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First Impressions for The Wyrd of Stromgard, a Dungeon World Expansion!
Dungeon World is my favorite tabletop RPG. That's no secret here on Adventure Rules – for a time after I first discovered it, every tabletop article on the site discussed only this game. For me Dungeon World is the ideal blend of the classic tabletop experience often associated with Dungeons and Dragons and the modernized, fiction-first mechanisms that make Apocalypse World such a hit. It is a game with strong design that can be expanded infinitely because of how easy it is to create additional content. And while in the past I have discovered plenty of creators who have added to the game in the form of custom classes or deeper mechanisms, recently I was contacted by a designer who is bringing something quite fresh to my favorite game.
Her name is Sam Gundaker, and she is one key piece of the larger operation known as Lost Dutchman Publishing. Lost Dutchman dabbles in both video games and tabletop RPGs, and right now they've got a Kickstarter funded for what can only be called an expansion for Dungeon World. This game, called The Wyrd of Stromgard, adds to Dungeon World not only a new set of playable classes, but also a detailed setting that is strongly inspired by Norse myth and lore. It comes packed with monsters, magical items, cultural descriptions, and an adventure front focused on that most memorable of Norse legends, Ragnarok.
This all sounds like a cool package, and fortunately for me Gundaker decided to reach out and offer me the opportunity to try out the game firsthand! The timing could not have been more perfect – I received the message one week before my next tabletop session with my gaming group, and we only meet once a month. This gave me just enough time to talk about the game with my players and come to an agreement that we would take a break from our current Dungeon World game to instead take a detour to the world of Stromgard. Having now played a session, my goal today is to share my first impressions of Gundaker's current draft of the game.
This post will feature some of the art from the book, drawn by Eli Spencer. If you enjoy these pieces, I highly encourage you to check out their website!
For the game master, the first impressions of a game often come from the book itself. The Wyrd of Stromgard is a lengthy one to tackle at around 325 pages, but it's chock full of good information. My personal favorite section is the first main chapter of the book: Concerning Vikings. Here we learn about the actual culture of the vikings. Or at least, what little knowledge there is available on the subject. Gundaker certainly did her homework and she does an excellent job of explaining how much of what we know is filtered through the bias of other cultures. This makes it difficult to truly know much about Norse society, but the nuggets of truth that are available provide fascinating lore for a tabletop.
Most of the games that I plan involve some degree of research. My first ever campaign as a game master sent me down the rabbit hole of 1920's America to create an alternate history for a group of superheroes to explore. One of my favorite Dread sessions I designed led me to study unusual monsters that don't typically make appearances in horror fiction in order to create a Mansions of Madness vibe for my game. When I ran City of Mist earlier this year, I not only read up on the mythoi chosen by my players but also the legends attached to characters around them in order to give me a large selection of stories to pull from when designing the mythoi of NPC characters. Wyrd of Stromgard takes all that pre-campaign research and puts it into one convenient location while also referencing its sources so that you can do more study on your own.
Even though my players didn't read the book before playing the game, the feel that the research added to our session left a strong impression on them. There was one particular moment where I told a story from the book about how Odin once hung by a noose for nine days from one of Yggdrasil's branches, and one of my players asked me if that was a real myth (one of my favorite oxymorons, PS). I had all kinds of opportunities to work these kinds of small details into the game because of the knowledge I gleaned from Gundaker's research. It created a verisimilitude for the session that enhanced the enjoyment of everyone at the table.
My favorite artwork from the book – such a creepy creature!
This verisimilitude is possible because every detail integrated into Stromgard is built from the legends and history of one culture. This extends to aspects of the game such as monsters, gear, and the various playbooks. The monsters of Stromgard are massive, intimidating creatures and even just the monster descriptions give you interesting tidbits of history. I never knew, for example, that the word "dire" used to describe more powerful versions of animals in Dungeons and Dragons actually originates in Norse myth about "dyr" – ancient, primordial beasts which were more powerful than their modern day counterparts. Entire sessions can be built around the creatures in these pages. I tried it myself with the ljúga and had success with that, giving my players a scary but manageable giant monster to contend with.
Gear in Dungeon World is easy to look over because the mechanical effects are negligible – any particular weapon or item is more focused on its fictional applications. However, those fictional descriptions are important to maintaining the game's atmosphere, and The Wyrd of Stromgard gives players a number of weapons and items that are suitable for a Norse culture, and the history for why those weapons might be popular or practical. For example, the bill hook is not only great for cracking skulls but also for climbing, a nifty tool for fighting on ships or in craggy environments. Or consider the popularity of stone weapons in the early viking era, a phenomenon born of the lack of available iron. This makes a typical Dungeon World iron sword a valuable commodity, more likely to be a gift from a grateful jarl than the starting gear of a lowly skarl.
Magical items in Stromgard are pulled from various myths, and they give all kinds of interesting options for sessions. I worked the Mead of Poetry into my game, using a single sip as a reward for the party for defeating the ljúga, and the knowledge that it granted each character served as a great way to set up story hooks for future sessions. There's a good selection of weapons, but plenty of quirky and fun items too. My personal favorite magic items are goofy but situationally useful, so seeing tools like Gadfly's Delight – a glass bottle with a gadfly which stings someone's eye at the moment most likely to cause total chaos – made me quite happy. Of course there's a great selection of cool weapons, too, so those looking for more epic quest rewards have plenty of material to work with.
The Bearskin fights with the power of blind rage – just like me when I haven't had lunch!
Like the monsters and the gear of Stromgard, the character playbooks are inspired by various Norse legends. There are ten custom playbooks for this setting, five of which are classes for characters of the mortal races (elves, dwarves, humans, etc) and five of which are members of immortal races which have supernatural powers based on their heritage. My players tried out a mix of both, and the playbooks I got to see in action in preparation for this article were the bearskin, the stormcaller, the crone, the fae, and the dvergr. It was with this aspect of Stromgard where we began to have some struggles.
Before I go into detail about what didn't work for us with Stromgard's playbooks, I want to point out that a single session is not indicative of the overall quality of any RPG. My players all wanted to emphasize for this first impressions piece that we had a good time and that one session is not enough evidence to make a final decision about any aspect of a game, let alone a piece as complex as the character playbooks. This is particularly true because we had some extenuating circumstances which colored certain player's impressions of their class – an airborne boss battle isn't ideal for the bearskin, for example.
On a general scale, the playbooks in Stromgard don't feel like they are combat-ready at first level. Our crone and dvergr both felt as though they didn't have any abilities that were truly useful for combat scenarios – for the crone in particular, the player felt a bit helpless as the playbook's weapon options are limited and the HP is low. Conversely, the fae's Attune move has as many practical applications as the imagination of the player – this allowed her to pull off all sorts of magical stunts while our crone and stormcaller both felt that their characters were a bit impotent when it came to the arcane. This isn't because the moves for the playbooks are bad; they simply fit other scenarios more than they do combat.
Our fae player had a blast with this playbook!
Let's continue with the crone as an example. At first level he had the ability to create arcane effects through rituals (similar to the vanilla Wizard in Dungeon World), the power to curse someone who insulted him, the ability to temporary influence someone's actions, the ability to create a phantom limb away from his body, and the power to absorb damage as kinetic energy to be released later. Many of these abilities – Curse and Jedi Mind Trick in particular – are all about wielding creepy magic to gain social power. The crone didn't excel because he wasn't on the right battlefield. His specialization is not combat, but the manipulation of others to get what he wants.
This was a trend for a couple other players, too. In a session focused on battle, these socially-adept characters didn't feel as if they had much to contribute to the game. This could be a one-shot problem more than a game design problem – in the future I'll certainly be aware that some of the classes at the table don't function well in combat. My concern, though, is that Dungeon World very much demands combat. Defeating notable monsters is one of the key ways in which characters gain XP and level up; in the vanilla game, even those classes whose main skills operate outside of combat still have at least one ability meant specifically for battling enemies. If Stromgard is going to focus more on social interaction, this may need to be incorporated into the End of Session move so that working towards interesting social situations is also mutually beneficial to the whole party.
The other concern I'll note is about the stormcaller playbook. When I read the playbook I immediately became concerned that the promise of the class wasn't met by the starting moves available. The player who chose the stormcaller felt the same way at the table. Reading the description of the stormcaller, it is stated that "few who call themselves wizards or mages can conjure up so much power at their fingertips." The stormcaller is described as being able to command the primal elemental forces of the world, holding storms at their fingertips and being so wild that trying to keep one on retainer is compared to keeping a cataclysm in a wineskin. Yet the stormcaller starting moves don't live up to this description – rather than controlling the weather, the stormcaller simply makes weapons out of ice and turns objects brittle with cold. This isn't exactly the arcane power promised by the description, and it doesn't match how the base classes are designed. The starting moves for a class are the moves you'll be using the most often – they are the core moves for that character, and all of the advanced moves build off of them. With the stormcaller, this seems to be the opposite – these characters start out with the filler and gain their core abilities after leveling up a bit.
This piece makes me excited to see Eli's portrayal of all the weird monsters in the book!
Although my players and I felt that the playbooks themselves were the weakest aspect of Stromgard, we still had fun trying out these classes. My wife in particular enjoyed her fae character, and even those who struggled like our stormcaller and our crone still had good things to say about the game. Our impressions of the setting material – the items, the locations, the monsters – were all unanimously positive. This is a well-written book with evocative designs that serve as the perfect spark of creative inspiration for a Dungeon World campaign. And while the mechanical aspects of the game are currently the weakest in our view, it's important to keep in mind that we're playing the first draft of the game. With the Kickstarter now fully funded, those mechanical aspects of the game can be refined through further playtesting. If you're not accustomed to the tabletop world, this is a pretty normal way of doing things – Blades in the Dark and its various hacks were already out in the wild long before their "final drafts" reached completion. I imagine that after a bit more time, the playbooks of Stromgard will reach a level of quality equivalent of the other setting materials in the book.
At the end of it all, my players and I had fun with The Wyrd of Stromgard and we're excited to try out future drafts as they become available. As a GM, I appreciate when an RPG book fills me with inspiration and story ideas. Stromgard is a compelling location tied together by a single mythos, allowing you to think creatively and create a sandbox experience while still maintaining the consistency of the game world. One of the designers of Dungeon World, Adam Koebel, often refers to RPG books as a toolset: the equipment the players and GM use to create something together at the table. The Wyrd of Stromgard is a set of high-quality tools that I believe can help you build an exciting campaign with a unique feel compared to the vanilla experience.
If you're interested in keeping up with The Wyrd of Stromgard after reading this article, you can click this link and go to the bottom of the page to sign up for the mailing list, where you'll be informed of the game's progress as well as when it is available for purchase. I want to once again thank Sam Gundaker of Lost Dutchman Publishing for reaching out to me and allowing me to check out the game – my players and I had a blast and we're looking forward to trying out more! I certainly plan to continue covering the game as I get more experience with it and as new updates become available, so be sure to look out for more Stromgard content here on Adventure Rules.
Dungeon World, Powered by the Apocalypse, Tabletop Tuesday, The Wyrd of Stromgard
Dungeon World, first impressions, Gaming, Humor, rpg, tabletop, The Wyrd of Stromgard
Don't Get Married! – The Problem with Romance in Video Games (Charming and Open)
Ranking My Tabletop Characters and Their Classes: A Charming and Open Top Five


