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Media -- Dont Quote Me
Hostile encounters
Bill O'Reilly is famous for attacking guests who dare disagree with him. So why do liberals keep going on his show?
By MARK JURKOWITZ | January 19, 2006
Whenever I watch the Fox News Channel's The O'Reilly Factor — the highest-rated prime-time show in the cable-news universe — one question strikes me right away. Why do people who disagree with Bill O'Reilly — liberals, usually — go on the show? What masochistic urge coaxes them into battle with the guy who's controlling the weaponry?
Physically imposing, stratospherically self-confident, always wrapped in the mantle of patriotism, decency, and honor, and well trained in TV tactics by his experience as everything from Inside Edition anchor to ABC News correspondent, O'Reilly is a master of manipulating the microphone and dominating the action. Many well-intentioned guests simply end up befuddled and battered after entering a world in which O'Reilly shrewdly selects his targets and then carpet-bombs them.
Bill O'Reilly
Shorenstein Center
Take, for example, the January 11 edition ofFactor.
O'Reilly starts off by drumming up a campaign to remove a Vermont judge who gave out a lenient sentence in a rape case involving a young girl. From there, he takes on Iran's nuclear threat, fretting that the obstructionist "US press and the hard-core left" will block meaningful military action, even as his two guest experts inform him that the country has no good military option at this point.
Then O'Reilly starts shooting fish in a barrel. He criticizes AARP (the American Association of Retired Persons) for having "drifted sharply to the left" after its magazine honored "notorious far-left bomb thrower" Harry Belafonte — who recently called President George W. Bush "the greatest terrorist in the world." That's followed by an attack on BET (Black Entertainment Television) after voters on its Web site named Louis Farrakhan person of the year.
"Condoleezza Rice wasn't on your ballot," says O'Reilly, scolding the game-but-outgunned BET representative.
After that, it's the local contingent's turn. Civil libertarian, lawyer, and Phoenix contributor Harvey Silverglate is on to talk about the Bush administration's warrantless-spying campaign revealed by the New York Times. Like O'Reilly, Silverglate thinks the Times faces legal vulnerability. But unlike O'Reilly, who sees the story "undermining" our 24/7 war on terror, Silverglate does not want the paper prosecuted for revealing what he says are administration misdeeds. A good guest can agree with O'Reilly on some issues, but still arrive at a different bottom line. And a well-prepped Silverglate manages to hold his own.
It's a bumpier ride, however, for Alex Jones, director of Harvard's Shorenstein Center on the Press, Politics and Public Policy, who tries to fend off an O'Reilly outraged by what he insists is the center's domination by lefties and steamed that his nemesis — liberal comedian and talk-show host Al Franken — was once given a Shorenstein fellowship that supported his research on Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right. Continuing the assault, O'Reilly declares that John Carroll — the highly respected former Los Angeles Times editor just brought on as a Shorenstein visiting lecturer — is a "left-wing editor" fired by the Times because "he moved it as far left as it's been in its history." (Actually, Carroll, in what was viewed as an act of professional integrity, resigned amid disagreements over Times owner the Tribune Company's fiscal priorities.)
In a heated exchange, Jones tries hard to defend Carroll. But facts aren't much use on Factor, as O'Reilly demands to know, "Who do you have on the right to counter John Carroll?"
"I'm a watchdog," O'Reilly declares triumphantly before abruptly ending the segment.
In an interview after that encounter, Jones explains that "Bill has a deep-seated anger at me personally because I gave Al Franken a fellowship."
"Bill is Bill," he adds, philosophically. "I know going on this show I'm going to be accused and yelled at. I think on his program, it's important to accuse and yell back."
Facing down Factor
There is, of course, plenty of debate about whether O'Reilly's arched eyebrows, wagging finger, and moral certitude are a shrewdly concocted act or the real deal. But maybe it doesn't even matter.
"People believe what I'm saying is true," asserted the self-proclaimed populist in an interview a few years ago. "And I trust the folks." (A spokeswoman for the show declined to comment for this story.)
O'Reilly's infamous bullying tactics were memorably captured in Robert Greenwald's 2004 documentary Outfoxed, in which he is seen berating and silencing guests who take issue with him. Perhaps the most famous encounter of that kind was a nasty and insulting February 2003 interview with Jeremy Glick — an anti-war activist and son of a 9/11 victim — in which O'Reilly informed his guest that his late father would disapprove of his actions, told him to "shut up," and then declared it was time to "cut his mike."
