ask my higher power to lovingly guide me through it.
· I am going to approach this scene as if it's the ninth take (like an improv).
· I release and destroy my need to be an "Actor". Let the other people here be the "Actors" and have all the responsibilities that come with it. I am just here to be myself and enjoy playing in the circumstances.
· (For Comedy) I release and destroy my need to be funny. I am just here to tickle myself with my own genuine human behavior.
· (For Drama) I release and destroy my need to make choices, but more importantly I will allow choices to happen to me.
· I release and destroy my need to impress them.
The PDF, brilliant and quite helpful in its entirety, can be found here.
Find out more about Actor/Director/Creative Genius Jack Plotnick here.
Johnny www.broadwaywarmup.com
CASTING DIRECTOR JAMIBETH MARGOLIS
The Broadway Warm-Up had an exciting and enlightening conversation this afternoon with Jamibeth Margolis, a Casting Director based in New York City. Committed to developing and fostering the growth of new musicals, Ms. Margolis' extensive resume is a testament to her passion for the field.
Previous credits include the Broadway and National Touring Companies of such hits as LES MISERABLES, THE PHANTOM OF THE OPERA, MISS SAIGON, CATS, and JANE EYRE as well as two dozen other shows on Broadway. She also currently casts for Off Broadway, National Touring Companies and shows for prominent regional theaters and all of the major theater festivals in NYC. Her casting office is dedicated to the development of new plays and musicals. We were thrilled to get a few minutes of her time.
How did you first get into casting and why?
I actually majored in directing in college and I quickly learned that having a good cast makes the director's job about 99% easier. I love actors, I've always loved actors. I'm not an actor, so I'm one of those casting directors who came to casting through directing and wanting to cast, not as an actor. When I moved to New York after college, I interned at a casting office with Johnson-Liff. I ended up staying with them for about 9 years. I actually did the internship as a way to learn more about casting for directing, but I caught the bug for casting there and I knew that's what I wanted to do.
What's your favorite part about being a casting director?
My favorite part is watching actors do really well in the room. And telling them when they book a gig is the ultimate best part. Especially when I get to call the actor directly to tell them. They're so excited. I love that.
It can be such a tough industry sometimes. That moment will always be so joyful.
Exactly. But also watching actors grow. I can think of cases where actors auditioned for me for the same show three, four, even five times, and then on the fifth time booked it. It happens as they've been studying, working, taking class and growing, which is great to see.
The Broadway Warm-Up is building a community of creatives looking to be the best they can be at what they do. I'd love to pick your brain for some that might help actors perform better in the room. First, should an actor go in for something they might not necessarily be right for? Or is that a waste of everyone's time?
I think you have to believe you're right for it in some way to make sure it's worth everybody's time. That said, people surprise us constantly. People change our minds in the room constantly. There's been so many times where a director says, "Oh, I want it to be blonde," then a tall brunette walks in and he hires her and completely changes the way he saw it. Certainly it's actors who have the power to change our minds, so absolutely it's worth taking a risk. Within reason. I prefer that I see actors really read breakdowns, but of course you can take a risk on something you think might be right for.
What's the best way to follow up to build a relationship following auditions/callbacks?
I like when people send me "Thank-You" notes. When they send notes with specific things that they're in, you know, they'll say ,"You called me in for this project, I'm in this great show at the Fringe Festival if you want to see more of my work." I like that. I think you need to have a closer relationship with casting to email us.
How do you feel about Non-Union performers waiting to be seen for union EPAs?
I think it's great. At the last couple of EPAs that I've been at, not only have we seen Non-Union performers, we've hired some of them. They've had great, long-lasting jobs from those. It takes patience and perseverance but I think it's worth it. Especially when you're new to the city, we need to see you. We need to know you're there. Part of it is we're all doing multiple projects. I'll pull someone for a different show. That happens all the time.
Can you talk about how to dress for an audition? If an actor is auditioning for RENT, how far should they go with the look? Where do you draw the line?
My preference is that you just give us a suggestion — an essence of the show, the style, the time period. And that you understand the piece. I think some people go too far and it's a costume. That's not what we want. We want to see you comfortable in your own clothes. You're not going to wear the same outfit for your RENT audition as your audition for OKLAHOMA. You would look ridiculous.
In a callback or an audition where you have the sides beforehand, how important is it to be memorized?
I actually prefer when they're not memorized. Callbacks are not a memorization test. Sometimes actors think too much about the words and not about the acting and the interpretation. When the director gets up and gives them an adjustment, it's really hard for them to take that adjustment in their new material. So it's better to have it in your hand as a crutch, not buried in it, but have it there.
If a song is known to be overdone, would it still be okay to use if you sing it well?
That's tricky. It depends on particular people in the room and particular casting directors. Different people have aversions to different songs. I don't mind it personally. If you do something well and feel like you own it, you should do it for us.
How do you feel about vocal embellishment/riffing during audition songs?
If we give you sides that contain music from the score, you should sing as written from the score. Do not embellish it. We're not asking you to make it up, we're asking you to do what's on the page. However, a little bit of your own interpretation and styling, especially in pop/rock auditions, can be great if you make it part of the story.
If you could work with anyone you've yet to work with, who would it be?
My dream is to work in any way with Hal Prince. I've always wanted to. In fact, I wrote my senior thesis paper on his directing. I've been a fan of his since my senior year of college. So, whether it's in a rehearsal or casting a reading, it would be amazing.
Speaking of readings – I know that you work on developing new musicals. When is the ideal time for a new show to bring on a casting director?
I think that the best time for us to come on board is the first actual staged reading for a public performance. The table reads are so tremendously helpful for the writers, but it's hard to bring a Casting Director in at that stage. When you have a script that you can send to an actor and it's printed out and ready to go, that's when we should come on board.
Is it helpful when the writers have a dream cast in mind?
Absolutely, yeah. I love that. It helps guide my decision of who to bring in.
Do you find yourself giving artistic feedback relating to casting when you encounter roles in brand new musicals that may be "un-castable?"
I've been very challenged and amazingly, in New York there's someone who can do it. I've cast a NYMF show where a woman had to play upper-level classical piano and do Shakespeare. I found six. it's amazing! Sometimes I'll guide a writer in an early stage towards an actor whose audition was impressive, but that's about it.
What factors make a great audition?
For me, it's that you look great. Your presentation. Your preparation – If I say we want a 1960s pop/rock song, that's what you bring in. You listen and you're ready for the curveballs. If we want to hear something else, you're ready. You understand how to be confident without showing a huge ego in the room. There's a really big difference between being confident in your abilities and seeming like you have a big ego.
I'm still trying to figure that out. It's a narrow line.
Yeah, I love confident actors who still make me feel like spending eight hours a day in rehearsals with them. That's the trick, you know?
Has there been a time when you cast someone and you found out during the process that maybe things didn't work —- what do you do when there's a casting issue?
Every situation is different. Certainly as a Casting Director, I think we all welcome feedback from our creative team. If someone was particularly great or particularly terrible to work with, we need to know that. I always welcome that feedback.