The project involves the transformation of an existing industrial office building into an office building with F&B and retail function on the podium level.
Located at an urgent turn of the road, the Tower was treated with a big signage logo with the canopy lit by LED lighting. To contrast with the surrounding buildings of duller colours, the podium level was 80 % cladded with black tiles, while the levels up were cladded 80% white tiles.
The black and white composition extends from the exterior all the way to the interior of lobby and restrooms.


Join me in creating an emotional revolution. Watch my friend Blaise Beyhan discuss emotion shaming and think about how many times you've kept in your feelings because you were afraid of seeming clingy or obsessive or being rejected. The next time you feel something strongly, do yourself and your world a favor, be fearless, forget society's norms, and express it.
Next Next post: It's The Bachelor and I'm Crying Happy Tears!!!
Thank you. You articulated my feelings exactly.
I felt horrible for you! The simple fact is the producers/editors set you up for failure!! Anyone with half a brain could tell they delayed Wells' intro and forced you to endure waching one of your best friends (Jared) get played! I'm not saying Caila is a bad person BUT, I am saying that she knows she's on a tv show and she has trained herself to "filter" very well.
You though…you keep it real!
I would tell you to ignore the haters because they are just jealous (which is TRUE) but that won't keep you from feeling hurt. So instead of that, have one of your BFFs filter your social media accounts for a while. Turn off all your notifications for Twitter (lol that's what I call it), Snapchat, etc. and have someone delete all the hateful things before you get a chance to see them. Out of sight out of mind 😊. You're simply the flavor of the month and soon the haters will get bored and move on.
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Oscar-winning British actress Kate Winslet said her latest role as a couture gown-maker in "The Dressmaker" gave her the skills to tackle a sewing machine in real life, as she attended a special screening in London on Wednesday (November 11).
Winslet plays Tilly Dunnage in "The Dressmaker," who returns to her small-minded Australian town to seek retribution against those who sent her away as a child accused of murder.
"I had to know how to use the machine and I did spend about a month with an expert who did show me all the little nooks and crannies because a Singer sewing machine is very, very beautiful and it isn't like a contemporary machine," the actress said.
It's always a great privilege as an actor when you have an opportunity to learn a new skill and I did learn how to do that, so lucky me."
"The Dressmaker" is set for release in the U.K. on November 20.

redpajama_set_name: RedPajamaCommonCrawl


1105 Fort Lamar is a luxurious James Island estate that expands over 13 acres on a double lot. This property is one-of-a-kind as it has an abundance of privacy, renovated interior rooms, lots of outdoor living space, and water views including the Charleston Harbor and Sullivan's Island lighthouse. The property was expanded extensively in 2008 with multiple outdoor entertaining areas including two large screened porches, a rooftop terrace, and an expansive deck with a pool. The outdoor space overlooks the marsh and mature oaks. 1104 Fort Lamar is also included the sale with a ready-to-build 5.3 acre lot.
In 2012, the house was renovated with the addition of two sunrooms, a breakfast nook, and updated kitchen and bathrooms. The home features 5 bedrooms, 4.5 bathrooms, and over 5,000 square feet in the living space. The floor plan is very open and features beautiful hardwood floors, crown molding, and modern accents. The living room, eat-in kitchen, and sunroom flow together making the area look very spacious and bright. The living room is massive with tall ceilings, a fireplace, built-in bookshelves, and filled with natural light from the tall windows that overlook the the deck and water. The kitchen has stunning granite countertops, top of the line stainless steel appliances, gas range, and lovely modern finishes. The breakfast nook is right off the kitchen and features a cozy area with many windows, which makes it a perfect space for dining.
Also on the first floor are three guest bedrooms that are absolutely gorgeous and filled with natural light, contemporary design, and have plenty of space with closets. The upstairs master suite features an expansive bedroom with many windows overlooking the marsh, a beautiful sitting room, and an en suite bathroom with a glass stand-up shower, chrome fixtures and modern design throughout. On the opposite wing of the house there is a secondary master suite with a private porch, fireplace, and marvelous en suite bath with double vanity sinks, a stand-up glass shower, chrome fixtures, and lovely decor. In addition to these astonishing bedrooms there is a separate guest house that includes a guest suite. It is used as a lovely, bright studio space and has a full bath with a sauna and two screened porches.
In 2009, extensive landscaping was designed to include the addition of beautiful trees, shrubbery and a vegetable garden. The redesign also included hardscape of walkways, patios and a privacy front gate. In addition, a shared dock with four other homeowners extends into the Clark Sound with easy access to the Charleston Harbor. This stunning home has so much to offer and it truly exemplifies Lowcountry living.


