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Key blood clotting protein could be 'warning light' for severe COVID cases
A protein that could be an early indicator of severe COVID-19 has been identified and described by scientists at the University of Aberdeen.
Patients who get seriously ill following a COVID-19 infection frequently show evidence of a severe form of lung disease and in around 30% of patients blood clots are evident. Blood clots arise due to deposits of fibrin within the lung contributing to pneumonia and respiratory distress. These fibrin deposits restrict the amount of oxygen absorbed into the lung.
Patients with severe disease require oxygen support, which in very severe cases requires mechanical ventilation. In addition, blood clots are found throughout the body of those that are severely ill in both small and large vessels, frequently leading to DVT, stroke and other thrombotic complications.
The study, published in Journal of Thrombosis and Haemostasis, analysed profiles of 113 patients hospitalised in Aberdeen with severe COVID-19; 24 patients with non-COVID-19 respiratory infection; and a control group with no symptoms.
The research group found that patients with COVID-19 had significantly higher levels of a protein called PAI-1 (plasminogen activator inhibitor 1) compared to those with non-COVID respiratory infections and those with no infection at all. PAI-1 acts to inhibit breakdown of fibrin in the body. As such, the high PAI-1 in COVID-19 patients prevents fibrin removal from the lung and other parts of the body, giving rise to pneumonic complications and thrombosis.
The team say the study results indicate that PAI-1 could be a potential early indicator of severe COVID-19 outcome. Not only that but the results from the group indicate that an existing clot-busting drug, Tenecteplase, could be used to treat the condition.
Lead researcher Prof Nicola Mutch from the University of Aberdeen, said: "Our challenge is to understand why patients with severe cases of COVID-19 are so prone to the development of these clots in big and small blood vessels throughout the body.
"In this study we have identified PAI-1 as a key protein involved in the persistence of blood clots in severe COVID-19 disease. PAI-1 is associated with a poorer outcome in patients. There are existing drugs that could be utilised to promote breakdown and clearance of fibrin in the lung of those with severe COVID-19, our study shows that a PAI-1 resistant form of a clot busting agent, Tenecteplase, is superior over other drugs. Our data indicates a novel strategy to treat patients with severe COVID-19 and subsequent severe acute respiratory coronavirus infections.
The study was funded by NHS Grampian, Medical Research Scotland, The Development Trust and Friends of Anchor.
Luan Grugeon, Chair of Trustees of NHS Grampian Endowment Fund said: "I – and all the Endowment Fund trustees – are delighted to see this study make progress in our understanding of COVID-19. We look forward to seeing what further developments come from this research."
Professor Heather Wallace, Chair, Medical Research Scotland said: "Medical Research Scotland is delighted to have contributed to this excellent study. Investigating the challenges presented by Covid-19 is one of the key research priorities of our time. We hope that this finding can be taken forward to help improve the diagnosis and treatment of patients."
Friends of ANCHOR director, Sarah-Jane Hogg, said: "We ordinarily assign research funding to cancer and haematology diseases, but when non-Covid research shut down during the pandemic, we were approached to consider the reallocation of funds that had been available to Dr Mutch for a blood clotting study.
"Dr Mutch and her team were well placed to aid the global research effort into Covid-19, and with the demand for scientific data on the disease, we're pleased to have been able to support the work in a time of unprecedented medical challenges, thanks to the support of our wonderful fundraisers and donors."


An environmental management system (EMS) based on the ISO 14001 standard is recognized worldwide as a superb methodology for reducing environmental hazards, maintaining regulatory compliance and as a cost-saving vehicle.
Environmental management system internal auditors assist an organization in maintaining an effective EMS and in meeting environmentally sensitive targets and objectives. Using environmental methodology and tools, this ISO 14001:2015 EMS internal auditor class helps your organization drive continuous improvement.
Learn a range of internal EMS auditing skills that will help you become a strong advocate and auditor in your company's effort to obtain maximum value from your commitment to environmental issues. Gain confidence in your audit skills - from planning through reporting the results. Acquire actual experience working as a member of a functioning audit team during the course.
Recommended for EMS audit program coordinators, EMS auditors desiring certified internal auditor status, EMS planners, implementers and team members.


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Q: Execution failed for task '_app_transformResourcesWithMergeJavaResForDebug' in Android Studio 3.0.1 Everytime I try to run my android app, the following error emerges...

Execution failed for task '_app_transformResourcesWithMergeJavaResForDebug'
   More than one file was found with OS independent path 'org/bytedeco/javacpp/macosx-x86_64/libusb-1.0.dylib'

My app's build.gradle file looks like this...
apply plugin: 'com.android.application'

android {
    compileSdkVersion 27
    defaultConfig {
        applicationId "com.example.yusaf.myapplication"
        minSdkVersion 21
        targetSdkVersion 27
        versionCode 1
        versionName "1.0"
        testInstrumentationRunner "android.support.test.runner.AndroidJUnitRunner"
    }
    buildTypes {
        release {
            minifyEnabled false
            proguardFiles getDefaultProguardFile('proguard-android.txt'), 'proguard-rules.pro'
        }
    }
}

dependencies {
    implementation fileTree(include: ['*.jar'], dir: 'libs')
    implementation 'com.android.support:appcompat-v7:27.0.2'
    implementation 'com.android.support.constraint:constraint-layout:1.0.2'
    testImplementation 'junit:junit:4.12'
    androidTestImplementation 'com.android.support.test:runner:1.0.1'
    androidTestImplementation 'com.android.support.test.espresso:espresso-core:3.0.1'
    // openCV library
    implementation project(':openCVLibrary')
    // Bytedeco library
    compile group: 'org.bytedeco', name: 'javacv-platform', version: '1.3.3'
}

Does anyone know of any solutions? I tried to find the files but I've gotten nowhere so far...

redpajama_set_name: RedPajamaStackExchange


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Original dinosaur claw sheath proteins preserved for 75 million years
New research from North Carolina State University shows that a 75-million-year-old Mongolian oviraptor, preserved while brooding its eggs, also preserved the original keratinous claw sheath that covered its digits. The work ...
Chimpanzee males court friends in high places
In the world of chimpanzees, being the alpha male definitely has its benefits and, as with humans, it's good to have powerful friends.
Tech firms aim to be video gateways
Facebook and Snapchat have overtaken the home pages of Yahoo and Google as the front door to the Internet for hundreds of millions of people. Now, the two rivals are pursuing a much bigger challenge: surpassing television ...
Review: Roku Express is a streaming video bargain
No matter who you are, if you're looking for a way to stream video from the internet to your living room TV, Roku hopes to have you covered.
Mall of America is stepping up its digital game with virtual reality, robots
It is hard to convey the spectacle that is Mall of America in a PowerPoint presentation.
Don't think of Amazon Echo as just a speaker. It's a whole new way of life
Stephanie Palermo wasn't interested in living in a "smart home" outfitted with web-connected appliances controlled remotely by phone or computer. She didn't need her fridge to have Wi-Fi or her blinds to close themselves.
PPPL physicists build diagnostic that measures plasma velocity in real time
Physicists at the U.S. Department of Energy's (DOE) Princeton Plasma Physics Laboratory (PPPL) have developed a diagnostic that provides crucial real-time information about the ultrahot plasma swirling within doughnut-shaped ...
Hovering aircraft raises suspicion that it's Google co-founder's flying car
Even from a few hundred yards away, the aircraft made a noise strikingly different from the roar of a typical plane.
French wine harvest among smallest for 30 years
This year's French wine harvest is among the smallest in 30 years, down 10 percent from last year although not quite as bad as feared, authorities said Tuesday.
Shedding light on the formation of nanodroplets in aqueous solutions of polar organics
A team of researchers in Russia worked together to shed new light on the heterogeneous nature of a polar organic liquid mixed with water. They used laser light as a tool in two ways, dynamic light scattering and phase microscopy, ...

redpajama_set_name: RedPajamaCommonCrawl


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How To Rock A Baby To Sleep Safely And Easily
Rocking a baby simulates the movement of the womb while keeping the kid close. The key to rocking is to move slow and pay attention.
by Andy Netzel
AleksandarNakic/Getty
Knowing how to rock a baby to sleep is an essential skill for parents of newborns. If newborns seem high maintenance, it's because they are, but the reason they demand to be rocked to sleep is rooted in evolution. A human baby's time in the womb isn't enough to get them to a place of relative developmental independence once they are born. Most mammals are born ready to be much more independent than humans. But we evolved with relatively small pelvises, and if babies spent any more time in the womb, their heads would be too big to get through the birth canal. So babies are born small enough to emerge from their mothers safely and consequently entirely dependent on others.
"We really should be in the womb at least another 18 months," says Darcia Narvaez, Ph.D., professor of psychology at the University of Notre Dame. "Compared to other animals, we're just not ready for birth." But out we come. So, what is a Homo sapien parent to do? Simulate the feeling of the womb, and the best way to do that is by rocking a baby to sleep.
Rocking a baby to sleep helps them accomplish many things they can't physically do on their own, like regulating their digestion, Narvaez explains. Rocking is a natural way to soothe, comfort, and help a child fall asleep (and a reason they calm down so quickly in baby bouncers and baby swings). It can be discouraging if you struggle to rock your baby to sleep, especially considering all the benefits. So, here are several tips to keep in mind the next time you're rocking your baby.
"Be patient with yourself!" says baby sleep expert Meg Casano, co-owner of Baby Sleep Science. "Learning new things takes time — for adults, and also for babies — so try not to let your partner jump in immediately if rocking, at first, is not going the way you hoped. If you want to be the go-to rocker in your household, you'll want to stick with it and practice a lot!"
The key is to pay attention to the kid: "Follow the baby's signals. Do what keeps them calm," Narvaez says. If a certain rocking method calms a child, it's working. Aside from dangerous movements, there's no "wrong" way to rock a baby to sleep if it's meeting the end goal. So if the way a parent rocks is "weird" but effective, there's no shame in that technique.
Some kids prefer to be upright, which could be because they have reflux. Others may want to be facing the ground with their parent's arm supporting their stomach, while other babies like bouncing or swaying. Monitoring the baby will let you know what's working. "I've seen people treat the baby like a doll. They're not paying attention," she says. "They're jumping them up and down or moving in a fashion without noticing whether the baby is enjoying it."
Another key is to keep the child connected to the body when rocking, Narvaez says. "You don't want to accidentally trigger the Moro reflex, where an infant feels like it's falling." Besides, who doesn't want to snuggle?
It's important to realize that what you do to calm down your child will have long-term effects. "The things that tend to soothe babies the most are the things that you tend to do the most when they cry," Casano says. That goes for rocking, too. So if there's some weird rocking technique that works, realize that's the dance that will need to be done to calm the baby down. At the park. At that work meeting. At that party.
How to Rock a Baby to Sleep
Pay attention to the baby. Do what calms them.
Don't hand the baby off to your partner if you suck. Practice makes perfect.
Keep the baby close to your body.
Be steady and consistent with the beat.
If rocking isn't working, try putting on a 60 bpm song and moving to the beat.
Don't do something that will encourage parental sleep.
Set the mood. Dim the lights and move to a quieter part of the house when rocking the baby.
1-Year-Old Baby Sleep: 3 Things Parents Can Expect
Creatine Supplements Could Help With Symptoms Of Sleep Deprivation