If you could give one piece of advice to an actor auditioning for you – what would it be?
Preparation is the difference maker.
Are there any shows you're dying to see? Shows you've recommended to your friends?
There was one week recently where I saw the FIDDLER revival which I loved. And WAITRESS was awesome. FUN HOME as well. I loved them all, and I saw them days apart from each other.
Any movies you recommend actors watch?
For a good acting lesson, you should see AUGUST: OSAGE COUNTY.
If you weren't working in theater, what would you be doing?
My other dream is to manage ice hockey teams. I am obsessed with ice hockey. I love the business side of theater and so I also imagine either managing a hockey team or managing players — It'd be fabulous for me.
Is there anything you wish you learned at school that you learned after graduation?
I think about that question a lot because I teach "The Business of Acting." When we're in college we're all thinking about our talent and our creativity and owning our craft which is really important. Getting all the skills. But you can't forget the business part of it. Marketing, promotion, online presence, looking great – follow up, thank you notes – It's really no different than the corporate world. I wish I had thought more about those in undergrad – I would've approached job interviews differently, that kind of thing.
That's something you learn only by doing. I suppose it's really important that we are proactive and take things in our own hands?
We have to be proactive and we have to network. We have to remember that reputation is really important.
I've heard it said that this is a business of relationships. Have you crossed paths with many of the same people over the years?
Absolutely. I have collaborated with the same people a lot on different projects. It's one of the things that I love. When a director that I adore calls me and says, "We've got a new musical, can you cast that?" That's what I love.
Great, I think I have a lot to work with here. I really appreciate your time.
Great! This was fun. Thanks for doing this.
Fulfillment & Purpose with Michele Pawk
This week, I had the great pleasure of sitting down with Tony Award winner Michele Pawk. A Broadway veteran, Ms. Pawk's resume covers an extensive range of characters in plays and musicals, television and film.
New York acting credits Credits include: HAIRSPRAY, MAMMA MIA, HOLLYWOOD ARMS (for which she won the Tony Award), CHICAGO, SEUSSICAL, CABARET (receiving Drama Desk & Outer Critics' Circle Award nominations), TRIUMPH OF LOVE, CRAZY FOR YOU (Drama Desk nomination), MAIL, MAHIDA'S EXTRA KEY TO HEAVEN, FLYOVERS, PRAYER FOR MY ENEMY, THE DARK AT THE TOP OF THE STAIRS, THE PARIS LETTER (Drama Desk nomination), REEFER MADNESS, AFTER THE FAIR, HELLO AGAIN, MERRILY WE ROLL ALONG, jon & jen, A LITTLE NIGHT MUSIC.
In addition to her prolific career as an actor, Michele is an experienced director and a professor in the Theatre Department at Wagner College, exemplifying the advice she gives to never stop learning and growing.
I love this conversation with Michele and we go deep into the things we face as creatives and are working to make sense of. We get into failure, the ups and downs of the acting industry, and how to find fulfillment and longevity in this nomadic lifestyle.
We had an extremely rich and inspiring conversation, and I hope you enjoy it.
When did you first get bit by the bug and you knew you wanted to be an actor?
I grew up in a really small town outside of Pittsburgh, a long time ago. So much has changed about the business and the art form – especially where I grew up it wasn't something that was in anybody's consciousness. I had been active in all my school stuff, my high school stuff, taken dance lessons but it just didn't really dawn on me. I went to a small liberal arts school in Pittsburgh area, Allegheny College. And, you know, at the end of your sophomore year you have to declare a major. It was my Dad who said, "What do you love to do more than anything?" I was like, "Daaaad….!" I was like, "I like to be onstage more than anything." He said, "Well then, that's what you should do." So I auditioned a couple places and then transferred out of there.
After your sophomore year?
Yeah, so I spent three years somewhere else to finish.
You went to CCM, right?
I feel the same way that I was lucky to have parents that supported it. I don't know if I'd necessarily be doing this if I didn't have the encouragement from my parents.
I think it's in your generation's consciousness a lot more than it was in my generation. Just with, well, social media and all the reality competition shows, you guys are thinking about it. The fact that you can put yourselves up on YouTube and be creative…It's changed everything.
It's a little daunting sometimes because there's so many people graduating and coming to do this now. It makes it more competitive but there's also an abundance of opportunity, right?
I think the important thing to keep in mind and to continually check in with is WHY you do it. If those reasons stay true – and it's not because you wanna get rich, cause that ain't happening, or get famous or any of that. If you're doing it because you NEED to do it and you have something to say, and you just wanna get better, you'll be fine. Those other people will fall away.
Is there anything that you wish you knew when you were starting out that you didn't get at school or that it took you awhile to learn?
It's so funny because now, I've been teaching these last few years. You guys put so much more pressure on yourselves than I think my generation did – or maybe it was just me – I just was sort of stupid. I mean, I knew I was talented, but I didn't take it personally, so I just kept getting back up and doing it. I didn't take a rejection as, "Oh my god, that means I'm not good enough, and I shouldn't be doing it." I just, I wish you guys knew that a little more.
Resiliency is important for actors. That's something I'm working on. I struggle with – if I don't get something – I take it personally when in reality it's out of my control, almost all the time. What techniques did you have to let it go?
If I could, I always tried to get feedback. Whether it was an agent or whether I had a relationship with somebody in the room, I tried to find out what was going on. I also tried to use, and I still do this, I try to use auditions as an opportunity for me to learn something. About me and my journey, and where I am right now. That seems to take away some of the other stuff that I can't control. So I feel like if I give myself something very attainable and something very specific to conquer in the room, then if I do that, that's all I can do. You know what I mean? 'Cause then I'm outta there. I don't know what they want and I can't read their minds. Believe me, there was a year or so when I wasn't getting jobs and I was second guessing everything I did in the room, which ultimately, just made it worse, and I realized "oh, fuck it." You know what I mean?
It's funny…You end up sabotaging yourself when you're trying to make things better. Sometimes I find that if I say, "OK, I'm going to try connect to my breath during this audition," and make that the specific goal — I leave the room and I'm like, "OK, at least I did that."
Yes. "I did that. Good for me." This is like an out of body – the whole audition process is bizarre. How grounded can I possibly be? How can I connect to that lyric very specifically? Who exactly – am I having a moment with that person today? You know?
Cool. When you were starting out did you have any survival jobs?
Who doesn't?
I'm curious to find out how you navigated those worlds starting out.
This is gonna sound crazy. So I go to this fancy program, and then I take this job in Florida right out of college because they paid a lot of money at Disney. I sang at a nightclub there, so it was awesome, I saved some money. Then I went to LA. Which seems ridiculous because the business was very different out there. I wasn't making a living, so I sang in gay bars. That's what I did. I put it together with a friend of mine who was my musical inspiration, the two of us lived together and put these shows together and that's how we made a living. We sang in these bars in LA when there really was such a thing, when you would do two shows a night. It was different. The 80's was different – and let me tell you, the cabaret experience is very honest. You're not hiding behind some sort of character, some sort of play. In a way, that was really good training. You couldn't hide.
You mentioned that you did TV work when you were starting out. How did you find it different from approaching theater work?
Only the size of it. I don't find the work of it, the preparation, any different. What I find different is the style, the medium – if my face was going to be the size of this wall, I wouldn't be as animated as I am now. You just get smaller and smaller and smaller. It's in the eyes. You have to be more still.