The First Annual Spotty Awards
Our prestigious award for standout achievement in political something or other
Listing forward
Sometimes a media critic just wants to herd a few cats
The 'A' word
Is there one political story the press shouldn't report?
Numbing carnage
Once an upbeat hit, Bush's Iraq show has jumped the shark
Letters to the Boston editor, February 3, 2006
Shrill O'Reilly
Debating pointers
Advice to local TV stations
The 11th Annual Muzzle Awards
Silencing free speech
The Year of living strangely
A year in media
Spin Cyle: WooTube
Pols get dirty with video
Topics: Media -- Dont Quote Me , Bill O'Reilly , AARP , Shorenstein Center , More , Bill O'Reilly , AARP , Shorenstein Center , Al Franken , Robert Greenwald , Jeremy Glick , Michael Moore , Phil Donahue , Cindy Sheehan , David Letterman , Less
More on this story:
The Gray Lady in shadow: Could publication of the domestic-spying story lead to indictment of the New York Times. By Harvey Silverglate.
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BULL DISCLOSURE
As the candidates prep for the final debate, it's a fitting time to ask: why do some journalistic conflicts of interest become scandals, while others get almost no attention at all?
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FINANCIAL FALLOUT
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Wood Mackenzie completed mining sector development strategy: El-Molla - Daily News Egypt
Business Wood Mackenzie completed mining sector development strategy: El-Molla
Wood Mackenzie completed mining sector development strategy: El-Molla
Egypt to host 15th Middle East Mining Conference next week
Mohamed Adel November 18, 2018 Be the first to comment
The Minister of Petroleum and Mineral Resources, Tarek El-Molla, said that the advisory office, Wood Mackenzie, in charge of preparing a strategy for the development of the Egyptian mining sector, has completed the strategy.
During the press conference to announce that Egypt will host the 15th Middle East Mining conference under the auspices of President Abdel Fattah al-Sisi, El-Molla added that the implementation of the new strategy will begin with the establishing the amendments to the Mineral Wealth Law. He noted that the recommendations included an organisational reform of the sector, which will be put in place successively.
He said the amendments to the Mineral Wealth Law had been referred to the House of Representatives for discussions. "After the passage of the bill, the executive regulations of the law will be issued," he said.
President Abdul Fattah al-Sisi had issued the Mineral Wealth Law in December 2014, but the law faced many objections by investors in the exploration of metals and ores.
El-Molla pointed out that the new amendments aim to separate the exploitation from the utilisation stage, which aims to attract more investments, as the research agreements need a long time for the procedures, as well as a cap on royalties, which renders investors safe from market fluctuations.
The amendments will also contribute to increasing the revenues of the different governorates from the profits of the collection of resources, in addition to merging the quarries licenses in one entity. El-Molla said the mining sector had not put any investments to the state since 2014, where no contracts in the quarries sector were signed since. The Egyptian mineral resources authority (EMRA) has only received mining requests, thus the government resorted to amending the 2014 law, according to El-Molla.
The minister said that his ministry will be adding incentives to investors in the Law of Mineral Wealth, in order to attract investment and bring funds to the state. He explained that there are specialised committees to deal with the problems of gold in Egypt, especially the problem of illegal gold diggers and smuggling Egyptian gold abroad.
On the 15th Arab International Mineral Resources Conference, El-Molla said that the conference will be accompanied by an exhibition of companies and countries to present all the services associated with the mining operations, and that all ministers concerned with all the Arab countries were invited.
He explained that the ministry is seeking to traverse the mining journey as did the oil sector, to cope with the breakthrough in the sector, which would maximise the Egyptian income and support the economy.
El-Molla said that Misr Petroleum Company and Cooperation Petroleum will launch the new improved gasoline 95 in December, similar to the companies that launched the product in February.
Topics: Tarek El Molla the Minister of Petroleum and Mineral Resources Wood Mackenzie
Mohamed Adel
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https://dailyfeed.dailynewsegypt.com/2018/11/18/wood-mackenzie-completed-mining-sector-development-strategy-el-molla/
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Formulating new gold search and exploration agreements: EMRA
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Cheap oil threatens North Sea fields