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You are here: Home / AS/VX Merger / AFA Constitution Mandates "Date-of-Hire" Seniority Integration, Protected by U.S. Law
AFA Constitution Mandates "Date-of-Hire" Seniority Integration, Protected by U.S. Law
June 24, 2016 05:00 By Jeffrey Peterson (MEC President)
[Note: AFA International prepared the following information for AFA Alaska members regarding the Association's seniority integration policy in a merger. Specifically, this addresses the proposed acquisition of Virgin America by Alaska Air Group and merger of Alaska Airlines and Virgin America under one operating certificate. –The AFA Alaska MEC]
AFA's seniority integration process reflects:
A commitment to ensure fairness with a "fair and equitable process" recognized by U.S. law,
Our desire to promote unity,
AFA's decades of experience in promoting and protecting Flight Attendants' interests in airline transactions.
The principle of 'date-of-hire' is codified in the AFA-CWA Constitution to integrate the list according to the schedule competitive bidding seniority that someone brought to the merger.
Page 1 of AFA-CWA Constitution & Bylaws, Article I.C.4. —
To promote the interest of the profession and to safeguard the rights, individually and collectively, of the members of the Union by ensuring that the "seniority date" of a flight attendant shall be the date from which each flight attendant accrues competitive (bidding) seniority as a flight attendant.
U.S. Law Requires Enforcement of AFA Seniority Integration Policy
AFA's seniority policy is also reinforced by US law. After the TWA Flight Attendants were stapled to the bottom of the seniority list at American, our union advocated for a change to the law that would provide a "fair and equitable" seniority integration for all airline workers affected by a merger. Again, fair and equitable is a process, but it does not ensure a "fair" outcome.
If seniority is left up to an arbitrator, all arguments and positions made by the parties involved will eventually be decided by someone who has no claim or stake in the end result. That is why we ensured that the law would also protect our union's seniority integration policy. The McCaskill-Bond law states:
"if the same collective bargaining agent represents the combining crafts or classes at each of the covered air carriers, that collective bargaining agent's internal policies regarding integration, if any, will not be affected by and will supersede the requirements of this section;"
This law affirms that our AFA seniority integration policy is the process that must be used when AFA is the representative of Flight Attendants at the merged airline.
'Date-of-Hire' Principle Used, 'Bidding Seniority' Actual Term
Section X.C.2.a.(2). of the AFA-CWA C&B ensures that, "…the 'seniority date' of a Flight Attendant shall be the date from which each Flight Attendant accrues competitive (bidding) seniority as a Flight Attendant as of the date of the merger agreement between the affected airlines." The term "date-of-hire" is common terminology among Flight Attendants and is the principle contained within the C&B. This term describes our principle but not the actual wording that refers to bidding seniority.
When Does the Process of Seniority Integration Take Place?
Once there is a "reasonable probability that the [operational] merger will be consummated" (Section X.C.2.i.), the NMB determines the merger has resulted in a single carrier for purposes of representation and AFA is certified as the representative of the combined Flight Attendant group, the AFA-CWA Seniority Integration process begins, Section X, pages 123-127.
The Seniority Merger Integration Committee – Merger Representatives
The Alaska MEC has installed its two Merger Representatives. Upon certification of AFA as the bargaining representative for Virgin America Flight Attendants, the timelines of Section 10.C. shall apply. Virgin America leaders will select their two Merger Representatives within 30 days and a training at the AFA-CWA International Office shall be scheduled for all Merger Representatives, the full Seniority Merger Integration Committee (SMIC), and the seniority list work will begin.
The SMIC consists of representatives from each pre-merger airline. The AFA-CWA Constitution and Bylaws (C&B), which is also reinforced by U.S. law, provides clear instruction on the committee role and authority in merging the seniority lists.
These representatives are responsible for:
compiling the necessary employment data for all Flight Attendants from their respective airlines, and
working as a full committee to compile a single Flight Attendant seniority list.
In terms of compiling the single seniority list, the only two (2) items constitutionally required for resolution by the committee include:
applying credit for initial training while maintaining relative seniority on each respective list, and
methodology for integration of same day seniority dates.
In every case, per Section X.C.3.c.(4) of the C&B "the relative position of the flight attendants on their respective seniority lists shall be maintained and the merger representatives shall not have the authority to alter the relative position of any flight attendant to others on her/his own list for any reason." In other words, the existing order or placement on each respective list must remain the same, i.e., no one "leap-frogs" over another.
Prior Integrations, Contractual Requirements and Training Days
The SMIC may not alter former seniority integrations. Prior decisions are binding upon the Union. In addition, the terms of the contract cannot be altered in this process. The AFA Seniority Merger Integration Process does not provide for adjustments to seniority dates that should otherwise be handled through a grievance.
The C&B strictly prohibits changes, other than to adjust for initial Flight Attendant training. Section X.C.3.c.(1) of the C&B states, "the only adjustment to seniority date as defined in Section X.C.2.a., being reconciliation of differences in policies on the respective carriers relating to seniority accrual for training days so that each Flight Attendant on the merged seniority list receives credit for her/his training days."
AFA Seniority Integration Policy Used in Mega-Mergers
In both the Delta and American mergers, AFA's merger policy set the standard for Flight Attendant seniority integration. At Delta, management knew that Flight Attendants would have one more big reason to vote for a union unless management provided the same seniority security that AFA's policy would provide. The Northwest and Delta lists were integrated according to AFA's seniority integration principle.
AFA had the cleanest seniority list in the industry at US Airways, where many mergers took place based on AFA's seniority integration principle. Further, our union had gained seniority protections under the law. In the American merger, APFA agreed to a seniority integration that mirrors AFA's constitutional merger policy, protecting both pre-merger US Airways and American Flight Attendants.
In these examples, AFA's policy drove the process used even when AFA was not the surviving union. The difference in the Alaska/Virgin America merger is that AFA will be the surviving union. When AFA is the surviving representative there is no question: the AFA Seniority Integration Policy is used and required by U.S. law.
In the United/Continental/Continental Micronesia merger, the AFA-CWA Seniority Integration Policy is enforced since AFA is the surviving union following a representation election. That seniority integration process is complete and the Merger Representatives from each pre-merger airline simply continue their collective SMIC work to confirm the employment data of new hires and update the list based on retirements, etc. The integrated list becomes effective upon ratification of a Joint Collective Bargaining Agreement.
Recognition of Every Flight Attendant – Unity is What We Need
Our merger policy was put in place nearly 30 years ago following mergers where the issue of seniority did nothing more than create division. This division plays out at a time when it is especially critical for Flight Attendants to stand together in unity. In mergers, our focus needs to be on making our seniority count with the best job security, pay, benefits, work rules and quality of life at the merged airline. Our policy provides a defined and transparent procedure for seniority integration.
The fate of our seniority should never hinge on a corporate decision that is outside of our control. With a detailed process in black and white we can focus our attention on our unity and work towards a single contract that reflects our valuable contributions to the airline.
Filed Under: AS/VX Merger, Latest News Tagged With: 2016, merger, seniority, Virgin America


I get stuck. There, I said it. Every blinkin' time I write a book, I get stuck. You hear tales of writers penning entire books without so much as pausing for breath or stopping to make coffee and/or bang their heads against a wall. Not me - at some point I get stuck and when I get stuck I get grumpy. And so there I was, writing the fourth Stitch Head book (What's it called? I hope you cry. The Spider's Lair, I answer!) and yep, I got a bit stuck. And then grumpy.
Now I'm less grumpy and, lo and behold, less stuck.
Thanks to Evan (as Stitch Head - you can see his Dinkin Dings earlier in this blog) Alex (as Gormy Ruckles) and everyone at Hampton Junior School for dressing up and being generally awesome. You are legends, all!
I'm glad you aren't stuck anymore because I just finished reading Stitch Head to my daughter and she is a big fan of yours now! I'll be posting a review on my book blog on Feb 15. http://book4children.blogspot.com.