By Blaise Grimes-Viort Voice Network Badge Voice Network contributor, an ongoing writer for our guest opinion column.
Having it removed from public pages is easy compared to private conversations and groups.
Social media has a problem with piracy. A rudimentary search on Facebook turns up films, TV shows and sports events that should be pay-per-view or subscription based. A reported one billion (yes, you read that right) people have watched Game of Thrones season 7 via illegal downloads or streams (only 31 million watched it legally). Tens of millions of people regularly watch big fights and matches illegally, costing not just the networks but the sponsors, players and contenders.
Facebook is an easy thing to blame. Like other networks, it's cracking down on piracy, but quite reasonably, it doesn't want to take legal responsibility for seeking out illegal streaming pages. Instead it appears to rely mostly on people reporting them. Facebook makes it easy to link to pirate sites.
But Facebook's just the tip of the piracy iceberg.
People are moving more toward private groups on social media. They're posting less, viewing more and sharing on message apps or closed groups rather than on their public pages. Whether or not Facebook (or other social networks) want to take responsibility for pirated content, at least if something's shared on a public page, you stand a fighting chance of finding it. Not so if it's being shared on closed, private groups, like Facebook, WhatsApp or Telegram. That's a real problem if you own content that you want to control.
If you own or create content, you probably want to do one of two things: spread it far and wide or monetize it. Either way, you'll want to know where it ends up, legally or illegally.
It's a massive task, but there are things you can do to monitor where your content is being shared, at least in public areas. And you may be able to join private groups, too, if you're prepared to put in the work.
If your content is good, it'll be shared illegally. Agree from the start what's acceptable and where you draw the line.
Think about how your content is likely to be listed, including generating typos to find it. CNBC reported finding an NFL game listed under "NFL Unoficcial (sic) LIVE," for example.
Typically, using keywords that are closely related to the content will throw up results; however, in many cases, sharing is transient especially when it comes to live streaming. Natural typos will occur, so drawing up a secondary list of common misspellings of your identified keywords will generate far more results.
Be prepared to follow multiple links as streaming sites will often jump from link to link as they're reported and taken down by the big networks.
A common method is to show the first few minutes of a piece of content then encourage the viewer to follow a link to another hosted full version. This will often lead you to the source and a more fruitful investigation. Additionally, if a link is taken down, set a reminder to check again later as content will be re-uploaded again.
It's harder than it sounds, especially after Google and Microsoft agreed last year to demote pirate sites in their search rankings. But it's still possible. Use a social listening tool to seek out where people are talking about the content on social media and follow those conversations.
Consistency and a wide net are the most effective approaches. The pool of people doing the initial sharing is small; if you can limit their output, you can control the vast majority of sources and over time reduce unapproved versions of your content.
Often these are fan groups, and usually the name of the group will include the name of the film or content to be streamed or downloaded. Expect to do some digging.
Blaise Grimes-Viort is chief services officer at The Social Element.


"The minimal house genre born from the coastal city of Durban is dark, heated, and easy to lose yourself in." Felix a.k.a producer Moleskin, a co-founder of London label Goon Club Allstars – which has released DJ Lag's self-titled EP – told Dazed & Confused: "When I first heard Gqom it felt like music that I'd been waiting to hear." "Gqom music makes you think of fun, nothing else but fun," DJ Lag told The Wire in January 2017.
And the fun of Gqom is evident in the video for "Ice Drop", one of four tracks off DJ Lag's acclaimed self-titled EP, issued in November 2016 by Goon Club Allstars. The video features several stunning overhead shots of DJ Lag's local neighbourhoods in KwaDabeka and Clermont, intercut with shots of the artist's immediate environment – both providing a glimpse into the context in which his hypnotic, infectious Gqom tunes are created.


At 05:49 local time on November 19, 2013, flight 5Y607 departed from Huntsville airport in Alabama, U.S. What appeared to be just another routine Panalpina flight to Luxembourg was in fact the inaugural flight of the world's first paperless round-trip route for general air freight.
More than 7,800 tons of paperwork travels through the sky every year, adding time, cost and environmental waste to air freight - not to mention space. The quest to cut this superfluous load started in 2006 when the industry-wide e-freight initiative led by IATA began. The aim is to eliminate dependency on paper air waybills (written contracts for transportation) and document pouches (contain original documents from the shipper, such as invoices and packing lists) and to replace them with standardized electronic messages.
Seven years later and some companies are emerging as leaders in e-freight. Panalpina, for example, now runs regular paperless air freight services between Huntsville and Luxembourg, from Luxembourg to Hong Kong, and from Guadalajara (Mexico) to Huntsville. Panalpina expands its paperless air freight network every month. The company is confident that it can fly all general air freight on its own controlled Boeing 747-8 Freighters without paper in less than two months' time, the only exceptions being flights to and from the MEAC region (Middle East, Africa, CIS), Mainland China and Brazil. By 2015 the company aims to eradicate 80% of pouches for all general air cargo, be it on the own controlled network or on commercial flights.
- Panalpina is showing great leadership in adopting e-freight and assisting our efforts in transforming the future of the air freight industry, says Desmond Vertannes, global head of cargo at IATA.
- As a global industry initiative, e-freight can only be achieved with the full cooperation of business partners so we encourage others to follow this example.
The average air freight shipment generates 30 documents that have to be handled by each of the partners involved in the shipment. Replacing this paperwork with electronic transmissions in the fragmented world of air freight is no small feat. It requires resources, training, IT investments, standard operating procedures and a willing partnership between carriers, ground handling agents and freight forwarders.
- The benefits of going digital are clear: more efficiency, less cost, reduced environmental impact and increased data quality - but it isn't easy, says Lucas Kuehner, global head of Air Freight at Panalpina.
- Air freight is complex, fragmented and lacks standardization - but we are overcoming these challenges together with our partners. Being active in the industry is a key to our success. Our e-freight ambassadors are out there building connections and we train our staff to help make e-freight a reality.
- E-freight doesn't happen overnight and it requires a lot of groundwork before it can truly take off. But our successes so far are an encouraging sign. We've established a solid foundation for the future, and we will continue to expand and improve our work to remain at the forefront of e-freight.