redpajama_set_name: RedPajamaCommonCrawl


Appl Opt. 2018 Jul 20;57(21):5956-5961. doi: 10.1364/AO.57.005956.
Fourier transform infrared spectrometer based on an electrothermal MEMS mirror.
Wang D, Liu H, Zhang J, Chen Q, Wang W, Zhang X, Xie H.
This paper presents a micro Fourier transform infrared spectrometer (μFTIR), enabled by an H-shaped electrothermal microelectromechanical systems (MEMS) mirror. A special driving method was developed for obtaining a linear, uniform-speed motion of 186 μm, and the tilting angle of the MEMS mirror was as small as 0.06°, so there was no need of complex closed-loop control. A telecentric lens was employed in the interferometer of the μFTIR to reduce the influence of the MEMS mirror tilting effect. Also, a new phase interpolation algorithm, instead of the traditional fringe interval method, was applied in the process of the spectral reconstruction to improve the spectral stability. Finally, the new μFTIR was applied in the composition prediction of soybeans, and the experimental results show that it can accurately measure grain moisture, protein, and fat contents.


Available now in a downloadable version is FS Repaint, a utility for FS2004 and FS2002 that lets anyone easily and quickly repaint their planes. FS Repaint works with most planes, including those made with Gmax or FS Design Studio. For more information, click on Read More.
FS Repaint -- Repaint your aircraft ... easily.
Yesterday marked the launch of FS Repaint.
As its name suggests, you can use this software to change the appearance of your Flight Simulator aircraft.
Using the new add-on, you can now quickly expand your fleet. Whether you want to change the shade of the fuselage, add a new logo to the tail fin or engage in a complete "restoration" of an old classic, FS Repaint will get the job done.
"Just had a quick try using the default R22, and it works like a dream ! The program's front end is a joy to use...The fact that FSRepaint maintains the reflective textures is a real time saver.", SC from U.K.
"I made a few changes to the Cessna 172 which was fairly easy to do and that change was on my own. (HELP files were not available to this beta tester at this time)", JS from Illinois.
"I think you have a winner here, especially how I can view my project with the alpha's and even edit the Alpha and RGB at the same time. You have a winner here I am sure!", T.H. from Canada.
"I've spent the last couple of nights intensively repainting the default FS2004 R22, and all was going swimmingly.", MH from Ohio.
Users can download a Demo version of FS Repaint. The Demo has all of the capabilities of the full package except for saving the modifications.
FS Repaint can be used to repaint most FS2004 and FS2002 aircraft including the stock aircraft, FS Design Studio aircraft and gmax aircraft, both freeware and payware. Certain encrypted or highly modified aircraft may not be supported.
Shipments to computer stores and mass merchandise retail stores begin late September.
FS Repaint is written by Jorge Santoro and Marco Paulo da Silva.
Abacus is a designer, developer and publisher of PC software. Founded in 1978, this is Abacus' 25th anniversay. Abacus distributes its products through major computer and retail stores in the US & Canada and through its international partners: Contact Sales for the U.K., Easy Computing for Belgium, Netherlands and Luxembourg, Micro Application for France, Simaviator for Germany, Switzerland and Austria and Twilight Express for Japan.