How do you manage being conscious of that that while being as honest as possible? Is that something you learn by doing?
Yes, and anyone can figure it out. Go get a camera and tape yourself. Put yourself on tape doing whatever and make yourself really big and be like, "OH, I look grotesque!" Then it just gets smaller and smaller.
With people who are naturally inclined to theater, does it feel like way less? That's just the way you have to do it.
It's funny, when I first started out in television, I was in LA for a chunk of years so I did a lot of TV because I was trying to make a living. The sitcom medium in those days – it was three camera, live audience…It was very similar to what we do.
So you were getting the live responses?
You did, and you fed off of that. You knew if it worked in the moment. Nowadays, you tape, you know, 'Modern Family' and there's no audience there. So the skill set is different.
On preparation – do you have a certain process that you like to take to your roles? For example, in HOLLYWOOD ARMS, when you were playing a real life person – how much did you depend on real life accounts and how much did you bring your imagination? Is it a balance?
It is a balance, but I have to tell you, when I think about almost anything I've done – History is huge for me. Research is huge for me because it grounds me. When I find I'm losing focus, which is easy to do, I come back to the circumstances and all of that. So when I think about CABARET, or even DR SEUSS in a weird way…
Seussical! That's so true, I hadn't thought of that…
Yeah, I went back to Dr. Seuss. Even though it was larger and they're animated in a sense, the circumstances were very real for them. For Carol's play [HOLLYWOOD ARMS], that was a gift in a lot of ways…I had Carol [Carol Burnett] there. She gave me total freedom. She said, "Yes, I've written this…but I've written a play." I wrote a play, do what you wanna do with it. It's now a piece of art — I'm not looking for you to recreate my mother.
That must have been very liberating for you. Takes the pressure off a little bit.
That was a gift. Well, especially because she is who she was, I felt a certain obligation to get it right for her.
Was that at a certain point during the rehearsal process?
Right in the beginning. I would go to her with questions at the end of the day, and be all, "Tell me about your mother…Tell me about it!" Very early on, she said, "Don't worry about it. Take what's written and then bring yourself to it. We responded to you" – boy, that was a gift. That was a gift.
Speaking of HOLLYWOOD ARMS, what was it like on Tony Awards night?
I didn't think I was going to win. It was no pressure. My play had closed in January and those awards came out in, I don't know, April or May? So, I was already onto another project. I was stunned and honored to have been recognized. I really mean that. I was like, "This is awesome!" And my husband was also nominated that season, so there we are — no pressure, just having a good time at Radio City Music Hall. Then, my family, unbeknownst to me, had all bought tickets. I could have killed them. They all were in the balcony at Radio City. I was like, "I'm not gonna win, don't spend the money…"
How could they have missed that though? It must have felt so good, afterwards, that they were there.
My husband [actor John Dossett] was like, "They called your name. I think they called your name." And then I could see him literally turn around and wave to my family up in the balcony.
Wow. That must have been just magical. How did winning the Tony affect what came after in terms of your career?
It opened doors that otherwise I wasn't gonna get into. I'd already done some television, but way more film all of a sudden. Bigger doors were starting to open. It's like I said to you earlier, Johnny, I had primarily done musical theater, so those film doors didn't open quite in the same way that they did after that, which was nice.
The Broadway WarmUp is all about being at our optimal states as performers. Sustaining 8 shows a week, especially when working on a vocally challenging musical – How did you keep your voice in shape for eight shows a week?
The thing I always like to preach at college [professor at Wagner College] – the big misunderstanding about doing eight shows a week, or doing a musical in general, is people think, "Oh, it's just three hours a day." It is your entire day. It is everything you do. You get up, *lip trills* – and think, "Ok, I'm gonna be alright tonight." Everything revolves around that.
That's such a scary feeling when you wake up and it's not there.
Oh no. Then you're like, "How much time do I have?" Let me warm my body up to see if then my voice – they're all connected – let me steam and see. Everything is about the wholeness of that performance. Depending on the size of the role, it's like an Olympic event. If you're doing a vocally demanding part in a Broadway musical, your entire life revolves around that…
That scares me. I feel like that's a lot of pressure, but you've found ways to manage, clearly…
The other thing – how do you do it when you're not 100%? How do you do it when you have allergies? When you're sick? Your job is to show up.
Exactly. Do you have any "go-to" remedies for a quick fix?
I'm not a big antibiotic person. I find that unless I need them, they set me back. I'm a little more in tune to my body now then I was at your age. But man, if you can listen, your body sends you signs early on. You feel the tickle, you feel the scratch before it hits you. I get this wellness formula. It's like a multivitamin. When I feel something coming on, I hit three every three hours. I load up on Vitamin C, then I start snorting saltwater. And sleep. Usually I can fend stuff off.
It can be a crazy lifestyle sometimes — staying out late, talking loud at bars, things like that. How have you managed living in New York?
I gotta be honest, when I was younger, I could do a lot more than I do now. I could stay out, then get up and go to rehearsal. Then I got to be in my late 20's, and I could still do it, but I couldn't do it and then go do a matinee. Friday nights and Tuesday nights, I wasn't out. I got into my thirties and it was even more… "Oh, crap, now I really can't."
So it requires a different kind of discipline then?
Yeah, you have to really be smart. You think, "I'm lucky enough to have this job, these people think I'm good enough and they're counting on me. It would be disrespectful for me to not take it seriously." So, sacrifice.
You seem to be good at managing your emotional health in this business that can be somewhat — you know, when you're playing a heavy character or intense role, how do you leave that in the theater and balance your personal life in a way that's healthy and sustainable?
You know what? Take a look at your top five priorities. In your life. Your career will be up there. Sometimes, your career will be #1. Let me tell you what, if your career stays #1, you're gonna die. It doesn't feed you in the way your family will, that a love life will – that kind of relationship with someone – even a pet, you need to have other things that feed you. You know, like, your physical wellness. Are you a yoga person? A gym person? That stuff feeds you in a way that show business is not going to feed you. It's important to have them. Your spiritual life? Where does that fit into all of it? You're right, sometimes your career will be at the top. It's intense right now, but keep in check. You know what I mean?
It's hard because I have this ambition to do all these things. What's funny, too, is that having a balanced life only enhances your ultimate goal. Drawing upon things like relationships and family – those can only make you a better actor. I have to realize that there's so much BEYOND this, and maintaining that sense of play.
Oh yeah. Oh yeah yeah. When you stop having a good time, that's the time you stop doing it. That's why what my Dad gave to me was a gift. My Dad was a dentist, and my Dad, he was crazy into looking at fungly mouths – he loved it! He was obsessed with it. It was his passion, so when he said to me, "What do you love doing more than anything?" It wasn't about making money, it wasn't about fame – I loved getting up and doing it. I still love it. It feeds my soul in a way. And now my family feeds my soul.
There are certain things you need to prioritize.
And they change. And allow it. They shift. Right.
I hope you enjoyed this conversation with Michele Pawk as much as I did. At first intimidated by the awesome scope of her career, I was admittedly nervous to chat with Michele, but I was blown away by her humility & authenticity. She's so down to earth. Generous with her experiences and wisdom, I learned so much in so little time. The Broadway Warm-Up community strives to be at our best in work and life. Michele Pawk is at the top of her game onstage and off. I think we've got a new role model.