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Looking for support for Veteran Mental Health in Colorado? Call (719) 540-2136
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Head Space and Timing
Veteran Mental Health
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HST 016: Certificate in Clinical Military Counseling with Dr. Mark Stebnicki
Duane France October 18, 2017	 No comments
Mark A. Stebnicki is a Professor and Coordinator of the Military and Trauma Counseling (MTC) Certificate Program he developed within the Department of Addictions and Rehabilitation and approved by ECU January 2014. He holds a doctorate (Ph.D.) and master's (M.S.) degree in rehabilitation counseling from Southern Illinois University- Carbondale. Dr. Stebnicki is a Licensed Professional Counselor (LPC) in North Carolina and holds four certifications; the Diplomate in Clinical Mental Health Specialist (DCMHS) in Trauma Counseling issued by the American Mental Health counselors Association (AMHCA); Certified Rehabilitation Counselor (CRC); Certified Case Manager (CCM); and is a Certified Clinical Military Counselor (CCMC). Dr. Stebnicki developed the CCMC credential (in 2016) through the Licensed Professional Counseling Association of North Carolina (LPCANC) which was modeled after ECU's MTC Certificate Program. Dr. Stebnicki is also certified by the Washington, D.C.- based crisis response team National Organization for Victim Assistance (NOVA) and North Carolina's American Red Cross Disaster Mental Health crisis team.
Dr. Stebnicki is an active teacher, researcher, and practitioner with over 30 years' experience working with the mental health and psychosocial rehabilitation needs of persons with chronic illnesses, disabilities, and traumatic stress. He has written eight books (4 Edited books with Dr. Irmo Marini of the University of Texas-Rio Grande Valley) most recently The Psychological and Social Impact of Illness and Disability (7th ed.) (2017, Springer Publishing) and The Professional Counselors' Desk Reference (2nd ed.) (2016, Springer Publishing); and four single-author books, most recently Disaster Mental Health Counseling: Responding to Trauma in a Multicultural Context (2017, Springer Publishing) and Empathy Fatigue: Healing the Mind, Body, and Spirit of Professional Counselors (2008, Springer Publishing). He has over 28 articles in peer-reviewed journals, and has presented at over 100 regional, state, and national conferences, seminars, and workshops, on topics ranging from youth violence, traumatic stress, empathy fatigue, military counseling, and the psychosocial aspects of adults with chronic illnesses and disabilities.
Dr. Stebnicki has served on multiple professional counseling and accreditation boards. He served on the crisis response team for the Westside Middle School shootings in Jonesboro, AR (March 24, 1998) and has done many stress debriefings with private companies, schools, and government employees after incidents of workplace violence, hurricanes, tornadoes, and floods. His youth violence program, the Identification, Early Intervention, Prevention, and Preparation (IEPP) Program, was awarded national recognition by the American Counseling Association (ACA) Foundation for its vision and excellence in the area of youth violence prevention. Other accolades include consulting with former President Bill Clinton's staff on addressing the students of Columbine High School after their critical incident (April 20, 1999).
IN THIS PARTICULAR EPISODE YOU WILL LEARN
Bridging the gap between theory and practice
Mark's work with Veterans
How trauma is experienced differently between civilians and those who served in the military
Pre-9/11 Veteran mental health: no discussion of combat, but the impact of combat was the underlying cause
The importance of community support and recognition of the difficulty of military service in the mindset of veterans
The impact of military service on the service member's family
Viewing military service as a separate culture
Development of the Certificate in Military & Trauma Counseling
More education about veteran mental health reduces the stigma against seeking mental health services
The unique nature of service in the Reserve components of the military
PTSD, TBI, and Beyond when it comes to Veteran Mental Health
Veterans seeking mental health services from clinicians who are not veterans
Reluctance, Resistance, and Defensiveness when it comes to veteran mental health
Getting over the reluctance of veterans to not tell their story
The readiness for each individual to participate in counseling and therapy
LINKS AND RESOURCES MENTIONED IN THIS EPISODE:
Veteran mental health in the workforce: On Being "One of Those Weird Veterans" in the Workplace
Eastern Carolina University Certificate in Military & Trauma Counseling
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Duane France
Duane K. L. France is a combat veteran of both Iraq and Afghanistan, as well as a mental health counselor practicing in the state of Colorado. Do you want to join the conversation regarding veteran mental health? Share, like, and comment. Read Duane's previous posts and follow him on Twitter and LinkedIn. Keep the conversation about #veteranmentalhealth going.
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STMSS01 – Dr. Barbara Van Dahlen – PREVENTS Task Force
Introduction: Seeking the Military Suicide Solution Podcast
Where We've Been, Where We're Going
Book Announcement: Military in the Rear View Mirror
Nelson Ormsby on Book Announcement: Military in the Rear View Mirror
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Nelson Ormsby, Callsign CavDad on Moving Towards Stigma Reduction and Improving Treatment Seeking Behavior
Ellsworth Williams on Your Role in Military Suicide Prevention in Your Community
I am a Mental Health Counselor certified to practice in the state of Colorado. The thoughts, ideas, musings, and posts on this site come from my military experience, my professional experience, and my personal opinions. They do NOT, however, represent professional advice. While I am a Mental Health Counselor, I am not YOUR Mental Health Counselor, and interaction with me on this web site does not result in a professional therapeutic relationship. The opinions I express here are my own, and in no way should be seen as reflection of my agency, my profession, or any professional associations that I am connected with.
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The Family Care Center and the Colorado Veterans Health and Wellness Agency serve the mental health counseling needs of Active Duty Service Members, Veterans, and their Families in Colorado Springs, CO. Contact us for counseling services
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The Senate Journal for the regular session of November 9, 1998, was approved.
The regular meetings of the Faculty Senate for Spring 1999 will be held at 3:30 p.m. in Jacobson 102 on the following Mondays: January 11, February 8, March 8, April 12, and May 3.
President Boren approved the Senate's revisions regarding the tenure vote and the faculty appeals procedures (see 11/98 Senate Journal, pages 4 and 5).
Prof. Holmes explained that Prof. Pat Weaver-Meyers (University Libraries) is chair of a task force formed to review Legal Counsel's proposed modifications in the copyright policy. Other members of the task force are Randy Coyne (Law), Mark Gillett (Law), Peter Kutner (Law), Andrew Phalen (Art), Michael Rogers (Music), and Deborah Trytten (Computer Science). The proposal concerns the ownership of intellectual property. It is fundamental to the academy that faculty members own their intellectual property. The proposal will be voted on in January.
Prof. Weaver-Meyers commented that last spring she had handed out a policy proposed by the task force and one proposed by Legal Counsel (see 5/98 Senate Journal, page 5). This new proposal is a compromise (Appendix I). As a compromise, it is not exactly what anyone wants, but it is satisfactory to the University and faculty. She asked the senators to discuss the proposed policy with their colleagues here and at other institutions. It is important to those who want to profit by their intellectual efforts. The basic issue is that copyright law considers works like textbooks and articles as works for hire, but this proposal and the current policy state that there are exceptions to what is considered a work for hire. Other issues include new media works, such as works created on the web, electronic courseware, and software.
Prof. Fleener asked how this would relate to the state questions just approved. Prof. Weaver-Meyers answered that the questions relate to the patent policy, which will be brought to the Faculty Senate in the next month or two.
Prof. Holmes presented a motion of the Senate Executive Committee to make the following amendments to the proposal (in bold).
In keeping with traditional academic practice and policy, ownership of copyrights to works of artistry or scholarship such as textbooks, course materials, scholarly papers and articles, computer courseware, software, novels, poems, paintings, musical compositions or other such works of artistic imagination produced by University employees who have a general obligation to produce such works where the specific choice, content, course and direction of the effort is determined by the employee without direct assignment or supervision by the University shall reside in the creators and the works shall not be deemed "works made for hire" unless they are also sponsored/contracted works or specifically assigned by the University. ….
Prof. Van Gundy asked about the definition of "non-University contractual or legal obligations." Prof. Holmes explained that the federal government mandates that an individual who has a research grant with federal dollars cannot retain private ownership. Prof. Van Gundy cited an example of a contract with a book publisher. Prof. Holmes said that would also qualify. Prof. Van Gundy said he thought the language was confusing.
The Senate approved the nomination of Neera Badhwar (Philosophy) to complete the 1997-00 term of Andy Magid (Mathematics) on the Faculty Compensation Committee.
Last month, the Senate discussed the issue of providing the numerical result of the tenure vote to the candidate (see 11/98 Senate Journal, page 4). Prof. Holmes promised to bring back comparable language concerning promotion. The Senate Executive Committee proposed a motion to add a parallel provision to the Faculty Handbook allowing a candidate to receive the vote on promotion (additions underlined). The motion will be voted on next month.
Prof. Holmes reported that a task force was put together to look at the issue of professorships for non-tenured individuals strictly on the basis of their research activities. Prof. Barbara Greene (Educational Psychology), is chair. Other members, including individuals who have large research grants, are Jeffrey Harwell (Associate Dean of Engineering), Peter Lamb (Meteorology), David Levy (History), Bruce Roe (Chemistry and Biochemistry), Eddie Smith (Graduate College Dean and Vice President for Research), and Rick Tepker (Law).
Prof. Greene reported on the proposed change in the Faculty Handbook to create a new category for a continuous term, non-tenure track research professorship (Appendix II). In addition, the task force proposed the following amendment to the proposal (addition in bold). The proposal will be voted on next month.
The salaries awarded those appointed to these positions will be paid out of the moneys award by the grants funding the research program. Initial salary and rank will be commensurate with experience and national standards. To qualify for bridge funding between external awards, the individual must have been appointed on grants or contracts that have generated at least twice as much indirect costs as the total amount of bridge funding to be received, with a maximum of 12 months of bridge funding to be provided by the University. For example, a successful Research Professor could expect the University to provide a year's salary for every five years of service, if it was needed. The University will establish budgetary procedures for bridge funding; units will not assume any obligations for Research Professor salaries.
Prof. Greene said that one of the things that makes this a unique kind of position and different from the current temporary appointments is that the individuals will come in at the assistant, associate, or full professor ranks, and those at the assistant or associate rank have the possibility of going up for promotion. No stipulation for such a position is currently in the Faculty Handbook. Units may elect to use such positions if they have large externally funded research projects that can support such a position. As OU has been more successful in getting large grants, there are no mechanisms for managing these research projects. These types of positions are likely to be held by research scientists who will go through the typical national recruiting procedure. Units have to elect to do this, and faculty within units will have to vote on changes in their personnel policy. Many people think that for the University to continue to attract large grants, we will need a prestigious position to attract top research scientists who are looking for more job security and greater affiliation with an intellectual home. Currently, people are being appointed to continuous term research professorships at the college level without any safeguards or significant faculty input.
Prof. Karriker asked about the rationale for the different ranks. If the individuals are top scientists, they will fall into the professor rank. Prof. Greene responded that some people might have been successful in getting external money but not have a strong publication record. Prof. Beasley pointed out that the term, "manage," in this case means in the sense of deal with, not administrating. Prof. Greene agreed that she was not talking about a category of administrators. Prof. Beasley said his area has had people in post-doc positions for ten years or more and has lost some of them to other universities or labs with this kind of position. Such individuals seem to be interested in the title of research professor, which looks better on grant proposals.
Prof. Schwarzkopf commented that we are proposing a class of faculty that can have rank and promotion but not tenure. He asked how this would differ from appointments like clinical professors, which are used primarily for teaching roles. Prof. Greene said the idea was to have it established at the University level rather than on an ad hoc basis. Also, there are no written procedures or larger structure governing those other kinds of temporary positions. Prof. Schwarzkopf asked why we should focus just on research rather than a specialty faculty track if there is no operational difference. As it is, these individuals cannot teach a class. We should look at this in general. Prof. Greene said she was more comfortable doing it this way, because it is solving one specific problem, with the idea of keeping these appointments from growing out of control and threatening what we are about. She said she was opposed to some across-the-board procedures for all possible categories of temporary faculty.
Prof. Holmes added that a critical difference is the funding. This is strictly for soft dollar funding. Prof. Schwarzkopf said he was not comfortable with that kind of distinction. Prof. Engel asked about the set up for bridge funding. Prof. Green said the administration is working on setting up an account. The central University budget will provide bridge funding. Units will be involved in the hiring of these individuals. The idea is that it would be advantageous to the new research professor to have an intellectual home.
Prof. Russell said this is a way that the University can enhance its mission and service to the state. He asked whether these individuals could be adjunct faculty so they would be able to teach, how their salary would be established, whether they could be PIs or contract administrators, and whether this would be written into the policy. Prof. Greene said the whole purpose of the position is that they will not have the distractions regular faculty members have. They could be adjunct faculty, but we would want to discourage that. They would have some teaching responsibilities in terms of supervising graduate students. They would not be principal advisors, because they would not have a regular appointment, and current rules prohibit that. However, they could be committee members if they meet the criteria. Salaries would be negotiated the way salaries are negotiated now. The proposal states that the units must show evidence that they have three years of funding for a particular person. Prof. Russell asked whether the task force would put all of this in the proposal. Prof. Greene said the task force set it up so the units would decide salary issues as they currently do.
Prof. Holmes clarified that this document is an attempt to bring into the open what is going on currently. People are being granted these kinds of positions ad hoc. This proposal would require the units to develop their own internal procedures for review, promotion, evaluation, and pay increases. There would be an academic home in order to give legitimacy to the title. A provision was added that under no circumstance would any other mechanism be allowed for the granting of such professorships other than what is proposed in the document. Prof. Benson said the title of professor is considered an important title that should not be conferred by any other process than the unit's. This is an attempt to bring the decision-making to the faculty in the units. They can decide whether it is in their interest to have these positions and what conditions should be imposed.
Prof. Russell asked whether the idea was to add a paragraph in the Faculty Handbook recognizing this rank. Prof. Greene responded that the second part of the proposal is what would be added to the Faculty Handbook. There was some discussion about the appropriate language for the Faculty Handbook. Prof. Karriker reiterated her question about the need for various ranks. Prof. Beasley said this has been going on anyway except for the title and bridge funding. Some funding has been provided ad hoc. The people who have left have cited prestige and security as being important. Prof. Holmes clarified that a research assistant professor could be someone just out of graduate school. Prof. Karriker suggested that they be called post-docs. Prof. Beasley explained that calling them assistant research professor would help in recruiting. Prof. Karriker suggested the titles of Research I, II, and III. Prof. Beasley answered that most of these kinds of people in his unit have been called research scientists. When they have been here a long time and are being recruited by someone else, there is no mechanism to keep them here. Prof. Karriker said she was concerned about the unit having no control over the work they do. Prof. Beasley said in his area, a research professor participates in committees and faculty meetings. His unit adopted a personnel policy parallel to the one for regular faculty.
Prof. Patterson asked about the amendment to the proposal. Prof. Greene said the task force had added a sentence to clarify the nature of the bridge funding. Prof. Patterson proposed that the language be changed to read, "provide no more than a year's salary." Prof. Bert remarked that we would be treating research professors better than regular faculty. They would get a year's salary for every five years of service, whereas regular faculty members are eligible for sabbatical only at the end of six years. In his opinion, we should not skew this out of proportion to the regular faculty. Prof. Engel pointed out that the University will establish some kind of accounting so the people who want to bring research professors in will have money in escrow, and it will not impact any unit's budget. Prof. Murphy suggested that the third sentence in that paragraph should read, "net indirect costs." Prof. Greene said she would take that suggestion back to the task force.
Prof. Holmes explained that there had been a request for a comparison of health care benefits at peer institutions. A survey of Big 12 health care plans, which was compiled by Oklahoma State University, was distributed at the meeting and is available from the Senate office.
Prof. Holmes asked Prof. Will Sutton (Aerospace and Mechanical Engineering), a member of the Employment Benefits Committee (EBC), to discuss the health care negotiations. Prof. Sutton said Legal Counsel was responsible for the Request for Proposal (RFP) (available in the Senate office) and had hired a consultant, Kelly Hudelson. The RFP required bids on a number of options: deductibles and number of dependents, record keeping requirements, satisfaction surveys (90% required), fully or self insured (right now we are self insured), an HMO look-alike option, and including Goddard Health Center in the plan. The bids were narrowed to Blue Cross/Blue Shield and Prudential (two handouts on the health plan bids were distributed at the meeting and are available from the Senate office). Problems with bids were that Prudential's bid was too high on the HMO look-alike and Blue Cross/Blue Shield did not bid an HMO look-alike. Three options are under consideration. Option A is to retain the current plan, which will cost an additional $1,000,000. Option B is to make Blue Cross the entire provider, which would cost about $500,000 more. Option C is to make Prudential the entire provider, which would save about $400,000. [Note: These figures have been revised.] Apparently, the President had wanted the bids to be based on our current coverage. However, the vendors quoted different benefits. A $1,000,000 increase translates to a one percent raise that employees would not get. Prof. Deming pointed out that part of the cost would come out of the employee's pocket and that many employees are established with a doctor. Prof. Sutton replied that the administration thinks the health care providers will join the plan the University chooses.
Prof. Scherman said access is an issue. Prudential's office is in Houston; Blue Cross is based in Oklahoma. The University needs some provision whereby the employees can get satisfactory answers to their requests. Prof. Sutton said the proposal required a 90% satisfaction rate, but the penalties for not meeting that requirement are miniscule. Prof. Leigh said the comparison between the options was really a comparison of apples and oranges and would not help her communicate back to the faculty. Prof. Sutton said the Employment Benefits Committee is meeting with the insurers on December 11. Anyone is invited to attend. The vendors will be responding to a list of questions developed by the Employment Benefits Committee (available from the Senate office). This is not just about dollars. Prof. Leigh said the Benefits Office told her that the University wants Prudential. Also, her primary care provider refuses to give her referrals. Prof. Sutton said the University is self-insured, which gives us more leverage to force the provider to provide certain things. Prudential is under a different set of options. The Personnel office and EBC are supposed to be working for faculty and staff. We need a grassroots effort saying what we want. The reason health insurance was bid was to get the most value for our money. Following some discussion about our coverage, Prof. Sutton explained that the Executive Committee had recommended Option A as the first choice because it means less disruption for everyone, even though it costs more. The second priority would be Option B. Option C was rejected because it is lesser quality health care. Prof. Sutton asked the senators to talk with their faculty and e-mail comments to him, and he will take them to the committee. Four faculty members from the Norman campus are on Employment Benefits Committee. When asked about the number of bids, Prof. Sutton said about eleven companies submitted bids. A criterion was that the company currently must do business in Oklahoma.
Prof. Cline suggested that the Faculty Senate send an open-ended questionnaire to all faculty members. Prof. Sutton said the administration wants a recommendation from the EBC before the end of the year. The contract is for one year with the option for the University to continue. Prof. Schwarzkopf suggested that the Senate conduct an annual evaluation procedure starting next year. Following some discussion about conducting a survey this year, Prof. Holmes commented that the time frame is short and the question of what the survey would say is problematic. The process this year has been very open and inclusive. Four members of the faculty are on the committee, and the committee is operating in an efficient way. Last year, the EBC was given a plan at the last minute but was able to stop that plan. In this afternoon's meeting with the President, the Executive Committee told him it preferred Option A and rejected Option C. The President said he did not realize there would be differences in benefits. His mandate was to solicit bids on the current package to see if we could get lower costs. The Executive Committee told the President that $1,000,000 is only a 5% increase in health insurance. Prof. Sutton added that the committee would be asking the vendors very specific questions at their next meeting. Prof. Schwarzkopf moved that the Faculty Senate endorse the Executive Committee's recommendation: Option A is the first choice; Option B is the second choice; Option C is an unacceptable choice. After a brief discussion, the motion was approved on a voice vote. Prof. Schwarzkopf moved that Executive Committee draft a plan where the Senate can be a proactive participant in the evaluation process of health care for next year. Prof. Holmes asked whether he meant evaluation or design of the plan. Prof. Schwarzkopf said his intention was for the Senate to be an active, if not the driving partner, in conducting the satisfaction survey mentioned in the bid. The motion was approved on voice vote. During a discussion about the state health plan, Prof. Sutton said that plan was rejected because it was judged to be inferior and the cost went up. Prof. Holmes said an institution would have to stay in that plan three years. Furthermore, its rates change dramatically. Two years ago, OU benefited by the high rates charged by the state plan because its reserve fund was appropriated by the State Regents and distributed to us.
The meeting adjourned at 5:00 p.m. The next regular session of the Senate will be held at 3:30 p.m. on Monday, January 11, 1999, in Jacobson Faculty Hall 102.
It is the policy of the Board of Regents of the University of Oklahoma that all rights in copyright shall remain with the creator of the work unless the work is created with substantial use of University resources, is specifically assigned or commissioned by the University, is subject to contractual or legal obligations, or is a "work made for hire" as that term is defined by U.S. Copyright Law.
In keeping with traditional academic practice and policy, ownership of copyrights to works of artistry or traditional scholarship in the creator's professional field such as textbooks, course materials, scholarly papers and articles, computer courseware, software, novels, poems, paintings, musical compositions or other such works of artistic imagination produced by University employees who have a general obligation to produce such works where the specific choice, content, course and direction of the effort is determined by the employee without direct assignment or supervision by the University shall reside in the creators unless they are also sponsored/contracted works or specifically assigned by the University. The general obligation of faculty to produce scholarly works does not constitute specific assignment. Such exempt works of artistry or traditional scholarship shall be subject to an irrevocable, non-exclusive, free-of-cost and world-wide license in the University to exercise all copyright rights in and to the work except the right to commercially distribute copies. Upon request by the University, the creator(s) will grant University a nonexclusive, free of cost, world wide right and license to exercise all copyright rights in and to the work, except the right to commercially display, use, perform or distribute copies of the work, unless to do so would impair the ability of the creator to commercially or professional exploit the work. If a use of the work by University is reasonably determined by the creator to impair the exercise of such rights, the University shall discontinue the impeding use but otherwise shall remain free to use the work as provided in this Paragraph 3.1.
5.2 Disclosure and Protection. An individual creator of a University owned copyrightable work shall protect the work by placing the following statutory copyright notice on all copies thereof ("Copyright [insert year produced, e.g., 2000], the Board of Regents of the University of Oklahoma."). If the creator believes the work may have commercial value, he/she shall promptly provide written disclosure of the work to the appropriate Provost Vice President for Research.
programs (supervision of graduate students, service for professional organizations). The continued appointment of these professors will depend on their success, or the success of the research program with which they are connected, in obtaining external funding. However, the University agrees to support the professor's salary for a stipulated time (see details below) between grants. If no external funding has been obtained, by the end of that bridging period, the appointment will be terminated. These faculty will be eligible for promotion based on internal and external reviews of their publication record and other relevant indices of scientific and scholarly activity within the field. The same ranking system used with regular faculty, Assistant, Associate, and Full, will apply.
The need for such a track was first expressed by a group University of Oklahoma faculty, who were among the most successful at obtaining large grants and operating major research projects. They were asked by the administration what would aid their continued success. These faculty indicated that the availability of Research Professor positions would be a significant benefit when they try to attract or retain the high quality research scientists whom they need to help develop and work on major projects. These top research scientists seek positions in which their stature in the field is recognized, by rank and title, within the university where they are affiliated. It was noted that the title Professor was key, not just the additional security that the position would offer for periods between external funding.
The proposed track is different from any position currently provided for in the Faculty Handbook for two reasons: 1) Although section 3.5.3 of the Faculty Handbook describes temporary, non-tenure track, clinical/technical appointments, there is no specific designation for research appointments. 2) More importantly, nowhere in the Faculty Handbook are there descriptions of non-tenure track positions with ranking and promotion procedures. This proposal would require a new category for non-tenure track positions.
The precedent for such positions has been established by departments (academic units) on the Health Sciences campus that have Clinical Professorships for non-tenure track faculty who are responsible only for teaching. Additionally, Carnegie I institutions around the country, including three in the Big 12 (Colorado, Kansas, and Nebraska) have research faculty positions of the type being proposed here.
Therefore, we propose modifications to Section 3.5.3 of the Faculty Handbook such that a new category of non-tenure track faculty be created. The Research Professor position is non-tenure track, with continuous term appointments at the rank of Assistant, Associate, or Full. This track will be used to recruit top research scholars to support and enhance the major research programs and initiatives at the University of Oklahoma. Candidates for these positions must demonstrate significant capability or potential to both conduct high quality research and obtain external funds. The primary responsibilities of these faculty will be research and research-related such as proposal writing, project management, and teaching and service specifically linked to their research programs (supervision of graduate students, service for professional organizations). The continued appointment of these professors will depend on their success, or the success of the research program with which they are connected, in obtaining external funding. In proposing this modification to the Faculty Handbook it is understood that these procedures will be considered the only route to appointing people to non-tenure track Research Professorships.
Once a candidate has been recommended by the Department, their credentials will be reviewed by the Research Council whose recommendation will be forwarded to the Provost for review prior to presentation to the President and the Regents. All subsequent practices currently in place for regular faculty appointments would apply in these cases as well (see section 3.5.1 of the Faculty Handbook). Contracts will state clearly that these appointments will not become tenure track even though they may be renewed beyond the seven year period described as a maximum for temporary appointments in section 3.5.3 of the Faculty Handbook. Should a tenure-track position come available in the department, an individual in a Research Professor position would be eligible to apply. The standard national search procedures for tenure track vacancies are to be rigorously followed before a Research Professor's status can be changed to tenure track. The Research Professor should not expect to be favored for a tenured or tenure-track vacancy in the department.
The salaries awarded those appointed to these positions will be paid out of the moneys award by the grants funding the research program. Initial salary and rank will be commensurate with experience and national standards. To qualify for bridge funding between external awards, the individual must have been appointed on grants or contracts that have generated at least twice as much indirect costs as the total amount of bridge funding to be received, with a maximum of 12 months of bridge funding to be provided by the University. The University will establish budgetary procedures for bridge funding; units will not assume any obligations for Research Professor salaries.