For most people, a single 5K or 10K is tough. A half marathon is daunting. A full marathon? Forget about it! But Southington YMCA Aquatics Coordinator Suzanne Clemente ran all four of those races in just four days.
The Walt Disney Dopey Race consists of a 5K, 10K, half marathon and full marathon through the Disney World parks. The event starts with a 5K on Thursday, and ends with the marathon on Sunday.
Clemente acknowledged that the Disney aspect made it even more special. Most of the thousands of runners were dressed like Disney characters, including Clemente. She dressed up like Darla from Finding Nemo for the first race, Kevin from Up for the second race, Mike Wazowski from Monsters, Inc. for the third, and Smee from Peter Pan for the finale.
"I had so much fun dressing up, and looking at everyone's costumes," Clemente said.
The racecourses were spread throughout a variety of Disney parks and attractions. The marathon included all four main parks; Magic Kingdom, Animal Kingdom, Hollywood Studios and Epcot. Over the latter half of the race, Animal Kingdom and Epcot were open, with many people walking around.
However, it was not all fun and games. The training leading up to the race was brutal. Over the four months leading up to the race, Clemente took part in an online training specifically designed to prepare participants for the Dopey race.
Clemente's journey to becoming a high level runner was a strange one. In high school, she hated running. She only ran short distance because she disliked long distance running so much. But in 2012, she picked up running again because she thought it would be an easy way to get exercise. She ended up falling in love. She participated in a half marathon later that year, and ran her first full marathon in 2014.
"I'm not really sure why I even started running again, but I'm glad I did," Clemente said.
Clemente has worked at the Y since she was a Camp Sloper Counselor 15 years ago. She swam for the YMCA, so she thought it would be a sensible summer job. But it became so much more than that. She loved every single aspect of working for the Y. Over the years, she has worked as a lifeguard, camp counselor and waterfront director. She now works as the YMCA Aquatics Coordinator, where she does lifeguard and CPR training, lifeguarding and "everything and anything needed" at the pool.
Clemente hopes that her experience with the Dopey run will motivate members of the Y community to tackle their own goals.
On mother's day weekend the Gymnastics team of the Southington YMCA traveled to beautiful central Maine to compete in the 2018 YMCA Northeast Regional Gymnastics Championships. This competition has a total of 34 YMCA's from Connecticut, Massachusetts, New York, Maine, Rhode Island, and New Hampshire with over 1,300 gymnasts participating. This was the second year in a row that the full team has qualified for this competition which is a big accomplishment. The northeast region for Gymnastics in the YMCA program is extremely competitive, so much so that it is actually harder to qualify for the regional competition then it is to qualify for the YMCA Gymnastics National Championships.
The athletes have worked so hard this season and it showed this past weekend. We are now once again the Xcel Bronze Northeast Regional Team Champions. This means that out of all 34 YMCA'S that competed our Xcel Bronze team is number one. Along with this honor of first place team we have a total of 16 regional state championship titles with athletes ranging from Xcel Bronze to level 7. This year the Southington YMCA has 30 top 5 placements on individual events. Athlete Kara Loubier also earned the fourth highest all around in the entire competitions with a 37.9.
This competition marked the end of the regular season for the team. 0n June 27TH 13 members of the Southington YMCA gymnasts will be traveling to Toledo, Ohio to compete in the 2018 YMCA National Championships. We wish them good luck, and a big congratulations a phenomenal season.
Please register by email Coach Jamie at jlagoy@sccymca.org.
The world is 71% water. Your children are 100% curious. Keep them safe.
In the time it takes to answer a phone call, a child can become submerged underwater and lose consciousness. That's how fast a drowning can happen. Drowning can occur nearly anywhere with standing water: pools, ponds, culverts, bathtubs—even a bucket.
Water is a source of fun and recreation, but it can also be a source of fear. You don't want your children standing around while their friends play in the water. But you can't be everywhere every second. Teaching children how to be safe around water is one of the most important life skills parents can help to provide. It not only saves lives, it builds confidence.
As a parent or caregiver, the last thing you want to do is limit your children. Don't keep them sidelined. Let them be curious. Give them every opportunity to expand their horizons. When children learn how to be safe in and around water, it opens up a vast new world full of opportunities for them to develop self-esteem, discover new ways to stay fit and build relationships that can last a lifetime.
Water safety is a community-wide issue. Help engage the entire community—to keep all children safe around water—by becoming an advocate in your neighborhood. Encourage other families to enroll their children in water safety programs and swim lessons.
When you sign up your children for Safety Around Water, you are giving them skills to help keep them safe for a lifetime.
You can help keep children safe around water.
Take these steps to ensure they enjoy water-related activities safely.
John's 26-day, $15,000 Challenge Kicks Off June 1!
He's at it again! Beginning, Friday, June 1, Southington YMCA's Executive Director John Myers will run 4 miles a day for 26 consecutive days in memory of Chase Kowalski and to raise money so that the Southington Y can continue to offer the Race4Chase Kid's Triathlon training program.
The Race4Chase Kid's Triathlon Program, which was created by the Kowalski Family in memory of their son Chase, who was tragically killed at Sandy Hook, is designed to bring to children the same opportunity their son Chase had. He LOVED triathlon and won his first race at the tender age of 6!
The free, six-week program provides kids ages 6-12 with a safe, healthy, non-competitive environment to discover the sport! It brings together kids of all different backgrounds and educates them about how to adopt a healthy lifestyle, coaches them to develop a foundation of athletic skills and inspires them to aim high in sports and in life!
This year, we will receive no funding to run this program – so we are relying 100% on donations. Please consider making a donation in support of John's effort to raise $15,000 this year.
Click HERE to make a donation. *Don't forget to consider that your donation could be doubled! Click here to learn more.
Bob and I have been Southington residents since 2013. We have been married for 17 years and have a 14 year old son Aidan and 13 year old daughter Morgan. Bob and I are both educators. He is the principal of Hatton Elementary School and I teach second grade in Burlington, CT.
We have been members of the Y for a few years. I enjoy taking a variety of classes such as HIIT, barre and chisel. My daughter recently participated in the youth strength training and my son enjoys going to open gym to play basketball. When we have more free time this summer we are hoping to work out as a family and begin playing racquetball.
Biggest struggle was finding the "right" time to work out. Y360 class in the am works perfectly for my husband and I and the 1/2 hour class is the perfect amount of time to feel like we got a solid workout. I always felt guilty not fitting in a workout at least 4x/week and when I worked out at home I got easily distracted. My husband would workout at home whenever possible, but not on a consistent basis. However, we never worked out together. Now we enjoy exercising together and encouraging each other to push ourselves. Y360 has helped us to try new exercises to strengthen various muscle groups and with the guidance of skilled trainers push ourselves in a safe, effective way. We also get our heart pumping with a variety of cardio moves we wouldn't normally do such as the sled, ropes, jump boxes, suicide drills, row machine and more. We aren't saying it's "fun" to get up for a 6:00am class, yet we always laugh while we are there and know that each time we go it will be a worthwhile, motivational exercise session. The instructors create sessions that allow us to challenge ourselves and/or make modifications based on our ability. Thankful that the Y offers this Y360 class every day of the week and at various times if we can't make our normal 6:00am class.
The Y has so much to offer and we are thankful we are members.
Provide overall coordination of all documentation relating to child records including health forms and medications.
Please send electronic resumes and 3 letters of reference to Wendy Stevens at wstevens@sccymca.org.
For questions on the position, please contact Katie Sherman, Director of Child Development at ksherman@sccymca.org. Resumes are being accepted until May 7th.
Important: The YMCA is an equal opportunity employer. Applicants must complete and pass a criminal background check.
Jump Start is a Pre k program for children eligible for Kindergarten designed to ensure they are ready for Kindergarten!
The Southington YMCA is thrilled to offer a curriculum focused Pre K program to prepare your child for Kindergarten. Children must be eligible to attend kindergarten to enroll. The daily schedule runs much like a Kindergarten classroom with a focus on Connecticut Common Core Standards including Math, Literacy, and Science. Enrichment opportunities may include swimming and field trips. Please note that full-time enrollment guarantees that your child will be included in all activities, trips and special projects! Full-time enrollment also includes a free family membership to the Y!
There are many benefits from an extra year of preschool.
Time to hone social skills such as taking turns, sharing, listening, independent problem solving, playing cooperatively, asking for help when needed, sitting and listening attentively to a story and gaining self-confidence.
Opportunities to develop both fine and gross motor skills.
Find out how YMCA PreK programs set kids on the path to a better tomorrow. Schedule a tour.
Saturday, May 12th 8:00 a.m. to 12 p.m.
On May 12, 2018, the Southington Post Office is holding its Postal Food Drive. The Post Office is looking for volunteers to drive postal routes from 10 a.m. to 12 p.m. Volunteers will help the mail carriers by picking up bags of food. The Southington Post Office will hand out routes to volunteers between 8 a.m. and 9 a.m. in the Post Office back parking lot. Volunteers will drive the route and pick up bags of food and deliver them to the YMCA Learning Center. This food drive benefits Southington Community Services, Tabernacle Food Bank, and Bread for Life. This is truly a collaborative effort, and this volunteer project will benefit numerous individuals in our community.
Congratulations to John Myers, YMCA Executive Director on being honored last night by United Way of Southington during their annual meeting!
Southington, CT- April 18, 2018 – In memory of Benjamin Buckley, who passed away at age 7 due to severe asthma-related health issues, YMCA Camp Sloper and Ben Was Here Inc., will host the 3rd Annual Ben's Fun Run, which will take place on May 19, 2018 at YMCA Camp Sloper. Mark Pooler, Director of Operations at the Southington Community YMCA, comments "The Buckley family has been an inspiration to many in town. The way they have worked to keep Ben's spirit alive is wonderful. We are happy to support whatever efforts we can so they can continue their generosity and giving back in his name"
The 3rd Annual Ben's Fun Run will feature a one-mile race for 3rd, 4th, 5th and 6th graders around Sloper Pond located at, 1000 East Street in Southington. The event is open to Southington residents as well as any other towns this year. The goal is to commemorate the life of Ben Buckley while increasing the health and activity of youth in our town. Sign in will start at 8 AM and the first race will take place at 8:30 AM. Please see below for the race schedule. There is no cost to participate in the run; however, donations will be accepted for future trail improvements at YMCA Camp Sloper. Following the run, the Buckley Family will generously provide refreshments for all runners.
Registration is currently open and ongoing. Interested runners are encouraged to register ASAP so they do not get closed out. Registration is limited to the first 250 runners. For more information and to register, please contact Bob Lasbury, Race director at rlasbury@southingtonschools.org or visit http://bit.do/bensfunrun . If you would like to volunteer to help with this amazing event, please contact: Kristen Curley at englishclassrunner@cox.net.
The Y is one of the nation's leading nonprofits strengthening communities through youth development, healthy living and social responsibility. Across Southington and Cheshire, CT the Y engages men, women and children – regardless of age, income or background – to nurture the potential of children and teens, improve the nation's health and well-being, and provide opportunities to give back and support neighbors. Anchored in our communities, the Southington-Cheshire Community YMCAs was established in 1928 and has the long-standing relationships and physical presence not just to promise, but to deliver, lasting personal and social change. YMCA membership, YMCA Camp Sloper, the Learning Center, the gymnastics center and all Y programs and facilities are welcoming, inclusive and open to all regardless of income. For more information, stop by for a tour (29 High St. Southington, CT) or visit Sccymca.org.