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Netflix has cancelled one of its Marvel shows – can you guess which one?
By Alex Wiggan
Image: ©Netflix/Marvel
Netflix has cancelled Iron Fist.
The series will not return following the conclusion of its second season.
In a statement, via Deadline, Marvel said: "Everyone at Marvel Television and Netflix is proud of the series and grateful for all of the hard work from our incredible cast, crew and showrunners." Marvel and Netflix added. "We're thankful to the fans who have watched these two seasons, and for the partnership we've shared on this series. While the series on Netflix has ended, the immortal Iron Fist will live on."
It's unclear how Iron Fist will live on, however it's likely that actor Finn Jones will reprise the role of Danny Rand/Iron Fist for one of the other Marvel Netflix shows (Jessica Jones, Luke Cage etc). However, nothing's set in stone and even if he does return to the role, it could be nothing more than a cameo.
The next Marvel/Netflix show, Daredevil Season 3 arrives on the streaming service this month. A second season of The Punisher will follow, with new seasons of Jessica Jones and Luke Cage in development.
The door may have closed on Iron Fist, but the Marvel/Netflix partnership continues.
Tags: Danny Rand, Iron Fist, Marvel, Netflix, TV
Categories: Streaming, TV
Review: Goosebumps 2: Haunted Halloween
Disney is releasing a boxset of every Walt Disney Animated Classic


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Q: Please help me out. Is there exist such a number like 0^(k), where k<0 What is the value of $0^x$ where 'x' is negative real number and what will be the value of $(x)^{1/x}$ as $x$ tends to zero.

A: Let $0^{-k}$ for some $k > 0$.
If you take $0^{-k}$ to be the multiplicative inverse of $0$ raised to the power of $k$, that is $0^{-k}= (0^{-1})^k$, such a number will not be defined because there is no multiplicative inverse of $0$.
If you take $0^{-k}$ to be the multiplicative inverse of $0^k$, that is $0^{-k} = (0^k)^{-1}$, such a number will also not be defined because $0^k = 0$ and similarly, there is no multiplicative inverse of $0$.
Simply put, $0^x$ does not make sense for a $x \in \mathbb{R}^{-}$.

Also, the limit as $x \to 0$ for $x^\frac{1}{x}$ does not exists because the left and right limits are not equal. In fact, the left limit doesn't even exists in $\mathbb{R}$.

redpajama_set_name: RedPajamaStackExchange


Ser Lothor is first met as a freerider competing in the Hand's Tourney in King's Landing, where he performs well. He enters Littlefingers service at some point. He is a poor relation to the knightly Brunes of Brownhollow, although they denied him when he sought them out following his father's death.
Information about Ser Lothor Brune that reveals spoilers from the books.