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FLICKS & HITS
PRESENTED BY G.WIZ
Flicks & Hits is a event series consisting of viewing a feature film in the .ZACK Theater followed by musical grooves at Sophie's Lounge afterward. The twist is, it's a Hush Groove Experience. Meaning, the entire evening will consist of wireless headphones for both events. No more missing dialog from laughter or vocal outbursts while watching the movie. Upstairs you have 3 deejays spinning but you choose who you want to listen to by switching the switch on the headphones! You must have a state I.D. to receive headphones.
TICKET PRICE SERVICE CHARGE TOTAL PER TICKET
$15.00 - General Admission
Early Bird through 10/31 $3.00 + $1 facility fee $19.00
Starting 11/1 $3.00 + $1 facility fee $24.00
METROTIX SALES END:
Phone/Internet: 3 hours prior to show
Fox Box Office: 1 hour prior to show
The .ZACK box office opens 1 hour prior to show.
Tickets $15 - $20
3224 Locust Street , St. Louis, Missouri 63103
The .ZACK is the Kranzberg Arts Foundation's new four-story, 40,000-square foot property, developed in the historic Cadillac building at 3224 Locust St. housing:
- The .ZACK Theatre, a 202-seat proscenium-style theatre to be shared by .ZACK's resident arts organizations as part of the .ZACK Performing Arts Incubator Program which also includes co-op office space, a community scene shop with separate build and paint rooms, and prop/set storage all located in the .ZACK building.
- A full-service catering company and restaurant, Turn by David Kirkland, owned/operated by award-winning local chef David Kirkland (formerly of Café Osage).
- The Urban Ballroom, a fourth-floor, private event space with full-service catering options by David Kirkland Catering. The Urban Ballroom features panoramic views of downtown St. Louis, a customizable layout, and in-house spa, perfect for any event up to 300 people.
- Second floor retail space, the future home of Sophie's Lounge and Music Record Shop.
- Third floor commercial office space available for rent to a wide range of tenants
.ZACK brings synergy, access, and essential infrastructure for the performing arts community in St. Louis, and will be a venue in which patrons can have a dynamic, 360-degree experience. From theater fans to food and beverage lovers, and those looking to host special events, .ZACK will provide a world class experience for audiences from across the region.
https://www.facebook.com/ZACKonLocust
The .ZACK is wheelchair accessible.