Roll out your yoga mat and join us as we fill the Southington Town Green with yoga, community, and fun! The YMCA, SoulSpace Yoga & Wellness, and Bloom Yoga Fitness Studios of Southington have teamed up to celebrate health, giving, and positive well-being, through this special community event.
Come enjoy an energizing yoga class right outside on the Town Green, surrounded by fellow yogis and friends. The class will begin with a centering meditation, followed by a 60-minute yoga flow designed for all levels of practitioners. This special event is welcome to all (no yoga experience necessary), and there is no cost to attend! Please bring your own yoga mat or a towel to practice on, as well as a non-perishable food item to be donated to Southington Bread for Life.
The competitive team at the Southington-Cheshire Community Gymnastics Center ranges from Level 2 and has gymnasts as high as Level 8. The program is designed to help Gymnasts progress at their own rate in a positive and supportive environment. The team has won multiple awards around New England in the USA Gymnastics and YMCA programs; as well as had athletes place at the 2017 YMCA National Championships in Savannah, Georgia and the 2017 YMCA Northeast Regional Championships in Maine.
To register for a tryout please email jlagoy@sccymca.org for more information.
Turning 90 means it's time to celebrate. We have a full week of activities from May 7th through May 12th. During this week, the Y will be open to the public (open house style) offering a week of themed classes, events, and giveaways. It's our gift back to the community.
Plus, enjoy our favorite flavored water!
Adults come celebrate our birthday in the pool.
Wear your favorite party hat and party with us during this 45-minute aerobic dance party!
Join us to reminisce about YMCA and Southington history and enjoy your favorite dish.
Help us celebrate the actual day our YMCA was founded with a community picnic at the YMCA Learning Center.
Pack a picnic and join us for fun and games including a bounce house, face painting, a ride on the Sloper Express and more!
Every fitness class all day will have a birthday theme.
POUND Class 5 PM in the lobby.
Join us for a special Birthday Themed TwYlight including an Ice cream bar, Trivia in the APR with prizes for the top three teams and a dance for the last half of the night.
In the gymnasium (three-point contest, point guard contest, speed testing, dunk contest).
For those 'history buffs', we will have our scrapbooks out that date back to our beginning years. What a glorious trip down memory lane. Feel free to drop by at any time that week.
Each month Julia and Gina lead a 90-minute cycling class unlike any other. Playing to a theme class may be covered in green for St. Patricks day, game ready for Superbowl, or ready to jingle bell rock with other holiday themes. Beyond the themes, these phenomenal classes feature out of the ordinary cycling exercise.
At the conclusion of the March - St. Patrick's Day themed class I arrived to note that the participants were stepping off of the bikes and returning full-size pool noodles to a large box. During the activities, cyclists used the noodles as their jousting lance as they jousted their way to the imaginary castle.
An essential component to keeping the energy positive, Gina and Julia teach the class in tandem, both riding in front of the class, taking turns instructing portions of the activities.
The next 90 minute themed class is April 22. To reserve your bike contact the fitness center at 860-426-9528.
A Cheshire native, Julia, and her girls are active members of the YMCA community. Previously working for the YMCA Learning Center, Julia has been a certified Spinning Instructor for 9 years and teaches cycling as well as the ever-popular POUND classes. Click here to see Julia leading a sample POUND class at Healthy Family FunFest. Julia's daughters, Jordan and Jia, are members of the YMCA Leaders Club and help their mom carry supplies from the St. Patrick's Day class.
A Southington native, Gina has been a part of the Southington Community YMCA since high school. She was always athletic but it didn't begin to take her fitness seriously until a diagnosis of high blood pressure and the risk of being medicated for it for the rest of her life swayed her to become even more involved with The Y.
In the present day, Gina is a Keiser Certified instructor teaching Barre, Zumba, and HIIT. She can also be found providing personal training and coaching the YMCA Running Crew. An avid runner Gina recently completed her 4th full marathon.
Mark your calendars and bring the kiddos, early childhood open house is April 25 from 6 to 7 PM at the YMCA and YMCA Learning Center!
Refer a new or returning member and you will each save 10% every month for up to one year while you are both members.
Visit the front desk to learn more. Valid for adult, family, and senior memberships only. Offer expires April 30, 2018.
Athletes and parents will sometimes ask, "What should I do outside of training at the SPC?". One of the main goals at the SPC is to teach our athletes how to train smart even when they aren't with us. This means having a balanced program that provides them with the right inputs in order to achieve the desired adaptation. If an athlete wants to get stronger and faster, does it makes sense to only do curls and bench press on an "upper body" day? Obviously no, yet that is what many male high school athletes do on their own. If a female athlete is looking to become more agile on the field, but only runs long distances and lifts 10lb dumbbells, the carryover will be minimal.
When writing a program, a few major components are essential in order to ensure the greatest impact. This is where the 80/20 rule really comes into play. Say I have 5 exercises in a lift: heavy deadlift, bicep curl, plank, push up and a 1 arm kettlebell overhead press. If I could only do one, which one would give me the most bang for my buck? The answer is the heavy deadlift. If I have other qualities I want to develop like speed, rhythm, power, mobility and work capacity, why would I waste my time with the other 4 exercises?
Following this concept, we start with 4-6 warm-up exercises that prep the athletes to use their hips, shoulders and stabilize their core. All of our warm-up movements carry specific purpose related to our training. Then we move to the dynamic warm-up which doubles as our agility and rhythm practice. These 3-4 drills elevate the athlete's body temperature and work on coordination and agility. Next comes conditioning or power work. For efficiency, we only use 1-2 exercises with a specific time or number to reach. Our last category is strength. Depending on the athletes' needs, some will spend more time with 2-4 strength exercises while others may have more work capacity incorporated.
If this is something you or your team need help with, email me and we can brainstorm some ideas!
Southington, CT and Cheshire, CT – February 15, 2018 - Registration for YMCA Camp Sloper began on Saturday, February 3rd with tons of parents taking advantage of online registration at 8AM to get their child signed up for their favorite camp program this summer. "We had the most registrations in the first day ever" stated Justin Hubeny, who will lead YMCA Camp Sloper as the Camp Director for his 1st season this summer. "We took in more than 1400 registrations the first day and over 1500 by the end of the first weekend. We are very lucky and fortunate to have wonderful YMCA Camp Sloper Families that support us. For me as Camp Director, I couldn't ask for more", Hubeny stated.
"I am pleased to announce that Eli Rosin wins the award for first camper to register for 2018" says Hubeny. Eli Rosin was the first official camper to register at 8:03 AM on Saturday morning. "I like doing all the different activities, but my favorite activity is archery" stated Eli who will be attending Sloper for his 3rd year this summer. Eli says one of his favorite moments at camp is" seeing the other kids when Camper of the Day is said." Eli will be attending STEM Camp this summer at YMCA Camp Sloper.
When asked what he thought about his counselors from last year Eli said "The counselors are all fun and funny, I like making nicknames for them." Eli is looking forward to being in STEM Camp this summer with his friends, going to archery, and he is very much looking forward to trying out the New Ninja Warrior Course that will be built this spring. "Maybe I can be a tester for the Ninja Warrior Course," Eli said.
Dad, Pat Rosin and Mom, Bethany Rosin, were asked why they felt YMCA Camp Sloper was a good choice for Eli, "We send Eli to camp because we know he will be engaged in exciting activities outside, surrounded by great role models." stated the Rosins.
"We have received over 1,800 registrations to date, which is way ahead of last year's registration. Last summer we had most of our specialty camps fill up and many of our traditional camps fully enrolled. The Sloperian program for Kindergarten and First grade is also very popular. It is a great introduction to a full day of activities, much like they will experience in full-day kindergarten" stated Hubeny. "We have room now, but we encourage parents to put down a deposit now and reserve their spot for the summer," stated Justin Hubeny.
YMCA Camp Sloper, which serves the towns of Southington, Cheshire, Berlin, Kensington, and New Britain, has grown in popularity in recent years. Open registration is on-going at either the Southington or Cheshire YMCAs during normal business hours or online at www.ymcacampsloper.org. There is still room in many of the specialty camps and all of the traditional camps; registering early is encouraged so you can select the program of your choice before it fills up.
YMCA Camp Sloper has four, two-week sessions running July 2 - August 24. There is also a one week preview the week before the regular camp season begins, June 25 – 29. The day camp program runs Monday through Friday 9:00 AM - 3:00 PM with extended camp care available if needed. YMCA Camp Sloper serves children ages 3 to 15 years old. Bus transportation is provided for residents of Southington, Cheshire, and Berlin/Kensington for campers entering kindergarten through grade 10. The Wanderers program for preschoolers runs from 9:00 AM-1:00 PM with parents transporting their children. "We also provide financial assistance for families in need. It is just a matter of contacting the Southington or Cheshire YMCA and completing the application process" stated Hubeny. Extended payment plans can also be arranged.
Secure your child's spot for a summer full of FUN – ADVENTURE – TRADITION! Any questions can be directed to the YMCA Camp Sloper Outdoor Center at (860) 621-8194 or visit our website at www.ymcacampsloper.org.
Are We Too Preoccupied With Rare Large Injuries?
Over the past 10 years we have seen a climb in the rate of sports' injuries, especially ones that require surgery.
While these numbers seem high, they actually represent 1% of the youth athlete population that may tear their ACL. The question arises: Are the numbers to the point that our training programs need to strictly address the prevention of these specific injuries?
Data from a brief case study over the past 2 months at the Sports Performance Center illustrates a different scenario. Out of 30 athletes, five had some type of soft tissue injury. These injuries either prevented them outright from doing their training program, or decreased their ability to perform at 100%. Roughly 15% of our athletes are walking in the door with some sort of painful dysfunction.
Instead of focusing on the 1%, why not focus on the much higher number of athletes that will develop a chronic injury that prevents them from training hard and can become a precursor to a larger injury? Frequently, coaches and parents inquire about specific injury prevention strategies when it might be smarter to look at the bigger picture.
When we look at injuries, Mike Boyle said it best, "you either have a traumatic event (concussion) or overuse issues". These overuse issues are easily preventable or managed. One of my athletes has intermittent left medial knee pain. When she moves too much, the inside of her knee hurts. Initially we screened for potential causes of pain. Nothing hurt, but she did have limitations in left ankle mobility and motor control of her right hip. We removed a lot of the jumping and cutting that originally caused her knee pain to flare, and added in exercises that addressed her ankle and hip limitations. As a result, in just one month, she is experiencing no pain with training, and her pain after 2hr goalie sessions has decreased to "barely noticeable".
Here is the best part. SMART TRAINING = TRAUMATIC INJURY PREVENTION. The take home message here is that soft tissue/overuse injuries far exceed the number of traumatic injuries that most people are scared of. In addition, they are huge contributors to traumatic events. External force, a fatigued state where muscles can't keep up with demand and poor mechanics that put a joint in a compromised position are the three main factors in acute injury. Smart training that addresses mechanics, strength and recovery, and workload management of practices, training and games, have far greater impact on overall injury prevention than simply a few targeted exercises.