Can I change the Email address of an employee?
One cannot change the Email address of another employee.
However, employees themselves can change their email addresses associated with their account to a corporate email address, unless the current email address is a corporate email. Only generic email addresses associated to TeamWave account like Gmail, Outlook, Yahoo etc can be changed.


Last weekend, I was watching one of my favorite TV shows, "The Walking Dead." I'm a die-hard fan of the show, especially of Daryl Dixon.
Question: What do Queen Victoria, Steve Erwin, Amelia Earhart, Johnny Cash and "Macho Man" Randy Savage have in common with the students of Blytheville Elementary School? Answer: They are all part of a living wax museum performed by the school's pre-AP fourth-graders.
Shellie Thomas, 71, died Friday, May 8, 2015, at her home in Blytheville.
A Blytheville man is dead and police are looking for the man suspected of pulling the trigger.


A guide to the preparation of local planning strategies and local planning schemes in Western Australia.
The updated manual reflects the changes in legislative requirements introduced with the Planning and Development Act 2005 and replaces the Planning Schemes Manual.
This update is an interim measure until the review of the Model Scheme Text and Planning and Development Regulations has been completed. Following the completion of the review the manual will be updated to reflect any legislative changes.


Dan Lucy started his research career at IES back in 2006, leading many assignments on leadership, including evaluating the impact of variations in management practice at the Olympic Park, on behalf of the Health and Safety Executive (HSE) and identifying how behavioural economics could be applied to workplace disputes to solve conflict, for the Department for Business, Innovation and Skills.
Dan's expertise in organisational development (OD) has helped many employers and public bodies, including the European Agency for Safety and Health at Work (EU-OSHA), who commissioned IES to assess the impact of, and help develop, their business strategy.
Another key area of interest for Dan is the relationship between health and work. His experience includes evaluating interventions, including occupational health initiatives for SMEs and the Fit for Work service (HSE, Department for Work and Pensions), supporting the health and wellbeing of employees at, and returning to, work.
Dan returned to IES in May 2018 after five years as head of research at Roffey Park Institute. In this role, Dan oversaw the research programme in the fields of strategic HR, leadership and Organisational Development (OD), leading the team who won the 2018 HR Distinction Award for supplier-led innovation and collaboration. Delivering consultancy projects for clients in the UK and Europe, he also developed a leadership framework that was adopted across the entire healthcare sector in Singapore. His other projects included work on diversity, organisational values, developing OD and People Strategy as well as running action learning sets for senior managers.
Dan is a principal practitioner of the Association of Business Psychologists (PPABP). His diverse pre-research career included roles in IT project management for HSBC and Merrill Lynch, and senior roles in mental health for various charities, and the NHS. This experience enriches his work for IES clients.


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These days, most people seem lost. They rush from home to work, to school and so on, yet they don't quite know where they're going. Like ants building their colony, they are completely unaware of the world beyond.
Their happiness, their sadness, and their life choices are all dictated by their immediate surroundings. There is little awareness of what's beyond, and this unfortunately does not lead to happiness. A person can live for 70, 80, 90 years in his little world and never fully experience the beauty of life and the blessings that God has in store for him.
This is why the concept of tzedakah (charity) is one of the foundations of Judaism. Because we are not all on the same spiritual and material level, those that have been blessed with more must see to the needs of those who have less.
By sharing what we have with others, we are capitalizing on the precious opportunities that God gave us to be His ambassadors in this world. This is why tzedakah is one of the highest mitzvot a person can do. There are many levels of tzedakah, from giving a loan to giving food. Even a smile is a form of tzedakah.
But what is the ultimate form of tzedakah?
It is giving a person life.
I'm referring to spiritual life as well as physical life. A person can be alive and feel dead inside because he has no meaning in his life, no sense of purpose, no connection to anything greater than himself and his immediate surroundings. But when his spiritual eyes begin to open,and his soul begins to shine, he is finally alive.
When he begins to have insight into his place in this world and a connection with his Creator, he is finally alive. His life is meaningful and fulfilling. Just as importantly, he is able to face challenges with a sense of calmness and faith.
This means that the ultimate form of tzedakah is enlightening others.
Through your sponsorship, you are personally furthering our efforts to improve people's lives. Your money goes directly toward the costs in printing books and cd's, traveling for speaking engagements, and all of our online activities, from live broadcasts to maintaining our websites. By partnering with us you are essentially fueling our efforts to get this vital information out to the world. You are our partner and receive equal share in every life we positively affect.


text:
Q: Making Dynamically Created ASP.net Page SEO Friendly im starting the pseudo code of a new site, and want it to be as SEO friendly as possible.
the site i am creating is a booking agency site with c# and asp.net. essentially bands will register on the site with their availability and other info, and fill out their profile information with images etc. this info will be stored in a db.
creating this is not a problem, but i want the site to be a SEO friendly as possible.
I know google loves huge sites with great content. And all of these profile pages would be an excellent addition to my site for seo purposes. i also hear that google cannot see dynamically generated content when crawling a site.
i want to find a method of coding these pages, so google can see the content when it crawls them.
i need a pointer in the right direction for a solution for this. nothing is off limits - i will basically code my entire site around this principle, i just have no idea where to start looking for a solution. im not looking for a code solution, just what i should be researching to solve this issue.
Thanks in advance

A:
i also hear that google cannot see dynamically generated content when crawling a site.

Google can see anything you can retrieve via http GET request (ie: there's a specific URL for it) and that someone either linked to or is listed in a published xml site map file.
To make sure that your profile pages fit this, you will want to make sure that profiles are all rendered via a single asp.net *.aspx file that determines which page is shown via a url parameter.  Something that looks like this:

http://example.com/profiles.aspx?profile=SomeBandName

Now, you probably also want a friendly URL, that looks like this:

http://example.com/profiles/SomeBandName

To do that, you need to set up routing.