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You are here: Home / Arts, Culture, Entertainment, Meetings, Events / Powerstories Celebrates Return to Live Theatre with Real Women Have Curves
Powerstories Celebrates Return to Live Theatre with Real Women Have Curves
January 7, 2022 by Post
After a nearly twenty-four-month intermission, Powerstories Theatre returns on February 3- 20 with the production REAL WOMEN HAVE CURVES by Josefina López. This crowd-pleasing comedy gem examines the bond between five headstrong and determined Latinx women in a small sewing factory in East Los Angeles.
Under the direction of Linda Edmundo, REAL WOMEN HAVE CURVES features Alejandra Sepúlveda Colón as Ana, Michelle Crowder-Soellner as Estela, Lillian Almodovar as Carmen, Lupita Hahn as Pancha, and Natalia Cruz De Dios as Rosali.
"It is so funny. This is a comedy, first and foremost, but it also has valuable lessons," said Linda. "There's female empowerment and entrepreneurship. There's also family and women of all different ages and generations coming together, working together for the good of one common goal. They are coming together as women, as Latinas and working hard."
Linda said that an important theme of REAL WOMEN HAVE CURVES is challenging society's ideas of beauty or what a body should look like.
"Women do have curves, and it's ok to express that. We don't have to try to fit into certain fashion and clothes. We can build the clothes around our beautiful bodies."
In celebration of this story of these five strong Latinx women and Powerstories long-awaited return, the theatre is debuting an art wall and seeking Latinx artists to display their original artwork in their lobby. The theatre accepts any visual arts medium from sketch, charcoal, paint, or photography to hang on this wall. Depending upon size, they have space for up to 20 pieces, first come, first served. There is no cost to participate, and artists will also be featured online and on social media. The deadline is January 24. Artists can register at https://forms.gle/hzt5Dx9a9543b8fS8
Powerstories founder Fran Powers said, "We are so excited because it's 2022, and we are finally doing live theatre back in our theatre. Join us! We can't wait to see you at the theatre."
REAL WOMEN HAVE CURVES is February 3-20 at Powerstories Theatre, 2105 W Kennedy Blvd, Thursdays through Saturdays 8 pm and Sundays 2 pm Matinee. Tickets are $25 general admission, $17 students/seniors/military. Get tickets at powerstories.ticketleap.com/real-women-have-curves/t/Press. Learn more at www.powerstories.com.
Filed Under: Arts, Culture, Entertainment, Meetings, Events, Association, Organization, Not-For-Profit, Philanthropy