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We recommend the national carriers Etihad and Emirates for their fabulous service, great prices, and modern aircraft.
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However it is worth having a look at the different Abu Dhabi neighborhoods and suburbs to see what is the best location for your stay!
Read about the suburbs here.
Abu Dhabi has all kinds of accommodation from budget to the super luxurious!
Use our insider tips to find the perfect hotel for your stay in the UAE!
If you want to experience a desert safari or a city tour with all the comforts we suggest you book in a tour. They are reasonably priced and allow you to make sure you don't miss any of the great sights!
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text:
Christiane Shertz
I was born in 1945 in Trouville-Sur-Mer, a charming little town on the Normandy coast, once the refuge of the Impressionists in the late 1800's. My family moved to Paris when I was a young child and in my early 20's, after a sojourn of one year in England, I settled in the Montparnasse quarter, favored then by artists and writers. As a student at the Ecoles des Beaux-Arts, I exhibited at the American Center on the left bank where I met Man Ray, the well-known artist and photographer. Swept into the spirit of the students' revolution in 1968 in Paris, I decided to move to California to experience the cultural revolution of the 60's in San Francisco.
Three years later, in 1971, I met the artist who would change my life, Max Shertz. I moved with Max and his family in a beautiful Victorian house with the view of the San Francisco Bay, on Union and Fillmore, in San Francisco. The next 17 years, I would study with Max, being his apprentice, muse, and finally his wife in 1990.
My studying with Max led me to be his companion in art, painting with him in San Francisco, Los Angeles, New York and in France. During our life time together, I supported my teacher/husband/artist, doing so by working at a regular job, meeting my family obligations, doing my art, and assisting Max with his various projects.
My supporting Max Shertz was not a blind choice. The genius of Max Shertz, which demonstrated itself, particularly starting in the 90's with his abstract works of the unconscious, was worth what I considered "paying my dues." I was sacrificing nothing. I had the very best teacher and the very best audience for my art. When it came to his art, Max was a tower of strength, discipline and control, associated with his passion and spirit which were grandiose. As a teacher, Max had high expectations but was also extremely supportive and inspirational.
Through the 38 years I spent with Max, I discovered that Art was a universal language, a vehicle of communication on a visual level, and Max was a magnificent communicator, not only visually with his art, but with words, captivating his audience with his mastery of the English language. his humor and wit incredibly rich and warm. And as Arianna Huffington [The Huffington Post and author of many books], then Arianna Stassinopoulos, said, when she met Max in 1984, "Max is a contemporary combination of Hermes and Zeus."
With regard to my art, I did what my teacher told me to do and could only exhibit if he did so, and any project undertaken together would be brought to fruition according to the Master's wishes. I had no choice or should I say, I had two choices, to stay and love it or leave. I never left or, when I did for a few years, I had to come back, my soul was lacking. Although we separated in 1992, only a few months later, I was drawing and painting with Max who was then very involved with his abstract works of the unconscious. It was a very productive period of time for the two of us. We also took trips to France, where we painted in various locales.
In 1997, we moved back together and painted together until 2005 when Max' health started to decline drastically. The last thing Max did was a diorama of a small town in the Midwest, a miniature town with trees, people, in the fields, preparing the horses, the women going to do their wash, and streams going by. While doing the diorama, Max was losing his sight, could hardly hold a brush, and was always short of breath. It was the beginning of the end, and the end came with all the suffering it entails. In 2009 Max Shertz died peacefully at his home in Los Angeles.
It was a privilege to have known and worked with Max Shertz. Like all Greats, he could be infuriating but was so . . . "extraordinaire".
An extended biography of Max Shertz can be viewed on www.maxshertz.com
Completely devoted to my husband and his work, I rarely exhibited during his life time, selling mostly my work privately from my studio. In 2009 I returned to painting, having stopped doing my art from 2005 to 2009, during the last years of Max' illness.
My work is expressionist, figuratively and abstractly I create works of art spontaneously with no pre-conceived ideas, "automatically" much like my teacher taught me.
I reside in Los Angeles and sign my paintings {CFS} and paintings from other years are signed Christiane Flers Shertz, Christiane Shertz and Christiane Flers.
I have works at Mt Zion Hospital, some private collectors and exhibited works at the inauguration of the Healing Art Center in Newtown Connecticut in 2013.
Abtracts
Created a lot of abstract works in the 90's while painting with my teacher Max Shertz
"The Cesspool"
The Cesspool 1992 16" x 20 " Mixed Medium
Incantation - 1993 - 18" x 24" Mixed Medium on Paper
La Mariposa - 1995 - 14" x 17" - Mixed Medium on Paper
"Land Of Heat"
Land Of Heat - 1995 - 10" x 20" Mixed Medium on Paper
Medieval - 1990 - 15" x 22" - Mixed Medium on Paper
Playland - 1993 - 14" x 17" - Mixed Medium on Paper
"La Cavalry"
The Cavalry - 1995 - 14" x 17" - Mixed Medium on Paper
"The Dawn Of Time"
The Dawn Of Time - 1993 - 5" x 12" Mixed Medium on Paper
"The Eye Of The Wolf"
The Eye Of The Wolf - 1994 - 15" x 18" - Mixed Media on Paper
"Urban Summer"
Urban Summer - 1993 - 17" x 14" - Mixed Medium on Paper
The Artist - 1993 - 16" x 16" - Mixed Medium on Paper