A: In order to crawl and index your pages by google or other search engine properly. Follow the following guidelines.
i: Page title must be precise and according to content available in page.
ii: Page url should be user friendly.
iii: Content is king (useful content)
iv: No ajax or javascript oriented way to load contents.
v: No flash or other media files. if exist must have description via alt tag.
vi: Create url sitemap of all static and dynamically generated contents.
vii: Submit sitemap to google and keep tracking how google crawl and index your pages.
fix issues contineously if google found via crawling.

In this way your most pages and content will be index properly and fastly.

A: I'd look into dynamic URL Rewriting.
Basically instead of having one page say http://localhost/Profile.aspx you'll have a bunch of simulated urls like
http://localhost/profiles/Band1
http://localhost/profiles/Band2
http://localhost/profiles/Band3
etc.
All of those will then map to back to the orgial profile.aspx page with a parameter so internally in your code it would look like http://localhost/Profile.aspx?Name=Band1, http://localhost/Profile.aspx?Name=Band2, etc
Basically your website appears to have a bunch of pages for each band but in reality they are all getting mapped back to the same asp.net page but have different parameters.
This is article I read about it some time back.  http://weblogs.asp.net/scottgu/archive/2007/02/26/tip-trick-url-rewriting-with-asp-net.aspx

A:
i also hear that google cannot see dynamically generated content when crawling a site.

you could create a sitemap.xml with the urls pointing to the dynamic profile pages. using google webmaster tools you can submit and monitor the crawling progress.
you may also create an index page or something similar ('browse by category' pages) that link to matching profile pages.
a reference for seo I regularly use is http://www.seomoz.org/learn-seo

redpajama_set_name: RedPajamaStackExchange


text:
Free agent O'Dea in line to sign with Blackpool
DARREN O'Dea could be in line for a move to England as the Ireland defender is being linked with Championship side Blackpool.
O'Dea (below) has been a free agent since he left behind the trouble zone of Donetsk in the summer, cancelling his contract with Metalurh, but the defender was unable to sign for a club as he was working on his fitness following a groin injury.
He spent time training with Celtic to regain fitness and is now able to work on finding a club, with Championship strugglers Blackpool keen on the 27-year-old.
Meanwhile, Hull City boss Steve Bruce is eager to agree new contracts with Irish pair Paul McShane and Stephen Quinn.
The duo, along with team-mates Alex Bruce and Liam Rosenior, are out of contract in the summer and earlier this season Quinn was linked with a move away from the club after he lost his place in the Hull side.
But Bruce wants to keep them on board. "I had a conversation with the board recently and the plan is to talk to individuals soon," he said.
"The thing to remember is that we are only 15 months into it. But all those who have been with me, we have to look after them. They are just as important to me as anyone.
"Alex has come in recently, Paul McShane too. Liam has done the same several times already. And Stephen Quinn.
"They are just as important as someone who thinks they will play every week. Your big players. You need that squad because injuries are inevitable."

redpajama_set_name: RedPajamaCommonCrawl


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Prolonged daily ingestion may result in various degrees of dental fluorosis in pediatric patients under age 6 years, especially if the water fluoridation exceeds 0.6 ppm, since younger pediatric patients frequently cannot perform the brushing process without significant swallowing. Use in pediatric patients under age 6 years requires special supervision to prevent repeated swallowing of dental cream, which could cause dental fluorosis. Read directions carefully before using. Keep out of reach of infants and children.
Pediatric Use: The use of PreviDent 5000 Plus (Rx) in pediatric groups age 6 to 16 years as a caries preventive is supported by pioneering clinical studies with 1.1% sodium fluoride gels in mouth trays in students age 11 to 14 years conducted by Englander et. al. 5-7 Safety and effectiveness in pediatric patients below the age of 6 years have not been established. Please refer to the CONTRAINDICATIONS and WARNINGS sections.
A treatment dose (a thin ribbon) of PreviDent 5000 Plus (Rx) contains 2.5 mg fluoride. A 1.8 oz. tube contains 255 mg fluoride.
Adults and pediatric patients 6 years of age or older: Apply a thin ribbon of PreviDent 5000 Plus (Rx) to a toothbrush. Brush thoroughly once daily for two minutes, preferably at bedtime.
After use, adults expectorate. For best results, do not eat, drink, or rinse for 30 minutes. Pediatric patients, age 6-16, expectorate after use and rinse mouth thoroughly.