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Young Adult Series "Druck"
"A little flippant and imperfect"
The actors in the "Druck" young adult series share some similarities with their characters, and many are armatures. | © Richard Hübner/ ZDF / funk
"Druck" (Pressure) is a young adult television series that features authentic actors and dialogue. Most of the actors are amateurs, and the transgender character is played by a trans man. The show has been a run-away success.
By Lucas Barwenczik
Druck (Pressure) is a new, successful German television series for young adults. It tells the stories of a group of teens about to graduate from secondary school. Launched in March 2018, the public television show is not only available on classic television channels and online media libraries. Viewers can also follow the series on ZDFNeo, ZDF and ARD's "funk" platform and Youtube, where it has racked up more than 60 million views.
Druck's fans value the realistic portrayals of the mostly unknown and so all the more authentic actors, like the trans man who plays a transgender character. We talked to Pola Beck, who has directed many episodes, and Julia Penner, the head writer of season 3 and co-head writer of season 4, about how the actors were chosen, how fan feedback gets incorporated into the series, and what other shows could learn from it.
"Druck" has an international fan base. How has the series won over viewers outside of Germany, which most other German have failed to do?
Beck: The show is based on Skam, an original series from Norway, andSkamfans were curious about the German adaptation. The LGBTQ community has also helped to spread the word - there aren't many series that depict the teen transgender experience. People are eager to find a series that represents them, especially when it takes an honest and realistic approach to important issues.
How important was authenticity when casting the actors and creating the characters?
Beck: Extremely. Most of the actors are not professionals, and we cast many of them because they shared qualities with a character.
Penner: We also did workshops where the actors took a really deep dive into their roles and internalized them. There is an element of typecasting, but it would be very different if they were just playing themselves. I don't think they would be as good.
Beck: I think part of our success is that the acting is not perfectly crafted. The actors bring a bit of themselves into their roles; it is a little flippant and imperfect. The way they talk is also inspired by the actors. The third season is about a transgender experience, and we deliberately cast a trans man to play the part: Lukas Alexander. One of my favourite scenes this season is when his character, David, comes out and says to his friend Matteo, "I'm a boy; I just have to work a little harder at it." A heartbreaking sentence Lukas wrote in this case. That doesn't mean that the actors dictate the dialogue to us; it is more of a productive back and forth.
Trans character David comes out to his friend Matteo (right) and others: "I'm a boy; I just have to work a little harder at it." | © ZDF/Bantry Bay/Gordon Muehle Is the idea to turn the overall series landscape into more of a collaborative medium so you can better narrate specific identities and positions?
Penner: From a writer's perspective, the workshops are very useful. It helps you tailor the writing to the characters more. We have sometimes come up with a scene and tried it out in improvisation. It has been so amazing, and we would like to continue it in other formats and subjects. But that depends on the project too, of course.
You get a lot of feedback on the internet, especially from the LGBTIQ community. Does feedback from the fans change the series in any way?
Penner: In season 3, we wrote David as a trans character because a fan started a petition saying it would be great to have this character be trans. So definitely at times.
Beck: Fans discuss the series on social media and we incorporate the feedback into our conversations. We talk about how to respond if something has been misinterpreted or negatively received. Initially it didn't happen that often, but at some point it just became part of the process.
Penner: We don't take every suggestion on board, of course. We got a lot of requests to make Amira lesbian in season 4, but we decided against it.
The protagonists are from Generation Z. Do you think they are different from the generations that came before, or are the worries of teenagers timeless and universal?
Beck: Some things are universal, of course. But I think the audience has become more open, at least as far as LGBTQ issues are concerned.
Penner: There is definitely more openness and visibility. My overall sense is that this generation helps each other more. This is also reflected in movements like "Fridays for Future".
So are you saying it is a particularly politically active generation?
Beck: It's funny that the first season opened with a monologue about how apolitical this generation is. That aired in March 2018. And now, a year and a half later, so many amaz8ing things have happened.
The fourth season is currently airing. What are your hopes for the future of the series?
Beck: I want the series to continue to be courageous and forge new paths, whatever may come.
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Lucas Barwenczik is a freelance critic and writes about cinema and film culture for publications like "Filmdienst", "Kino-Zeit" and "Culturmag".
Translation: Sarah Smithson-Compton
Copyright: Text: Goethe-Institut, Lucas Barwenczik. This work is licensed under a Creative Commons Attribution – Share Alike 3.0 Germany license.
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Presents information on the petroleum industry. Efforts by the U.S. to secure oil from West Africa; Expectation that global demand is set to rise a robust 1.6 million barrels a day in the fourth quarter of 2002; Declaration by McDonald's Corp. to use a healthier blend of the slick stuff for its fried food.
Analyzes the prices of petroleum products in the world market. Factors that drive the oil prices; Performance of U.S. crude stocks; Concerns on the disruption of oil supplies.