In the Middle East as around the planet, the fundamental contradiction in political life has long ceased to be the struggle between left-wing and right-wing parties.
Apart from electoral schemes and propaganda techniques, there are scarce differences in contemporary politics between leftist and rightist policies. The concept of "class struggle", for instance, which is central to left-right dichotomy, has been rarely used for decades.
The fundamental contradiction, then, of the world today is not between left and right. And it is not between different religions or contrasting civilizatory traditions, either.
The internal conflict among Islamic nations and sects themselves is as bloody as, if not bloodier than, the conflict between the Muslim culture and the rest of humanity.
Every dogmatic religion is now living a sort of slow implosion. Each year, Catholic churches around the world turn out to be emptier than previously. Dogmatic sectors of Judaism undergo a vivid ethical decay, and lose influence. The cultural contrasts within the Jewish world are too significant to be ignored. No one can say that the Jews stand united against the Muslims, or – the other way around – that the Muslims are united against the Jews.
The new frontier is the "invisible border" between a thoughtful open-mindedness and blind fanaticism.
It is the contrast between a severe love of peace and a "sweet" love of death and war. It is the subtle abyss between emotional attachment to the sad aspects of the past, and a willingness to build a better future.
There are two main pillars, in one of the various doors to the next step in historical evolution. Intercultural harmony is one of them. The other pillar is total severity as to terrorism and anti-Semitic propaganda, which justifies it. Although the second element is of decisive importance, the present article is not the occasion to discuss it.
Historical time is of course slower than the timing of an individual. An evolutionary need usually takes several generations to be attained, even after being clearly formulated. Almost one century after Gibran's words, most political parties are still myopic. They see but small isolated events. They don't grasp the wider process of life. Because political corporations are addicted to mediocrity, their decay on ethical and philosophical grounds gets more evident every day.
It is important to perceive and observe human shortcomings.
The man-made character of "personal and all-powerful Gods" explains Their perfectly human appearance and attitudes. Realizing the fact that men created monotheistic Gods in their own images is something of a great philosophical and religious significance.
Its sociological importance is also decisive, for humanized monotheistic gods have been used during more than a few millennia as excuses for wars and all kinds of cruelty. Adolf Hitler, for instance, was never criticized by the Catholic and Lutheran representatives of God, in Germany and other countries, as long as he had political and military power.
The ineffable G-d is a host of impersonal deities (Elohim), whose names will not be pronounced. They are far beyond the monotheistic creations made by men, and cannot be manipulated or used as instruments of hatred and narrow-mindedness.
Indeed, according to Theosophy, nothing divine can be fully expressed in words. It can only be hinted at.
While the divine world is ineffable, universal brotherhood constitutes an objective duty and a Law to be obeyed with stern justice and discernment.
Life is wider and deeper than any explanation about it. The mysteries of birth and death should be enough to teach us the need to constantly reexamine our thoughts and to question that which we may think we know.
The afterlife is but one example among others.
Theosophy, Eastern religions, the Jewish Kabballah and the works of Kahlil Gibran all teach Reincarnation. The transmigration of souls or Jewish Gilgul means a periodical change in one's body, one's soul, and one's horizons.
Life recycles itself in unpredictable ways, and all beings are brothers of different ages and epochs.
The supreme being can be rightfully seen as the One Law.
While there is no doubt that the Law of the Universe has always been kind enough to all beings, it will be wise of us to decide to do our best at all times, and to deserve, before desiring. By promoting interreligious peace and defeating terror, the Middle East will both deserve and pave the way to a more real and balanced connection to the divine realm, which is only possible when cultural diversity is combined with mutual respect.
 The philosophy of nature preservation has no single guide-book to follow; it teaches the inner unity of all life together with the need to respect its outward diversity. The love of Nature embraces the main religious and mystical traditions, discarding their outward dogmas and vestments. Although the ecological view of life is correct, it remains marginal to conventional politics.
 On Gibran being influenced by Baha'i, see the June 2007 Princeton University article entitled "Collection of Kahlil Gibran manuscripts donated to the Library".
 The full article was published in the September 2015 edition of "The Aquarian Theosophist", pp. 11-14. It was previously included in the volume "A Third Treasury of Kahlil Gibran", edited and with an introduction by Andrew Dib Sherfan, The Citadel Press, Secaucus, New Jersey, USA, 434 pp., copyright 1975, pp. 52-57. The article "The New Frontier" is has been also published under the title of "The New Deal".
 "A Third Treasury of Kahlil Gibran", edited and with an introduction by Andrew Dib Sherfan, pp. 97-98.
 "To Heal a Fractured World", Rabbi Jonathan Sacks, Schocken Books, New York, 2005, 280 pp., see p. 24.
 "To Heal a Fractured World", Rabbi Jonathan Sacks, Schocken Books, New York, 2005, 280 pp., see p. 10.
 "A Third Treasury of Kahlil Gibran", pp. 397-401.
 "A Third Treasury of Kahlil Gibran", p. 102.