text:
Bollywood celebrities have always owned a style and aura. The swag which they carry reveals that in-between showcasing great talent, showing luxury is incredible! Besides owning expensive cars, home, bikes and jewellery, many of our Bollywood stars own charter flights which they use while moving around the globe. Their private jets may have a personal spa to a solon besides many compartments that can make travelling comfortable and time-consuming. Since our B-town industry is one of the richest industries in India, the lifestyle of Bollywood celebrities also reflects luxuriousness. The private jets owned by some famous celebrities speak for the fame and success gained over the years. Let's have a look at the list of 12 Bollywood celebrities who like to flaunt their private jets and live life king size.
Akshay Kumar private jet
Akshay Kumar is one actor who gives around 3-4 hits each year. Most of his movies comprise action scenes and are completed by this versatile actor in less than 50 days. The Khiladi of Bollywood is also known to be one of the most disciplined actors who like maintaining punctuality in work and health life. His dedication shown towards his work has made him earn a private jet too! Akshay Kumar private jet is used by him for reaching the desired destination in the desired deadline. Besides owning a private jet worth 260 crores, he is the proud owner of many luxurious possessions such as Rolls Royce Phantom, Bentley Continental Flying Spur, Range Rover Vogue, Porsche Cayenne, and Yamaha V Max besides many others.
Amitabh Bachchan private jet
A legendary star and a person honoured by Padma Bhushan and Dadasaheb Phalke Award besides many glorious awards, Amitabh Bachchan is one man in Bollywood famous worldwide for his versatility, punctuality and humbleness. Even at the age of 77, he charges around 15-20 crores per movies which have made him earn a private jet. His private jet costs around 260 crores and is used by him as well as his family for travelling throughout the globe.
Shahrukh Khan private jet
King Khan or the Badshah of Indian cinema, Shahrukh Khan is famously known as King of Romance too. He is the most loved star in Bollywood and charges not less than 20 crores per movie. His advertisement projects are charged almost 5 crores. He owns many hotels in international destinations besides having a luxurious private jet that costs around 350 crores. Surely, he lives like a king in his private charter flight! It is been reported that during IPL, at least 3 businessmen have lent their aircraft to Shahrukh for travelling.
Salman Khan private jet
Salman Khan is probably one of the most popular B-town celebrities in India with the highest fan following one can ever imagine. By charging in between 40-50 crores per movie, he is the highest-paid actor in Bollywood. The Bhaijan gets around 5-9 crores for a single commercial advertisement. Although Salman Khan lives in a 1 BHK flat in Galaxy apartment, he owns a private jet which he uses to travel with his family and friends.
Hrithik Roshan private jet
Hrithik Roshan was declared as the most handsome man in the world by a US-based agency. He is in the list of private jet owners too in India. His private jet, Karjat Juhu was brought during the making of his film, Jodhaa Akbar that is mostly used during his vacationing with friends and family.
Shilpa Shetty private jet
Married to a business tycoon Raj Kundra, Shilpa Shetty leads a luxurious life than any other actresses in Bollywood does. The couple owns a private charted flight besides money, peace and love in their life. Since they lead a lavish life and has enough time to travel, they make use of their private jet wisely. Shilpa Shetty is a proud owner an IPL team, Rajasthan Royals and of an expensive home too and loves travelling with her industry friends to holiday destinations.
Ajay Devgan private jet
Amazed to know that Ajay Devgan too owns a private jet? Surprisingly, Ajay Devgan, the actor, director and producer was the first one who owned a six-seater private jet. He is definitely one of the finest actors in Bollywood and has accomplished enough to buy a private jet for himself and his family.
Priyanka Chopra private jet
Who does not know Priyanka Chopra? Our very Desi girl and an international star although remains quite busy with Bollywood as well as with Hollywood projects, but have secured enough time and wealth to attain a luxurious private jet. She has to travel across borders more often due to real-time commitments and busy schedules. Priyanka realised that a private jet is a must for her and now, it helps her to take naps too while travelling.
Anil Kapoor private jet
Another versatile actor of Bollywood is famous for owning a private jet which he uses for travelling abroad. He likes to party in his own jet besides travelling in it with his family and friends.
Madhuri Dixit private jet
Once being the queen of Bollywood, Madhuri Dixit years of mainstream success has made her wealthy enough to accomplish a private jet for herself. Madhuri is well aware of how to keep up with a reputation. Although her career may have slowed a little, she still holds an epitome of beauty besides gaining a huge fan following comprising every age.
Aishwarya Rai Bachchan private jet
The beauty queen of Bollywood loves to take her daughter out in a privately owned jet plane. She is an international face and popular in Cannes Film Festival. Her family own three private jets including herself, her husband Abhishek Bachchan and her father-in-law Amitabh Bachchan which helps them in travelling to their houses spread across the world.
Sunny Leone private jet
Former porn star and now a face of Bollywood, a 37 years old actress Sunny Leone earns in millions which have made her own a private jet. She has done quite several dance numbers in Bollywood and her grandness became synonymous with her name. Although her jet crashed recently in Maharashtra due to bad weather, she assured her fans about her safety through tweets.
Reuben Singh: The Glittering Life of "British Bill Gates"
Yify: What Happened To The Site + 12 Alternatives! in 2021
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Learn how to kick that credit card debt and school loans to the curb, so that you can move on to your real life goals. (Like traveling, saving, buying a home and investing.) This book is going to teach you to do just that.
Everything you need to get you on your way of becoming debt free.
8 chapters of the book comes with a video, with some behind the scenes thoughts and tips. 3 of the videos are case studies from people who were in my debt challenge 11 week debt challenge where collectively we paid off $39,500 of debt. They're sharing all of their strategies.


Betty Crocker has done it again with a simple family loved recipe. The Beef and Bean Taco Casserole was one of Betty Corkers top recipes.
MOM Tip: Use a tackle box to organize and store all you medicine and first aid supplies. This tip from Abide With Me.


text:
LISTEN | Family of teen killed during July unrest calls for justice at hearings
Orrin Singh Reporter
The Brookside Mall in Pietermaritzburg was among retail centres targeted in July. File photo.
Image: Twitter
The aunt of slain 17-year-old Sibahle Nguse has called for justice after he was shot dead during the civil unrest which gripped parts of KwaZulu-Natal and Gauteng in July.
On Monday, Zama Nguse was the first witness to provide oral evidence at the SA Human Rights Commission (SAHRC) investigative hearing into the unrest and looting between July 8 and 19.
Nguse recalled how their informal settlement alongside Khan Road in Northdale, Pietermaritzburg, turned into a war zone on the morning of July 12 when her nephew was allegedly shot by armed community members.
Nguse, an unemployed mother of two children aged 12 and nine, said she had been living in the informal settlement since 2003, which is situated 5km from Brookside Mall that was looted and torched during the unrest.
She told the commission that on the morning of July 12 a number of vehicles with Howick registration plates (NR) were seen in the area.
"Private security officers began firing teargas into our area after people began burning tyres on the road."
She said their settlement was across the road from a number of businesses which were looted in the hours that followed.
"People were trying to get to a place of safety because teargas fired by private security had been thrown into their homes. Myself and my kids, together with my sister and her kids (including Sibahle), ran to my sister's house and we closed the door. After we closed the door we heard an explosion. We got out of the house and fled."
She said Sibahle got lost during the ensuing chaos.
"Sibahle wasn't aware in [which] direction we ran and was looking for us. A man later told me Sibahle had been shot. I asked him what he was talking about. When I got up to the area where he was last seen, I found his siblings holding him. I had never seen a person dying before — when I saw him, it looked like he was gasping for air."
It was painful. Sibahle was an intelligent child and he was everything to us. All that we need as a family is to see justice being served.
Zama Nguse
Scrambling to save her nephew, the family bundled the teen's body into a vehicle and rushed to Northdale Hospital.
Nguse said shortly after reaching the hospital, she was informed by doctors that Sibahle had died due to a wound to his chest.
She described the bullet hole as being very small - something that could resemble a buckshot pellet.
Over the next three weeks, the SAHRC panel — comprising commissioners André Gaum, Chris Nissen and Philile Ntuli — are set to report and make recommendations on:
the causes of the July unrest;
the alleged racially motivated attacks and killings during the unrest;
apparent lapses in law enforcement by state security agencies, particularly the police, and the role of private security companies in the unrest; and
the social, economic, spatial, and political factors prevalent in the affected areas and the extent to which these played a role in the unrest.
Gaum, who is the chairperson of the panel, said the commission will visit the areas of Northdale and Phoenix on Wednesday to get a better understanding of the socioeconomic impact after the riots.
LISTEN | State, academics, researchers and journalists to give testimony about July unrest and looting — SAHRC
The first day of the SA Human Rights Commission hearings focused on representatives from affected communities.
Inquiry into causes of July unrest and its aftermath amid policing lapses
An investigative hearing into the unrest and looting which swept across KwaZulu-Natal and parts of Gauteng between July 8 and 19 begins on Monday, ...
'Rapid response unit' to be set up by military to deal with public violence
The department of defence will set up a rapid response unit to deal with the levels of public violence seen during the July looting and rioting in ...