text:
Q: Import C++ DLL with pointer into C# I know that there are many solutions for my problem. I have tried them all; however, I still get error.
These are original functions from DLL 'KeygenLibrary.dll' :
bool dfcDecodeMachineID(char* sEncodeMachineID, int iInLen, char* sMachineID, int& iOutLen);

bool dfcCreateLicense(char* sMachineID, int iLen, char* sLicenseFilePath);

To import this DLL, I have tried:
Way 1:
unsafe public class ImportDLL
{
    [DllImport("KeygenLibrary.dll", EntryPoint = "dfcDecodeMachineID")]
    unsafe public static extern bool dfcDecodeMachineID(char* sEncodeMachineID, int iInLen, char* sMachineID, ref int iOutLen);

    [DllImport("KeygenLibrary.dll", EntryPoint = "dfcCreateLicense")]
    unsafe public static extern bool dfcCreateLicense(char* sMachineID, int iLen, char* sLicenseFilePath);
}

Way 2:
public class ImportDLL
{
    [DllImport("KeygenLibrary.dll", EntryPoint = "dfcDecodeMachineID")]
    public static extern bool dfcDecodeMachineID([MarshalAs(UnmanagedType.LPStr)] string sEncodeMachineID, int iInLen, [MarshalAs(UnmanagedType.LPStr)] string sMachineID, ref int iOutLen);

    [DllImport("KeygenLibrary.dll", EntryPoint = "dfcCreateLicense")]
    public static extern bool dfcCreateLicense([MarshalAs(UnmanagedType.LPStr)] string sMachineID, int iLen, [MarshalAs(UnmanagedType.LPStr)] string sLicenseFilePath);
}

However, both above ways give me error:
Unable to find an entry point named 'function name' in DLL 'KeygenLibrary.dll'.
How can I fix my problem? Thanks a lot.

A: SUGGESTION:
1) Run "dumpbin" on your .dll to confirm the problem is indeed name mangling.
2) If so, try the suggestion in this link:
Entry Point Not Found Exception
a) Use undname to get the undecorated name
b) Set EntryPointy == the mangled name
c) Set CallingConvention = CallingConvention.Cdecl
d) Use the unmangled name and signature for your C# method signature
See also this link:

http://bytes.com/topic/c-sharp/answers/428504-c-program-calling-c-dll
Laurent.... You can call the function using the mangled name as in:
To call a function using its fully decorated name
  "?fnWin32Test2@@YAJXZ" as
"Win32Test2" you can specify the static entry point as
  "?fnWin32Test2@@YAJXY":
[DllImport("Win32Test.dll", EntryPoint= "?fnWin32Test2@@YAJXZ")]
public static extern int fnWin32Test2();

And call it as:
System.Console.WriteLine(fnWin32Test2());
To look at the undecorated name use the undname tool as in:
`undname ?fnWin32Test@@3HA`

This converts the decorated name to "long fnWin32Test".
Regards, Jeff


text:
Even Before Deflategate, Peyton Manning Didn't Trust New England's Cheating Ass
#deflategate
by Nick Dimengo August 20, 2015 8:00 pm
I'm sure everyone is fed up with the whole Deflategate bullshit that has been going on since January, but I promise that this is only partially related to it, as it involves the New England Patriots and cheating—shocker, right?
Peyton Manning, who has had a longtime rivalry on-the-field with the Pats, seems to have never trusted the opposing franchise or their head coach Bill Belichick, actually believing that the visitor's locker room was bugged to give insider tips to New England.
So, how do we know this? Because Manning's former Indianapolis Colts' head coach, Tony Dungy, said so during an appearance on the Dan Patrick Show today.
Per Michael David Smith of Pro Football Talk:
"I know that that is very true, and, you know, as Peyton talked to guys who played for the Patriots, some of the guys who came over—whether it's true or not he treated it as true. We didn't have a lot of strategy discussions inside the locker room there."
I mean, damn, former Pats players were even, allegedly, selling out ol' Billy Boy to tip off Manning that something funky might be going on? Interesting shit.
Dungy's response came after an initial report from Peter King in 2010, where the longtime NFL writer reporter, via Yahoo! Sports:
"I've always heard, reliably, that the Colts never trusted that they were totally alone in the Colts' locker room in Foxboro, and that when Manning had something of strategic significance to say to offensive coordinator Tom Moore, they both stepped outside into the concourse outside the locker room. So if you're outside the locker room Sunday, don't be surprised to see Manning and his first-year coordinator, Christensen, huddling for a few minutes."
Manning, whose career record against the Pats is 6-13, is either a genius who predicted the future or absolutely paranoid, and, seeing as how he's still seven games under .500 against New England, the hallway meetings didn't exactly work.
Still, this shows that opponents are a little bit more on edge when facing the Pats in their home building, unsure of what types of cheating those fuckers might do next.
[H/T Bleacher Report]
Nick Dimengo
Nick's a Sr. Editor for BroBible, mainly relying on his Sports Encyclopedia-like mind to write about things. He's also the co-host of the BroBible podcast "We Run This," and can be seen sweating his ass off while frequently running 10+ miles around Seattle.
Tags deflategateFootballNFLPeyton ManningSportstony dungy