Fall for YNPN all over again!
Join us for the YNPN Member Bash! Celebrate your membership with YNPN by helping us kick off our Annual Membership Campaign!
At the Bash we'll take a look at what YNPN has accomplished since first launching the membership program last year and share the exciting things we have planned for the year ahead! Come strengthen your network and get to know your fellow YNPN members better. We've got some exciting networking activities planned and prizes to give away!
The YNPN Member Bash is free for YNPN Members. Drinks and hors d'oeuvres will be available. Come out for a night that is guaranteed to make you fall for YNPN all over again!
Not a member of YNPN? You can still attend the Member Bash to learn more about YNPN. The cost for non-members to attend is $10. Consider joining today!


How Much Does Home Security Cost in Clinton, NC?
There are a variety of home security companies in Clinton, NC, each with their own pricing structure, so you can be sure to find one that fits your requirements and your budget. Pricing depends on the type of installation (professional or DIY), ownership of equipment, and monitoring. Installation charges can be free (when you install yourself), up to about $200. When you sign up for monitoring, some companies give you a basic system free of charge, eliminating equipment costs. A basic system, which you own after purchasing, tends to run about $230, though it may vary in price from company to company and based on your specific needs. Monitoring fees also vary, ranging in price from $29.99 a month to $200 a month.
Wireless home security systems come with the added advantage of never needing to drill holes to run cables. The individual pieces of security equipment communicate wirelessly, similar to tablets and smartphones. This allows you to get your system set up quickly and easily. Wireless technology also makes it simple to move and reconfigure components whenever necessary. Communications from your wireless home security equipment to the monitoring center are handled via cellular transmissions, providing you with the ultimate protection. You won't have to worry about burglars disabling your system from the outside of your home by cutting phone or cable wires. That's a benefit you only get with wireless technology.
It's never been easier to keep an eye on everything at home. Many homeowners in Clinton, NC use security cameras to be able to check in from anywhere. For example, motion-activated and night vision cameras give you two different ways to monitor what's going on in and around your home. Remote access to your home security system allows you to receive updates via text or email, and you can even view real-time footage from your mobile device or computer. Whatever your needs, you can feel confident knowing you can add security cameras to your home security system.
How many times have you left the house and wondered if you'd locked the doors or armed your alarm system? By using your smartphone, you'll never have to worry again. You can check on both thanks to smart home automation in Clinton, NC. Smart home technology places you in full control of the electronics in your home. You can control anything you connect wirelessly to your central control hub, such as lights, your furnace or a/c, and of course your alarm system. You'll be able to set up text or email alerts to track anything in your home from package deliveries to kids returning from the mall.