Sega released Eternal Champions for their Mega Drive/Genesis in 1993, hoping to capitalize on the fighting game mania that the game industry was in the midst of following the massive success of Street Fighter II (1991) and Mortal Kombat (1992). The game tried to set itself apart with unique features like a heavier emphasis on its story, characters pulled from different time periods, reflectable projectiles, force fields, fighters that carried weapons, a training mode where players had to defend themselves against robotic traps, a novel method of executing moves, and elaborate stage-specific finishing moves called "Overkills".
Eternal Champions is available from 2.49 to 2.49 from 1 shops.


text:
package org.zstack.network.securitygroup;

import org.springframework.http.HttpMethod;
import org.zstack.header.identity.Action;
import org.zstack.header.message.APICreateMessage;
import org.zstack.header.message.APIEvent;
import org.zstack.header.message.APIMessage;
import org.zstack.header.message.APIParam;
import org.zstack.header.other.APIAuditor;
import org.zstack.header.rest.RestRequest;

/**
 * @api
 * create security group
 *
 * @category security group
 *
 * @since 0.1.0
 *
 * @cli
 *
 * @httpMsg
 * {
"org.zstack.network.securitygroup.APICreateSecurityGroupMsg": {
"name": "test",
"session": {
"uuid": "8a90d901c3da4182becfbbceeaa5c236"
}
}
}
 * @msg
 * {
"org.zstack.network.securitygroup.APICreateSecurityGroupMsg": {
"name": "test",
"session": {
"uuid": "8a90d901c3da4182becfbbceeaa5c236"
},
"timeout": 1800000,
"id": "d40542d2b3dc47f8aef27aa04ed3e848",
"serviceId": "api.portal"
}
}
 *
 * @result
 *
 * see :ref:`APICreateSecurityGroupEvent`
 */
@Action(category = SecurityGroupConstant.ACTION_CATEGORY)
@RestRequest(
        path = "/security-groups",
        method = HttpMethod.POST,
        responseClass = APICreateSecurityGroupEvent.class,
        parameterName = "params"
)
public class APICreateSecurityGroupMsg extends APICreateMessage implements APIAuditor {
    /**
     * @desc max length of 255 characters
     */
    @APIParam(maxLength = 255)
    private String name;
    /**
     * @desc max length of 2048 characters
     */
    @APIParam(required = false, maxLength = 2048)
    private String description;

    @Deprecated
    @APIParam(required = false, validValues = {"4", "6"})
    private Integer ipVersion;

    public String getName() {
        return name;
    }

    public void setName(String name) {
        this.name = name;
    }

    public String getDescription() {
        return description;
    }

    public void setDescription(String description) {
        this.description = description;
    }

    public Integer getIpVersion() {
        return ipVersion;
    }

    public void setIpVersion(Integer ipVersion) {
        this.ipVersion = ipVersion;
    }

    public static APICreateSecurityGroupMsg __example__() {
        APICreateSecurityGroupMsg msg = new APICreateSecurityGroupMsg();
        msg.setName("sp");
        msg.setDescription("test create security group");
        return msg;
    }

    @Override
    public Result audit(APIMessage msg, APIEvent rsp) {
        return new Result(rsp.isSuccess() ? ((APICreateSecurityGroupEvent)rsp).getInventory().getUuid() : "", SecurityGroupVO.class);
    }
}

redpajama_set_name: RedPajamaGithub


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text:
Palmarès

Olimpiadi
1 medaglia:
1 oro (Helsinki 1952 nel concorso a squadre)

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
import Ember from 'ember';
import EmberRedirectToInitializer from '../../../initializers/ember-redirect-to';
import { module, test } from 'qunit';

var application;

module('Unit | Initializer | ember redirect to', {
  beforeEach: function() {
    Ember.run(function() {
      application = Ember.Application.create();
      application.deferReadiness();
    });
  }
});

// Replace this with your real tests.
test('it works', function(assert) {
  EmberRedirectToInitializer.initialize(application);
  assert.ok(typeof Ember.Route.create().redirectTo === 'function');
});


Ramon Peypoch is the Chief Product Officer for ProtectWise.
Navigating the number of enterprise security point products used to defend against today's threat landscape can be overwhelming. Some sources say the average enterprise uses 75 security products to secure its network. Reducing the number of products security teams need to manage may seem like the right goal, but currently, it's unrealistic. Each product plays an important role by providing necessary information to security professionals, which enables them to detect and respond to sophisticated attacks.
Instead, organizations can adopt an approach to security that makes it easy to access data, regardless of where it's been produced, and derive new insights that add value and protection.
ProtectWise provides cloud-delivered network detection and response (NDR) capabilities through The ProtectWise Grid, a platform that helps organizations detect and remediate security events. Integrations with strategic technology partners are a key component to our approach. Through them, we enable security analysts to rapidly investigate and remediate any incident they find, from endpoint to network.
Carbon Black and ProtectWise first partnered in 2016 to provide joint customers with comprehensive endpoint-to-network detection and response capabilities. This integration combines the endpoint detection and response (EDR) capabilities of Cb Response and Cb Defense with the NDR capabilities of The ProtectWise Grid. Through this integration, security teams can automatically detect advanced network attacks and receive access to Carbon Black's endpoint data on-demand (such as a host name associated with an IP address or endpoint forensics) all from within the ProtectWise platform.
Analysts can now not only view processes that ran on the endpoint and connected to the network, but can actually see data sent on the network. This integration makes it easier to identify the root cause of an attack, and rapidly take action to contain and stop it.
Visibility is the foundation of any good security program. Using network and endpoint context in The ProtectWise Grid increases visibility and puts analysts on the path to better decision-making. But EDR and NDR integrations are just the beginning; incorporating threat detection capabilities from other security products in your stack increases clarity. Additional integrations enable The ProtectWise Grid to feed correlated threat detections and pervasive visibility to existing network enforcement points. By working closely with Carbon Black and other strategic technology partners, ProtectWise is providing a new approach to how enterprises acquire, manage and operate security – evolving network security to provide the protection, detection and response capabilities that organizations need to outsmart their adversaries.
The post Partner Perspectives: Defense in Depth with Carbon Black and ProtectWise appeared first on Carbon Black.
Iron Rain: What Defines a Cyber Insurgency?


With eight of the bottom 15 teams in last week's AFCA Division II Coaches' Top 25 Poll losing this past weekend, it opened the door for four new teams to enter the poll this week. Missouri S&T is making its first ever appearance in the poll. The Miners are 9-1, with their only loss coming from their conference rival, No. 19 Indianapolis.
Colorado State-Pueblo still sits at No. 1 for the fourth consecutive week after its 31-17 victory over New Mexico Highlands moved their record to 10-0. No. 2 Winston-Salem State (N.C.) is also 10-0 after beating Fayetteville State (N.C.), 41-8. New Haven (Conn.) remains in the No. 3 spot and will face American International (Mass.) for a second consecutive week for the Northeast 10 Conference title. No. 4 Northwest Missouri State received one first-place vote this week as it prepares to face No. 11 Missouri Western State for the Mid-America Intercollegiate Athletics Association title.
Rank School (1st votes) Rec.