text:
Abraham Goldfaden Biography
Abraham Goldfaden (July 24, 1840 – January 9, 1908; Born Avrum Goldnfoden; first name alternately Abram, Avram, Avrohom, Avrom, or Avrum, last name alternately Goldfadn; (the Romanian spelling Avram Goldfaden is common) was a Russian-born Jewish poet and playwright, author of some 40 plays. In 1876 he founded in Romania what is generally credited as the world's first professional Yiddish-language theater troupe. He was also responsible for the first Hebrew-language play performed in the United States. The Avram Goldfaden Festival of Iasi, Romania, is named and held in his honour.
Jacob Sternberg called him "the Prince Charming who woke up the lethargic Romanian Jewish culture". Israil Bercovici wrote that in his works "…we find points in common with what we now call 'total theater'. In many of his plays he alternates prose and verse, pantomime and dance, moments of acrobatics and some of jonglerie, and even of spiritualism…"
Goldfaden was born in Starokonstantinov. His birthdate is sometimes given as July 12, following the "Old Style" calendar in use at that time in Russia. He attended a Jewish religious school (a cheder), but his middle class family was strongly associated with the Haskalah, the Jewish Enlightenment, and his father, a watchmaker, arranged that he receive private lessons in German and Russian. As a child, he is said to have appreciated and imitated the performances of wedding jesters and Brody singers to the degree that he acquired the nickname Avromele Badkhen, "Abie the Jester". In 1857 he began studies at the government-run rabbinical school at Zhytomyr, from which he emerged in 1866 as a teacher and a poet (with some experience in amateur theater), but he never led a congregation.
Goldfaden's first published poem was called "Progress"; his New York Times obituary described it as "a plea for Zionism years before that movement developed". In 1865 he published his first book of poetry, Zizim u-Ferahim (in Hebrew); The Jewish Encyclopedia (1901–1906) says that "Goldfaden's Hebrew poetry… possesses considerable merit, but it has been eclipsed by his Yiddish poetry, which, for strength of expression and for depth of true Jewish feeling, remains unrivaled." The first book of verse in Yiddish was published in 1866, and in 1867 he took a job teaching in Simferopol. A year later, he moved on to Odessa (in Ukraine), where he lived initially in his uncle's house, where a cousin who was a good pianist helped him set some of his poems to music.
In Odessa, Goldfaden renewed his acquaintance with fellow Yiddish-language writer Yitzhak Yoel Linetsky, whom he knew from Zhytomyr and met Hebrew-language poet Eliahu Mordechai Werbel (whose daughter Paulina would become Goldfaden's wife) and published poems in the newspaper Kol-Mevaser. He also wrote his first two plays, Die Tzwei Sheines (The Two Neighbors) and Die Murneh Sosfeh (Aunt Susie), included with some verses in a modestly successful 1869 book Die Yidene (The Jewish Woman), which went through three editions in three years. At this time, he and Paulina were living mainly on his meagre teacher's salary of 18 rubles a year, supplemented by giving private lessons and taking a job as a cashier in a hat shop.
In 1875, Golfaden headed for Munich, intending to study medicine. This did not work out, and he headed for Lvov/Lemberg in Galicia, where he again met up with Linetsky, now editor of a weekly paper, Isrulik or Der Alter Yisrulik (which was well reputed, but was soon shut by the government). A year later, he moved on to Chernivtsi in Bukovina, where he edited the Yiddish-language daily Dos Bukoviner Israelitishe Folksblatt. The limits of the economic sense of this enterprise can be gauged from his inability to pay a registration fee of 3000 ducats. He tried unsuccessfully to operate the paper under a different name, but soon moved on to Iasi.
Arriving in Iasi in 1876, Goldfaden was fortunate to be better known as a good poet — many of whose poems had been set to music and had become popular songs — than as a less-than-successful businessman. When he sought funds from Yitzhak Librescu for another newspaper, Librescu was uninterested in that proposition. Librescu's wife remarked that Yiddish-language journalism was just a way to starve; she suggested that there would be a lot more of a market for Yiddish-language theater. Librescu offered Goldfaden 100 francs for a public recital of his songs in the garden of Shimen Mark, Gradina Pomul Verde ("the Green Fruit-Tree Garden").
Instead of a simple recital, Goldfaden expanded this into something of a vaudeville; either this or their first indoor performance later that year in Botosani is generally counted as the first professional Yiddish theater performance. However, the nature of his cast indicates exactly how nominal it is to choose one performance as "the first": Goldfaden's first actor, Israel Grodner, was already singing Goldfaden's songs (and others) in the salons of Iasi.
In fact, another candidate for consideration as the first professional Yiddish theater performance also included Grodner. He sang in a concert in Odessa in 1873, which also included some of the Goldfaden's songs, although Goldfaden was not personally involved. It appears to have had significant improvised material between songs, although no actual script.
Although Goldfaden, by his own account, was familiar at this time with "practically all of Russian literature", had plenty of exposure to Russian and Polish theater, and had even seen African American tragedian Ira Aldrich perform Shakespeare, the performance at Gradina Pomul Verde was only a bit more of a play than Grodner had participated in three years earlier. The songs were strung together with a bit of character and plot and a good bit of improvisation. The performance by Goldfaden, Grodner, Sokher Goldstein, and possibly as many as three other men went over well. The first performance was either Di bobe mitn einikl (Grandmother and Granddaughter) or Dos bintl holt (The Bundle of sticks); sources disagree. (Some reports suggest that Goldfaden himself was a poor singer, or even a non-singer and poor actor; according to Bercovici, these reports stem from Goldfaden's own self-disparaging remarks or from his countenance as an old man in New York, but contemporary reports show him to have been a decent, though not earth-shattering, actor and singer.)
After that time, Goldfaden continued miscellaneous newspaper work, but the stage became his main focus.
As it happens, Mihai Eminescu saw one of their Pomul Verde performances later that summer. He records that the company had six players. (A 1905 typographical error would turn this to a much-cited sixteen, suggesting a grander beginning for Yiddish theater.) He was impressed by the quality of the singing and acting, but found the pieces "without much dramatic interest." [Bercovici, 1998, 58] His generally positive comments would seem to deserve to be taken seriously: Eminescu was "virulently antisemitic". Eminescu appears to have seen four of Goldfaden's early plays: a satiric musical revue De velt a gan-edn (The World and Paradise), Der Farlibter Maskil un der Oifgheklerter Hosid' (a dialogue between "an infatuated philosopher" and "an enlightened Hasid"), another musical revue Der sver mitn eidem (Father-in-law and Son-in-Law), and a comedy Fishl der balegole un zain knecht Sider (Fishel the Junkman and His Servant Sider).
As the season for outdoor performances was coming to a close, Goldfaden tried and failed to rent an appropriate theater in Iasi. A theater owner named Reicher, presumably Jewish himself, told him that "a troupe of Jewish singers" would be "too dirty". Goldfaden, Grodner, and Goldstein headed first to Botosani, where they lived in a garret and Goldfaden continued to churn out songs and plays. An initial successful performance of Di Rekruten (The Recruits) in an indoor theater ("with loges!" as Goldfaden wrote) was followed by days of rain so torrential that no one would come out to the theater; they pawned some possessions and left for Galati, which was to prove a bit more auspicious, with a successful three-week run.
In Galati they acquired their first serious set designer, a housepainter known as Reb Moishe Bas. He had no formal artistic training, but he proved to be good at the job, and joined the troupe, as did Sara Segal, their first actress. She was not yet out of her teens. After seeing her perform in their Galati premiere, her mother objected to her unmarried daughter cavorting on a stage like that; Goldstein (unlike Goldfaden and Grodner) was single; he promptly married her and she remained with the troupe. (Besides being known as Sara Segal and Sofia Goldstein, she became best known as Sofia Karp, after a second marriage to actor Max Karp).
After the successful run in Galati came a less successful attempt in Braila, but by now the company had honed its act and it was time to go to the capital, Bucharest.
As in Iasi, Goldfaden arrived in Bucharest with his reputation already established. He and his players performed first in the early spring at the salon Lazar Cafegiu on Calea Vacaresti (Vacaresti Avenue, in the heart of the ghetto), then, once the weather turned warm, at the Jignita garden, a pleasant tree-shaded beer garden on Str. Negru Voda that up until then had drawn only a neighborhood crowd. He filled out his cast from the great pool of Jewish vocal talent: synagogue cantors. He also recruited two eminently respectable classically trained prima donnas, sisters Margaretta and Annetta Schwartz.
Among the cantors in his casts that year were Lazar Zuckermann (also known as Laiser Zuckerman; as a song-and-dance man, he would eventually follow Goldfaden to New York and a long stage career, Moishe Zilberman (also known as Silberman), and Simhe Dinman, but the find, soon to become a stage star, was the 18-year-old Zigmund Mogulescu (Sigmund Mogulesko), an orphan who had already made his way in the world as a singer not only as a soloist in the Great Synagogue of Bucharest, but in cafes, at parties, with a visiting French operetta company, and even in a church choir. Before his voice changed, he had sung with Zuckerman, Dinman, and Moses Wald in the "Israelite Chorus", performing at important ceremonies in the Jewish community. Mogulescu's audition for Goldfaden was a scene from Vladutu Mamei (Mama's Boy), which formed the basis later that year for Goldfaden's light comedy Shmendrik, oder Die Komishe Chaseneh (Shmendrik or The Comical Wedding starring Mogulescu as the almost painfully clueless and hapless young man (later, famously played in New York and elsewhere by actress Molly Picon); the title is a pun on the Chemical Wedding).
This recruiting of cantors was not without controversy: Cantor Cuper (also known as Kupfer), the head cantor of the Great Synagogue, considered it "impious" that cantors should perform in a secular setting, to crowds where both sexes mingled freely, keeping people up late so that they might not be on time for morning prayers.
While one may argue over which performance "started" Yiddish theater, by the end of that summer in Bucharest Yiddish theater was an established fact. The influx of Jewish merchants and middlemen to at the start of the Russo-Turkish War had greatly expanded the audience; among these new arrivals were Israel Rosenberg and Jacob Spivakovsky, the highly cultured scion of a wealthy Russian Jewish family, both of whom actually joined Goldfaden's troupe, but soon left to found the first Yiddish theater troupe in Imperial Russia.
While light comedy and satire might have established Yiddish theater as a commercially successful medium, it would never have established Goldfaden as "the Yiddish Shakespeare" (which the New York Times called him at his death in 1908). As a man broadly read in several languages, he was acutely aware that there was no Eastern European Jewish tradition of dramatic literature, his audience was used to seeking just "a good glass of Odobesti and a song". Years later, he would paraphrase the typical Yiddish theatergoer of the time as saying to him, "We don't go to the theater to make our head swim with sad things. We have enough troubles at home… We go to the theater to cheer ourselves up. We pay up a coin and hope to be distracted, we want to laugh from the heart."
Goldfaden wrote that this attitude put him "pure and simply at war with the public". His stage was not to be merely "…a masquerade. No, brothers. If I have arrived at having a stage, I want it to be a school for you. In youth you didn't have time to learn and cultivate yourself… Laugh heartily if I amuse you with my jokes, while I, watching you, feel my heart crying. Then, brothers, I'll give you a drama, a tragedy drawn from life, and you, too, shall cry – while my heart shall be glad." Nonetheless, his "war with the public" was based on understanding that public. He would also write, "I wrote Di kishefmakhern (The Witch) in Romania, where the populace – Jews as much as Romanians – believe strongly in witches." Local superstitions and concerns always made good subject matter, and, as Bercovici remarks, however strong his inspirational and didactic intent, his historical pieces were always connected to contemporary concerns.
Even in the first couple of years of his company, Goldfaden did not shy away from serious themes: his rained-out vaudeville in Botosani had been Di Rekruten (The Recruits), playing with the theme of the press gangs working the streets of that town to conscript young men into the army. Before the end of 1876, Goldfaden had already translated Desolate Island by August von Kotzebue; thus, a play by a German aristocrat and Russian spy became the first non-comic play performed professionally in Yiddish. After his initial burst of mostly vaudevilles and light comedies (although Shmendrik and The Two Kuni-Lemls were reasonably sophisticated plays), Goldfaden would go on to write many serious Yiddish-language plays on Jewish themes, perhaps the most famous being Shulamith, also from 1880. Golfaden himself suggested that this increasingly serious turn became possible because he had educated his audience. Nahma Sandrow suggests that it may have had equally much to do with the arrival in Romania of Russian Jews at the time of the Russo-Turkish War, who had been exposed to more sophisticated Russian language theater. Goldfaden's strong turn toward almost uniformly serious subject matter roughly coincided with bringing his troupe to Odessa.
Goldfaden's father wrote him to solicit the troupe to come to Odessa in Ukraine, which was then part of Imperial Russia. The timing was opportune: the end of the war meant that much of his best audience were now in Odessa rather than Bucharest; Rosenberg had already quit Goldfaden's troupe and was performing the Goldfadenian repertoire in Odessa.
With a loan from Librescu, Goldfaden headed east with a group of 42 people, including performers, musicians, and their families. After the end of the Russo-Turkish War he and his troupe travelled extensively through Imperial Russia, notably to Kharkov (also in Ukraine), Moscow, and Saint Petersburg. Jacob Adler later described him at this time as "a bon vivant", "a cavalier", "as difficult to approach as an emperor".[12] He continued to turn out plays at a prolific pace, now mostly serious pieces such as Doctor Almasada, oder Die Yiden in Palermo (Doctor Almasada, or The Jews of Palermo), Shulamith, and Bar Kokhba, the last being a rather dark operetta about Bar Kokhba's revolt, written after the pogroms following the 1881 assassination of Czar Alexander II, as the tide turned against Jewish emancipation.
As it happens, a Frenchman named Victor Tissot happened to be in Berdichev when Goldfaden's company was there. He saw two plays – Di Rekruten, first premiered in Botosani, and the later Di Shvebleh (Matches), a play of intrigue. Tissot's account of what he saw gives an interesting picture of the theaters and audiences Goldfaden's troupe encountered outside of the big cities. "Berdichev," he begins, "has not one cafe, not one restaurant. Berdichev, which is a boring and sad city, nonetheless has a theatrical hall, a big building made of rough boards, where theater troupes passing through now and then put on a play." Although there was a proper stage with a curtain, the cheap seats were bare benches, the more expensive ones were benches covered in red percale. Although there were many full beards, "there were no long caftans, no skullcaps." Some of the audience were quite poor, but these were assimilated Jews, basically secular. The audience also included Russian officers with their wives or girlfriends.