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Oh Huck, you need a hug and a cupcake
Season two of The Fixer ends tonight and our TV blogger is starting to feel very sorry for Olivia Pope and her poor anxiety-driven team, especially torturer-turned-tormented Huck.
Am I the only one . . . who wants to give poor Huck in The Fixer a long hug (well, a pat on the back when he was in his smelly phase) and maybe bake him a big batch of chocolate cupcakes or something? I feel so sorry for that torture expert; I sometimes find myself so distracted by his sad face I forget to concentrate on the fast-paced conversations going on around him.
Huck played by actor Guillermo Díaz
Season two of The Fixer wraps up this week and my head is spinning with all the political intrigue, backstabbing, torture, lies and mysterious moles in crisis manager Olivia Pope's world. If I'm handing out gifts then Olivia needs to get a lovely, relaxing day at a spa after her phone has been pried out of her tense hands. Her head and the political world will probably implode if that happens though. But this woman needs a break; even the most powerful woman in Washington needs to take her shoes off and not worry about the world, and without fear of being spied on by gorgeous men with multiple TV screens to see you better.
Huck though looks like the kind of guy who's permanently watching his back. That episode a week or two ago when they showed how he became a top torturer and ended up in a dungeon at the mysterious B-613 black-ops organisation just about broke my heart. And then when I thought I wouldn't actually shed tears, his little son innocently ran up and gave his hairy, homeless daddy a little cash, not realising he's giving it to his father.
A homeless hairy Huck gets spare change from his son.
And right then I wanted to hug him. And it seems others feel the same way. Guillermo Díaz, who plays Huck, told TV Guide people do want to hug him! "Huck is so broken and he always looks like he's on the verge of a breakdown so I think people just wanna show me some love."
And he's also never sure what his character is going to be getting up to in an episode. "I'm nervous every time we're going to start a new episode, because I never know if I'm going to have to be naked, if I'm going to be waterboarded, if I'm going to have to walk into a house where everyone's dead, and have to have these emotions ready. You just never know what's going to happen. Am I going to be shooting a gun? Firing up a drill? I'm pretty comfortable with all the power tools now!" he told entertainment site vulture.com.
Abby, Quinn and Olivia
He's also the only who doesn't seem to talk quite as fast as the other characters. Sometimes I find myself holding my breath as Olivia, Abby, Quinn/Lindsay (Quinnsay?) and the others chat at the speed of lightning. It's something the show's creator, Shonda Rhimes, did on purpose. "Part of the pace was born of me not wanting actors to linger in the moments, in the sense of it's a world in which everyone is really incredibly busy, and there's no time to feel your feelings," she told entertainment website eurweb.com. "So part of it was that. Part of it was that I wrote a pilot that was, like, 75 pages long (and they needed to fit it into the time of one episode)." It seems to be something she really likes though because the characters in her other show Grey's Anatomy also speak as if they're on a super-tight deadline.
Husbands James and Cyrus
Speaking of Grey's Anatomy, I was curious to find out more about Dan Bucatinsky, who plays James, Cyrus' husband, in The Fixer, after he won an Emmy for outstanding guest star in a drama series and discovered he's one busy guy. He's also a writer and consulting producer on Grey's and is Lisa Kudrow's writing partner on her series, Web Therapy. He also wrote a bestselling book, Does This Baby Make Me Look Straight?, about adopting kids with his husband, screenwriter Dan Roos, and according to The Hollywood Reporter Shonda Rhimes is making a TV series based on his book. Dan actually auditioned for the role of Huck. Yup, I can't imagine him as Huck either and neither could he. "I remember that we all sort of agreed I wasn't right for the part, but they were going to find something for me to do," he told entertainment site Buzzfeed.
Now we're gearing up for the finale of season two and will finally know who the bloody mole is (Is it Cyrus?! Wait, maybe it's Mellie?!) and how exactly the US president figures he can just divorce his wife and take up with his mistress . . .
Get ready for two episodes tonight! Season three has just started in America and M-Net says we'll probably see it early next year.
• The Fixer is on M-Net on Mondays at 8.30 pm.
PS: Homeland season three starts next Monday in The Fixer's timeslot.
-Natalie Cavernelis
Follow Natalie on twitter @NatalieCav


While I was sewing this skirt, I had the perfect bright red button-up cardigan in mind, or so I thought . . . I never actually pulled the sweater out of the drawer to compare the color with the apple print. BIG mistake.
The red was nothing like I remembered, and the color was much more orange than my apple print. With my shoes it just did not work. AARGH!
Well, after digging through all of my short-sleeved red sweaters (the pile was not very large – I think I need some new red sweaters), this is what I came up with. And it actually works!
Because the gingham lined scallops are not exactly visible as worn, I decided that an added skinny belt was necessary.
Overall, I am very pleased with this project. And I believe I may keep that idea for a wool version in mind for when the cold weather returns.
And yes, there was twirling . . .
HI, your adorable outfit just popped up as I was perusing blogs. Fabulous, wonderful combination and colors. I've been lurking and enjoying your vintage sewing jewels!
I absolutely love this outfit. :-) really like the scallop trim down the skirt - very pretty. I may have to borrow that idea sometime!
I really love this! The shape is extremely flattering & the scallops are a really fun (yet almost subtle with your print) touch. I love that you were able to get another go out of this pattern - isn't that the best feeling? :) Especially with something like a Ceil Chapman evening gown!
The scallops came out beautifully and add a wonderful little twist to the full skirt. I just love the whole look, and the top and shoes work perfectly.