text:
carnevalemanfredonia.it » Other » Burden of the Present: Liberal-Radical Controversy Over Southern African History
eBook Burden of the Present: Liberal-Radical Controversy Over Southern African History download
by Harrison M. Wright
Harrison M. Wright English
Author: Harrison M. Wright
Publisher: Rex Collings Ltd (April 16, 1977)
Other formats: mbr azw lrf mbr
The Burden Of The Pres. Details (if other): Cancel.
The Burden Of The Pres. by Harrison M. Wright. Thanks for telling us about the problem. The Burden Of The Present: Liberal Radical Controversy Over Southern African History. by. Harrison M.
More by Harrison M. The "New Imperialism": Analysis of Late Nineteenth Century Expansion (College). New Zealand, 1769-1840: Early Years of Western Contact.
Your use of the site and services is subject to these policies and terms. Results from Google Books.
In 1968, Harrison was appointed a professor of history at the same college and held it for nineteen years. In 1968, he took a position of a chairman of the department at Swarthmore College. Then in 1979, Wright became a provost at that college, where he worked until 1984
In 1968, Harrison was appointed a professor of history at the same college and held it for nineteen years. Then in 1979, Wright became a provost at that college, where he worked until 1984. In 1982, he was an acting president at Swarthmore College. Also he served as Isaac H. Clothier professor of history and international relations at Swarthmore College from 1987 to 1993. Since 1993 Harrison has been a Clothier professor and provost emeritus at the same college.
The Burden of the Present: Liberal-Radical Controversy Over Southern African History
The Burden of the Present: Liberal-Radical Controversy Over Southern African History. W. Beinart, & African Environmental History in the African Context', in Dovers et a. South Africa's Environmental History, 215-26; and W. Beinart and J. Macgregor, & in W. Macgregor, eds, Social History and African Environments (Oxford, 2003), 1-24. Bickford-Smith noted that other works of urban studies had been contributed by non-historians like Monica Wilson and Archie Mafeje.
Wright, H. M. (1977) The Burden of the Present: Liberal-Radical Controversy over South African History, Cape Town, David Philip. Migration, Minorities and Citizenship.
Personal Name: Wright, Harrison M. Publication, Distribution, et. Cape Town On this site it is impossible to download the book, read the book online or get the contents of a book. The administration of the site is not responsible for the content of the site. The data of catalog based on open source database. All rights are reserved by their owners. Download book The burden of the present : liberal-radical controversy over southern African history, Harrison M.
12 Harrison M Wright, The Burden of the Present: Liberal-Radical Controversy over Southern African History (Cape Town: David Philip, 1977), 94. 13 Charles van Onselen, Studies in the Social and Economic History of the Witwatersrand 1886-1914
12 Harrison M Wright, The Burden of the Present: Liberal-Radical Controversy over Southern African History (Cape Town: David Philip, 1977), 94. 13 Charles van Onselen, Studies in the Social and Economic History of the Witwatersrand 1886-1914. Volume 1: New Babylon, Volume 2: New Nineveh (Johannesburg: Ravan 1982).
42. This statement obviously glosses over a problem of great complexity.
Wright, Harrison . The Burden of the Present: Liberal-Radical Controversy Over Southern African History (Cape Town, 1977). 7. Hildebrand, Stanley . A New Paradigm in African Studies, Ufahamu, 5(1974), 3–19. 8. Some examples of studies which have been disposed of are given in Roberts, . The Earlier Historiography of Colonial Africa, History in Africa, 5(1978), 155–67. 42. It is intended to refer to the reformulation by Lakatos of the falsificationist position in the light of criticism made by Kuhn and others. See Criticism and the Growth of Knowledge, ed.
liberal-radical controversy over southern African history. Published 1977 by D. Philip in Cape Town. Historiography, Race relations. Bibliography: p. 126-137.
Related to Burden of the Present: Liberal-Radical Controversy Over Southern African History:
Southern African Research in Progress: v. 5: Conference Papers epub
Slavery, Southern Culture, and Education in Little Dixie, Missouri, 1820-1860 (Studies in African American History and Culture) epub
After Chartism: Class and Nation in English Radical Politics 1848-1874 (Past and Present Publications) epub
Take Up the Black Man's Burden: Kansas City's African American Communities, 1865-1939 epub
STRANGERS IN ZION epub
Xhosa (HERITAGE LIBRARY OF AFRICAN PEOPLES SOUTHERN AFRICA) epub
Workers' Struggles Past and Present: A Radical America Reader epub
Southern African Prehistory Palaeoenv. epub
Athol Fugard (Southern African Literature Series, No 1) epub
Southern African Spiders: An Identification Guide epub
Math Sciences


text:
Juha is a 1937 Finnish drama film directed by Nyrki Tapiovaara, starring Hannes Närhi, Irma Seikkula, and Walle Saikko. It is set in the 18th century and tells the story of a farmer who has married an orphan girl he raised and how a tradesman tries to get her to run away with him to Karelia. The film is based on Juhani Aho's 1911 novel of the same title.

The film was Tapiovaara's debut. It was released in Finland on 24 January 1937.

Cast
 Hannes Närhi as Juha
 Irma Seikkula as Marja
 Walle Saikko as Shemeikka
 Tuulikki Paananen as Anja
 Aino Haverinen as Shemeikka's mother
 Ida Kuusela as Anoppi
 Hilma Vainikainen as Kaisa
 Kyllikki Väre as summer girl

Reception
Pasi Nyyssönen wrote in the 2012 book Directory of World Cinema: Finland: "Tapiovaara, only 25-years-old when Juha was made, directs with a firm hand and a clear aesthetic vision. Aho's book is determinately translated into the visual language of cinema. The dialogue is reduced to a bare minimum, and the film is narrated poetically using visual symbolism of the natural environment."

See also
 Juha, a 1999 adaptation of the same novel

References

External links

1937 drama films
1937 films
1937 directorial debut films
Films based on Finnish novels
Films directed by Nyrki Tapiovaara
Films set in the 18th century
Finnish drama films
Finnish black-and-white films


text:
Rafa targets 9 win run
Liverpool manager Rafa Benitez believes his side must win their final nine remaining games of the season to claim their first league title since 1990.
After seeing the Reds to impressive victories over both Real Madrid and Manchester United in the space of a week, Benitez believes the chance to lift both the Premier League trophy and European Cup is still on.
However, with Manchester United still four points clear at the top of the table with a game in hand, Benitez knows it's going to take something special to close the gap.
"We have beaten Real Madrid and Manchester United in the same week. If we can beat them, we can beat anybody," said the Spaniard.
"Realistically, we have to win all of our games. But we have more belief and more confidence now and we can stay closer to them. It will be difficult but we can do it.
"You never know what can happen in football but we know how much experience and quality United have in their squad."
The Reds have an arguably kind end to the season with games against Aston Villa (h), Fulham (a), Blackburn Rovers (h), Arsenal (h), Hull City (a), Newcastle Utd (h), West Ham (a), West Brom (a), Tottenham Hotspur (h) still to play. Five of those nine teams are in the bottom half of the table, still facing a relegation battle.