In Russia, Goldfaden and his troupe drew large audiences and were generally popular with progressive Jewish intellectuals, but slowly ran afoul of both the Czarist government and conservative elements in the Jewish community. Goldfaden was calling for change in the Jewish world:
Wake up my people
From your sleep, wake up
And believe no more in foolishness.
A call like this might be a bit ambiguous, but it was unsettling to those who were on the side of the status quo. Yiddish theater was banned in Russia starting September 14, 1883 as part of the anti-Jewish reaction following the assassination of Czar Alexander II. Goldfaden and his troupe were left adrift in Saint Petersburg. They headed various directions, some to England, some to New York City, some to Poland, some to Romania.
Goldfaden was both a theoretician and a practitioner of theater. That he was in no small measure a theoretician – for example, he was interested almost from the start in having set design seriously support the themes of his plays – relates to a key property of Yiddish theater at the time of its birth: in general, writes Bercovici, theory ran ahead of practice. Much of the Jewish community, Goldfaden included, were already familiar with contemporary theater in other languages. The initial itinerary of Goldfaden's company – Iasi, Botosani, Galati, Braila, Bucharest – could as easily have been the itinerary of a Romanian-language troupe. Yiddish theater may have been seen from the outset as an expression of a Jewish national character, but the theatrical values of Goldfaden's company were in many ways those of a good Romanian theater of the time. Also, Yiddish was a German dialect and a well-known language even among non-Jews in Moldavia (and Transylvania), an important language of commerce; the fact that one of the first to write about Yiddish theater was Romania's national poet, Mihai Eminescu, is testimony that interest in Yiddish theater went beyond the Jewish community.
Almost from the first, Yiddish theater drew a level of theater criticism comparable to any other European theater of its time. Bercovici cites a "brochure" by one G. Abramski, published in 1877. Abramski described and gave critiques of all of Goldfaden's plays of that year, discussed what a Yiddish theater ought to be, speculated that this might be a moment comparable to the Elizabethan era for English theater, noted the many sources of this emerging form (ranging from Purim plays to circus pantomime), praised the strong female roles, but criticized where he saw weaknesses: a male actor unconvincingly playing the mother in Shmendrik, or the entire play Di shtume kale (The Mute Bride) — a play apparently written to accommodate a pretty, young actress who was too nervous to deliver her lines — saying of it that the only evidence of Goldfaden's authorship was his name.
Goldfaden was churning out a repertoire – new songs, new plays, translations of plays from Romanian, French, and other languages; in the first two years, he wrote 22 plays, and would eventually write about 40 – and while Goldfaden was not always able to retain the players in his company once they became stars in their own right, he continued for many years to recruit first-rate talent, and his company became a de facto training ground for Yiddish theater. By the end of the year, others were writing Yiddish plays as well, such as Moses Horowitz with Der tiranisher bankir, (The Tyrannical Banker) or Grodner with Curve un ganev, (? prostitutes and a thief), and Yiddish theater had become big theater, with elaborate sets, duelling choruses, and extras to fill out crowd scenes.
Goldfaden was helped by Ion Ghica, then head of the Romanian National Theater to legally establish a "dramatic society" to handle administrative matters. From those papers, we know that the troupe at the Jignita included Moris Teich, Michel Liechman (Glückman), Lazar Zuckermann, Margareta Schwartz, Sofia Palandi, Aba Goldstein, and Clara Goldstein. We also know from similar papers that when Grodner and Mogulescu walked out on Goldfaden to start their own company, it included (besides themselves) I. Rosenberg, Y. Spivakovsky, P. Sapira, M. Banderevsky, Anetta Grodner, and Rosa Friedman.
Ion Ghica was a valuable ally for Yiddish theater in Bucharest. On several occasions he expressed his favorable view of the quality of acting, and even more of the technical aspects of the Yiddish theater. In 1881, he obtained for the National Theater the costumes that had been used for a Yiddish pageant on the coronation of King Solomon, which had been timed in tribute to the actual coronation of Carol I of Romania.
While Yiddish theater continued successfully in various places, Goldfaden was not on the best terms at this time with Mogulescu. They had quarrelled (and settled) several times over rights to plays, and Mogulescu and his partner Moishe "Maurice" Finkel now dominated Yiddish theater in Romania, with about ten lesser companies competing as well. Mogulescu was a towering figure in Bucharest theater at this point, lauded on a level comparable to the actors of the National Theater, performing at times in Romanian as well as Yiddish, drawing an audience that went well beyond the Jewish community.
Goldfaden seems, in Bercovici's words, to have lost "his theatrical elan" in this period. He briefly put together a theater company in 1886 in Warsaw, with no notable success. In 1887 he went to New York (as did Mogulescu, independently). After extensive negotiations and great anticipation in the Yiddish-language press in New York ("Goldfaden in America", read the headline in the January 11, 1888 edition of the New Yorker Yiddishe Ilustrirte Zaitung), he briefly took on the job of director of Mogulescu's new Rumanian Opera House; they parted ways again after the failure of their first play, whose production values were apparently not up to New York standards. Goldfaden attempted (unsuccessfully) to found a theater school, then headed in 1889 for Paris, rather low on funds. There he wrote some poetry, worked on a play that he didn't finish at that time, and put together a theater company that never got to the point of putting on a play (because the cashier made off with all of their funds [Adler, 1999, 262 commentary]). In October 1889 he scraped together the money to get to Lvov, where his reputation as a poet again came to his rescue.
Lvov was not exactly a dramatist's dream. Leon Dreykurs described audiences bringing meals into the theater, rustling paper, treating the theater like a beer garden. He also quotes Jacob Schatzky: "All in all, the Galician milieu was not favorable to Yiddish theater. The intellectuals were assimilated, but the masses were fanatically religious and they viewed Jewish 'comedians' with disdain."
Nonetheless, Iacob Ber Ghimpel, who owned a Yiddish theater there, was glad to have a figure of Goldfaden's stature. Goldfaden completed the play he'd started in Paris, Rabi Yoselman, oder Die Gzerot fun Alsas ("Rabbi Yoselman, or The Alsatian Decree"), in five acts and 23 scenes, based on the life of Josel of Rosheim. At this time he also wrote an operetta Rothschild and a semi-autobiographical play called Mashiach Tzeiten (Messiah Times) that gave a less-than-optimistic view of America.
Kalman Juvelier, an actor in Ber Ghimpel's company, credited Goldfaden's brief time in Lvov as greatly strengthening the caliber of performance there, working with every actor on understanding his or her character, making sure that the play was more than just a series of songs and effects, respected by all.
Buoyed by his success in Lvov, he returned to Bucharest in 1892, as director of the Jignita theater. His new company again included Lazar Zuckermann; other players were Marcu (Mordechai) Segalescu, and later Iacob Kalich, Carol Schramek, Malvina Treitler-Löbel and her father H. Goldenbers. Among his notable plays from this period were Dos zenteh Gebot, oder Lo tachmod (The Tenth Commandment, or Thou Shalt Not Covet), Judas Maccabaeus, and Judith and Holfernes and a translation of Johann Strauss's Gypsy Baron.
However, it was not a propitious time to return to Romania. Yiddish theater had become a business there, with slickly written advertisements, coordinated performances in multiple cities using the same publicity materials, and cutthroat competition: on one occasion in 1895, a young man named Bernfeld attended multiple performances of Goldfaden's Story of Isaac, memorized it all (including the songs), and took the whole package to Kalman Juvilier, who put on an unauthorized production in Iasi. Such outright theft was possible because once Ion Ghica headed off on a diplomatic career, the National Theater, which was supposed to adjudicate issues like unauthorized performances of plays, was no longer paying much attention to Yiddish theater. (Juvilier and Goldfaden finally reached an out-of-court settlement.)
Cutthroat competition was nothing to what was to follow. The 1890s were a tough time for the Romanian economy, and a rising tide of anti-Semitism made it an even tougher time for the Jews. One quarter of the Jewish population emigrated, with intellecuals particularly likely to leave, and those intellecuals who remained were more interested in politics than in theater: this was a period of social ferment, with Jewish socialists in Iasi starting Der Veker (The Awakener).
Goldfaden left Romania in 1896; soon Juvilier's was the only active Yiddish theater troupe in the country, and foreign troupes had almost entirely ceased coming to the country. Although Lateiner, Horowitz, and Shumer kept writing, and occasionally managed to put on a play, it was not a good time for Yiddish theater – or any theater – in Romania, and would only become worse as the economy continued to decline.
Goldfaden wandered Europe as a poet and journalist. His plays continued to be performed in Europe and America, but rarely, if ever, did anyone send him royalties. His health deteriorated – a 1903 letter refers to asthma and spitting up blood – and he was running out of money. In 1903, he wrote Jacob Dinesohn from Paris, authorizing him to sell his remaining possessions in Romania, clothes and all. This gave him the money to head once more to New York in 1904.
In America, he again tried his hand at journalism, but a brief stint as editor of the New Yorker Yiddishe Ilustrirte Zaitung resulted only in getting the paper suspended and landing himself a rather large fine. On March 31, 1905, he recited poetry at a benefit performance at Cooper Union to raise a pension for Yiddish poet Eliakum Zunser, even worse off than himself because he had found himself unable to write since coming to America in 1889. Shortly afterwards, he met a group of young people who had a Hebrew language association at the Dr. Herzl Zion Club, and wrote a Hebrew-language play David ba-Milchama (David in the War), which they performed in March 1906, the first Hebrew-language play to be performed in America. Repeat performances in March 1907 and April 1908 drew successively larger crowds.
He also wrote the spoken portions of Ben Ami, loosely based on George Eliot's Daniel Deronda. After Goldfaden's former bit player Jacob Adler — by now the owner of a prominent New York Yiddish theater — optioned and ignored it, even accusing Goldfaden of being "senile", it premiered successfully at rival Boris Thomashefsky's People's Theater December 25, 1907, with music by H. Friedzel and lyrics by Mogulescu, who was by this time an international star.
He died in New York City in 1908. At the time of his death, the New York Times called him not only "the Yiddish Shakespeare", but "both a poet and a prophet", and added that "…there is more evidence of genuine sympathy with and admiration for the man and his work than is likely to be manifested at the funeral of any poet now writing in the English language in this country." An estimated 75,000 attended his funeral procession from the People's Theater in the Bowery to Washington Cemetery in Brooklyn.
Sources disagree about the dates (and even the names) of some of Goldfaden's plays. As usual in transcribing Yiddish, spellings vary wildly.
Die Mumeh Soseh (Aunt Susie) wr. 1869
Die Tzwei Sheines (The Two Neighbours) wr. 1869 (possibly the same as Die Sheines 1877
Polyeh Shikor (Polyeh, the Drunkard) 1871
Anonimeh Komedyeh (Anonymous Comedy) 1876
Die Rekruten (The Recruits) 1876, 1877
Dos Bintl Holtz (The Bundle of Sticks) 1876
Fishl der balegole un zain knecht Sider (Fishel the Junkman and His Servant Sider) 1876
Die Velt a Gan-Edn (The World and Paradise) 1876
Der Farlibter Maskil un der Oifgheklerter Hosid (The Infatuated Philosopher and the Enlightened Hasid) 1876
Der Shver mitn eidem (Father-in-Law and Son-in-Law) 1876
Die Bobeh mit dem Einikel (The Grandmother and the Granddaughter) 1876 presumably the same play as Die kaprizneh Kaleh-Moid (The Capricious Bridemaid) 1887
Yontl Shnaider (Yontl the Tailor) 1877
Vos tut men? (What Did He Do?) 1877
Die Shtumeh Kaleh (The Dumb Bride) 1877, 1887
Die Tzwei Toibe (The Two Deaf Men) 1877
Der Ghekoifter Shlof (The Purchased Sleep) 1877
Die Sheines (The Neighbors) 1877
Yukel un Yekel (Yukel and Yekel) 1877
Der Katar (Catarrh) 1877
Ix-Mix-Drix, 1877
Die Mumeh Sose (Mute Susie) 1877
Braindele Kozak (Breindele Cossack), 1877
Der Podriatshik (The Purveyor), 1877
Die Alte Moid (The Old Maid) 1877
Die Tzvei fardulte (The Two Scatter-Brains) 1877
Die Shvebeleh (Matches) 1877
Fir Portselaiene Teler (Four Porcelain Plates) 1877
Der Shpigl (The Mirror) 1877
Toib, Shtum un Blind (Deaf, Dumb and Blind) 1878
Todres Bloz (Todros, Blow or Todres the Trombonist) 1878
Ni-be-ni-me-ni-cucurigu (Not Me, Not You, Not Cock-a-Doodle-Doo or Neither This, Nor That, nor Kukerikoo; Lulla Rosenfeld also gives the alternate title The Struggle of Culture with Fanaticism) 1878
Der Heker un der Bleher-iung (The Butcher and the Tinker) 1878
Die Kishufmacherin (The Sorceress, also known as The Witch of Botosani) 1878, 1887
Soufflé, 1878
Doi Intriganten (Two Intriguers) 1878
Die tzwei Kuni-lemels (The Fanatic, or The Two Kuni-Lemls) 1880
Thiat Hametim (The Winter of Death) 1881
Shulamith (Shulamith or The Daughter of Jerusalem) wr. 1880, 1881
Dos Zenteh Gebot, oder Lo Tachmod (The Tenth Commandment, or Thou Shalt Not Covet) 1882, 1887
Der Sambatien (Sambation) 1882
Doctor Almasada, oder Die Yiden in Palermo (Doctor Almasada, or The Jews of Palermo also known as Doctor Almasado, Doctor Almaraso, Doctor Almasaro) 1880, 1883
Bar Kokhba, 1883, 1885
Akejdos Jzchuk (The Sacrifice of Isaac), 1891
Dos Finfteh Gebot, oder Kibed Ov (The Fifth Commandment, or Thou Shalt Not Kill), 1892
Rabi Yoselman, oder Die Gzerot fun Alsas (Rabbi Yoselman, or The Alsatian Decree) 1877, 1892
Judas Maccabeus, 1892
Judith and Holofernes, 1892
Mashiach Tzeiten?! (The Messianic Era?!) 1891 1893
Yiddish translation of Johann Strauss's Gypsy Baron 1894
Sdom Veamora (Sodom and Gomorrah) 1895
Die Catastrofe fun Braila (The Catastrophe in Braila) 1895
Meilits Ioisher (The Messenger of Justice) 1897
David ba-Milchama (David in the War) 1906, in Hebrew
Ben Ami (Son of My People) 1907, 1908
Der Ligner (The Liar) 1911 (posthumous)
8 thoughts on "Four Divine States of Mind"
shulamit eichler says:
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Felice Glazer says:
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Philip Joseph Brody says:
Joseph Brody was my great grandfather. Murray Brody was my grandfather and Joseph Brody was my father. I am Philip Joseph Brody born in Queens N.Y. My halfbrother Brian is a saxophone player. Unfortunately I think musical talent skipped me. My great grandfather died before my father was born. Unfortunately my father died around 59 years old. I'm about to be 52 so hopefully I won't pass before my time.
MARTY KUGLER says:
Is there any way that I can get the lyrics to Semour Rockoff's song "Der moiled vet zein." I know about half the words, but I no longer have the record. I've been searching for the lyrics for over 40 years.
Is there any way that I can get the lyrics to Semour Rockoff's song "Der moiled vet zein." I know about half the words, but I no longer have the record. I've been searching for the lyrics for over 40 years. Thanks, Marty Kugler maak68@gmail.com
Steve Sonshine says:
I had the extreme privilege of attending Band and Orchestra classes taught by Mr. Musiker while attending J. Madison H.S. in Brooklyn, N.Y., from '63-'65. I, with my fellow percussionists, listened and learned about music, ensembles, and respect, …all lessons taught by Mr. Musiker.
I am so happy to read of his successes. He deserves them all.
Mr. Musiker, you are COOL
with affection,
Steve Sonshine, Reg. Archt.
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