Who could the newly-cast Game of Thrones prequel actors be playing?
Naomi Watts and Josh Whitehouse have been officially announced as the first actors to be cast in Game of Thrones prequel The Long Night (well, at least the pilot episode anyway).
We already know that The Long Night will be set during the so-called Age of Heroes, a legendary period of history thousands of years before the events of the main Game of Thrones series (about 10,000 years, to be exact) when the White Walkers made their first attack on humanity – which means Watts and Whitehouse (what a firm of Electricians they'd make) are unlikely to be playing characters closely affiliated with anyone we know and love.
However, we have heard of various figures from around this time – legendary hero Bran the Builder, one of the earliest Starks, and Lann the Clever, who swindled another family to found the Great House of Lannister, as well as Iron Islands ruler the Grey King among others.
Whitehouse could be playing any one of the above, or a junior member of a noble family. Given that we have no information about his character at the moment, there's quite a lot of leeway, and there's a fair few Age of Heroes figures that he might fit the bill for (also including Garth Greenhand, Simeon Star-Eyes or the Winged Knight).
Working out who Watts might play, however, is a bit trickier, as by the time of the main series pretty much the only woman remembered from The Age of Heroes by Westeros' patriarchal society is Nissa Nissa.
Nissa Nissa was the wife of legendary warrior Azor Ahai, aka The Prince Who Was Promised, a divinely-gifted figure who becomes the subject of many myths by the time of the main Game of Thrones series (with some characters suspecting that either Jon Snow or Daenerys may be his reincarnated spirit).
Famously, Azor Ahai helped lead the force of humans that, combined with the elf-like Children of the Forest, defended Westeros from the first attack of the White Walkers, driving them north and sealing them behind a wall – and before you ask, yes Whitehouse could be playing this guy, though the Hollywood Reporter has suggested he's not the male lead, which Azor Ahai presumably would be.
Nissa, though, is mainly remembered for being sacrificed to forge the mystical sword Lightbringer, as Azor Ahai plunged it through her breast to temper the steel (which we're sure made sense at the time). Probably not quite the weighty role Watts would choose, and not exactly the "charismatic socialite hiding a dark secret," that her character was described as when her casting was revealed (though to be fair, given that she's only remembered as a legend the truth of Nissa's life may be more complicated – maybe she was once a socialite).
It's more likely, given her character description, that Watts is playing the scion of some noble family (like Whitehouse may be) – though even these familiar dynasties were very different during the Age of Heroes. The Starks and the Boltons were around in some form, sure, but the Lannisters didn't really exist yet, and neither did many of the other noble families we've come to know during Game of Thrones.
House Tyrell weren't really around, or the Baratheons, or even the Greyjoys, and the Targaryens were still sheep-farmers over in Essos at the time this series is set. A few more minor houses we might have encountered in the series were around, though (House Blackwood, anyone?), so it's possible Watts' character could be one of those.
But then again, maybe we're we're thinking too small. Describing Watts' character as a "socialite" seems odd given that the spin-off is set during the Age of Heroes, which was essentially the Westerosi version of the Bronze Age and even more primitive than the medieval world of Game of Thrones – so who's to say she's a socialite in the traditional sense?
For a long while fans have been speculating that the new series will delve deeper into the world of the wildlings, the Celt-like people living in the far North of Westeros, after casting calls went out asking for Scandinavian actors (while not exclusively, a large number of actors cast in Game of Thrones to play wildlings are of Scandinavian origin).
While we might not think of the primitive wildlings as particularly social people, who knows what their society was like 10,000 years earlier – maybe they even had glamorous frozen soirees, perfect for Watts' socialite to ponder her dark secrets within.
Until we know the focus of this new series, though, it's quite hard to make accurate predictions. Will The Long Night focus on legendary heroes we have heard of, or leave them in the background to focus on new characters, the forgotten saviours of Westeros?
Will it be a political drama like Thrones was at the start, or delve straight into the more mystical elements of the series (which could mean actors playing the magical Children of the Forest or the White Walkers in more prominent roles)?
Without this information, it's hard to say even what sort of characters the series will be focusing on, let alone which specific ones the new actors will be playing – but there's definitely the potential for these actors to be playing some really intriguing people when the series does finally come to TV.


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[NEWS] Ha Ji Won & Bae Doo Na to transform into waitresses to celebrate "Korea"
jhezwafu 3:00:00 PM bae doo-na, Ha Ji Won, NEWS Comments
To mark their film "Korea" exceeding one million views, actresses Bae Doo-na and Ha Ji-won will don aprons as waitresses to treat lucky fans to a night of feasting at a pub in Sinsa-dong, southern Seoul.
The event is set to take place tonight, and participants were selected from applicants who registered through the movie's official Web site and Me2Day site.
According to Korean Film Council, the film, which opened on May 3, was viewed by some 1.2 million viewers in just 10 days since its release.
Other cast members and director Moon Hyun-sung will also attend the event.
The proceeds from the night's sale of food and beverages will benefit charities that help marginalized youth and defectors from North Korea.
The film is based on a true story about a friendship that emerged between table tennis players from the North and the South back in 1991 when the two Koreas joined forces to compete as one nation at the World Table Tennis Championships, subsequently winning a gold medal in the process.
By Carla Sunwoo
Source: JoongAng Daily


North Carolina has long been committed to preventing child maltreatment. The grants provided by the NC Division of Social Services through its Community-Based Programs are a prime example of this. Through its funding to local partners, every year the Division helps provide family preservation services, family support programs, family violence prevention, and other services across the state. We're serious about prevention.
To further deepen this commitment, the Division of Social Services is now taking steps to integrate the Strengthening Families Protective Factors Framework into our state's child welfare system.
The Protective Factors Framework is an approach to increasing family stability, enhancing child development, and reducing child abuse and neglect. Although it is research-based (Horton, 2003), the framework is not a narrowly defined practice or prescriptive model program. Rather, it is a comprehensive approach that focuses on building families' protective factors. Like family-centered social work practice, the Protective Factors Framework is flexible, allowing agencies to apply it in a way that fits naturally with their work with children and families.
Research has found that to ensure the well-being of children and families, interventions must do two things: reduce risk factors and promote protective factors.
Risk factors are something we know a lot about. Spurred on by research findings, we have incorporated a focus on identifying and responding to social isolation, family violence, and other risk factors for child maltreatment into child welfare policy and the tools we use in child protective services.
Child welfare professionals are less accustomed to thinking about protective factors--conditions or attributes of individuals, families, communities, or the larger society that reduce risks, build family capacity, and foster resilience (USDHHS, 2003).
The Framework focuses on the five protective factors described in the box below. Research tells us that when these factors are well established in a family, maltreatment is less likely. Research also shows that these protective factors are "promotive," meaning they build strengths and a family environment that foster optimal child and youth development (CSSP, 2012a).
1. Parental Resilience. No one can eliminate stress from parenting, but a parent's capacity for resilience can affect how a parent deals with stress. Resilience is the ability to manage and bounce back from all types of challenges that emerge in every family's life. It means finding ways to solve problems, building and sustaining trusting relationships including relationships with your own child, and knowing how to seek help when necessary.
2. Social Connections. Friends, family members, neighbors and community members provide emotional support, help solve problems, offer parenting advice and give concrete assistance to parents. Networks of support are essential to parents and also offer opportunities for people to "give back," an important part of self-esteem as well as a benefit for the community. Isolated families may need extra help in reaching out to build positive relationships.
3. Concrete Support in Times of Need. Meeting basic economic needs like food, shelter, clothing and health care is essential for families to thrive. Likewise, when families encounter a crisis such as domestic violence, mental illness or substance abuse, adequate services and supports need to be in place to provide stability, treatment and help for family members to get through the crisis.
4. Knowledge of Parenting and Child Development. Accurate information about child development and appropriate expectations for children's behavior at every age help parents see their children and youth in a positive light and promote their healthy development. Information can come from many sources, including family members as well as parent education classes and surfing the internet. Studies show information is most effective when it comes at the precise time parents need it to understand their own children. Parents who experienced harsh discipline or other negative childhood experiences may need extra help to change the parenting patterns they learned as children.
5. Social and Emotional Competence of Children. A child or youth's ability to interact positively with others, self-regulate their behavior and effectively communicate their feelings has a positive impact on their relationships with their family, other adults, and peers. Challenging behaviors or delayed development create extra stress for families, so early identification and assistance for both parents and children can head off negative results and keep development on track.
The Protective Factors Framework is part of Strengthening Families, an approach more than 30 states are using to shift policy, funding, and training to help programs build protective factors in the children and families they serve. Many states are also using Strengthening Families to integrate prevention strategies, focus on families in the child welfare system, and engage parents and communities.
Are mutually responsible for better outcomes for children, youth and families (CSSP, 2012b).
embed protective factors as a part of NC's child welfare practice model, helping practitioners and other stakeholders develop an understanding of what it means to have a dual focus on optimal child development (well-being) and family strengthening (safety and permanency).
Policy/Systems Change. Making protective factors part of NC's approach to child welfare services will help us unify and build on what we're doing across the child welfare continuum--from primary prevention through adoption services. In the long run, this will help us prevent child abuse and neglect before they occur and promote the well-being of children served by the child welfare system.
Although policy and systems change will begin with the Division's Child Welfare Services Section, the work will involve collaboration with many other state and local agencies and community stakeholders.
Parent Partnership. The Division will be looking for opportunities where parent leaders can take on leadership roles and provide direction to help us strengthen child welfare services, practices, and policies to improve outcomes for children and families.
Evaluation. As part of its overall commitment to continuous quality improvement, the Division will develop a plan for assessing the success and impact of its efforts to integrate the Strengthening Families approach throughout North Carolina.
North Carolina's Strengthening Families initiative is already underway. Over time the strategic efforts that have begun in the Division of Social Services will radiate to other departmental and community programs, bringing benefits to professionals and families across the state.
You may be wondering: How will this initiative affect my work with families?
According to people who know, Strengthening Families has a positive impact on child welfare work.
During the Division's March 2013 MRS call, staff from NC county DSS agencies who are already using the approach reported that rather than asking you to do something new, Strengthening Families helps you do a better job of what you are already doing--partnering with families to make them safer, stronger, and healthier.
By explicitly identifying the building of social connections, parental resilience, etc. as goals for our interactions with families, the Strengthening Families framework can help us make our efforts to support families more intentional and effective.


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