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The Origins of Rudolph the Red-Nosed Reindeer
Was Rudolph the Red-Nosed Reindeer created to bring comfort to a girl whose mother was dying of cancer?
David Mikkelson
Image via Flickr - Ashley Coombs
The character 'Rudolph the Red-Nosed Reindeer' was created by a father to bring comfort to his daughter as her mother was dying of cancer.
What's True
Rudolph the Red-Nosed Reindeer was created by a man whose wife was dying of cancer.
What's False
The story of Rudolph was not created to bring comfort to a girl as her mother lay dying of cancer.
To most of us, the character of Rudolph the Red-Nosed Reindeer, immortalized in song and a popular holiday television special, has always been an essential part of our Christmas folklore. But Rudolph is in fact a mid-twentieth century invention whose creation can be traced to a specific time and person — often described as follows in online posts:
A man named Bob May, depressed and brokenhearted, stared out his drafty apartment window into the chilling December night.
His 4-year-old daughter Barbara sat on his lap quietly sobbing. Bob's wife, Evelyn, was dying of cancer. Little Barbara couldn't understand why her mommy could never come home. Barbara looked up into her dad's eyes and asked, "Why isn't Mommy just like everybody else's Mommy?" Bob's jaw tightened and his eyes welled with tears. Her question brought waves of grief, but also of anger. It had been the story of Bob's life. Life always had to be different for Bob.
Small when he was a kid, Bob was often bullied by other boys. He was too little at the time to compete in sports. He was often called names he'd rather not remember. From childhood, Bob was different and never seemed to fit in. Bob did complete college, married his loving wife and was grateful to get his job as a copywriter at Montgomery Ward during the Great Depression. Then he was blessed with his little girl. But it was all short-lived. Evelyn's bout with cancer stripped them of all their savings and now Bob and his daughter were forced to live in a two-room apartment in the Chicago slums. Evelyn died just days before Christmas in 1938.
Bob struggled to give hope to his child, for whom he couldn't even afford to buy a Christmas gift. But if he couldn't buy a gift, he was determined to make one — a storybook! Bob had created an animal character in his own mind and told the animal's story to little Barbara to give her comfort and hope. Again and again Bob told the story, embellishing it more with each telling. Who was the character? What was the story all about? The story Bob May created was his own autobiography in fable form. The character he created was a misfit outcast like he was. The name of the character? A little reindeer named Rudolph, with a big shiny nose. Bob finished the book just in time to give it to his little girl on Christmas Day. But the story doesn't end there.
The general manager of Montgomery Ward caught wind of the little storybook and offered Bob May a nominal fee to purchase the rights to print the book. Wards went on to print, Rudolph, the Red-Nosed Reindeer and distribute it to children visiting Santa Claus in their stores. By 1946 Wards had printed and distributed more than six million copies of Rudolph. That same year, a major publisher wanted to purchase the rights from Wards to print an updated version of the book.
In an unprecedented gesture of kindness, the CEO of Wards returned all rights back to Bob May. The book became a best seller. Many toy and marketing deals followed and Bob May, now remarried with a growing family, became wealthy from the story he created to comfort his grieving daughter. But the story doesn't end there either.
Bob's brother-in-law, Johnny Marks, made a song adaptation to Rudolph. Though the song was turned down by such popular vocalists as Bing Crosby and Dinah Shore , it was recorded by the singing cowboy, Gene Autry. "Rudolph, the Red-Nosed Reindeer" was released in 1949 and became a phenomenal success, selling more records than any other Christmas song, with the exception of "White Christmas."
The gift of love that Bob May created for his daughter so long ago kept on returning back to bless him again and again. And Bob May learned the lesson, just like his dear friend Rudolph, that being different isn't so bad. In fact, being different can be a blessing.
However, the glurgified account of that event reproduced above, while essentially correct in its broad strokes, erroneously inverts a key aspect of the process: The story of Rudolph the Red-Nosed Reindeer was not developed by a man who was seeking to bring comfort to his daughter as her mother lay dying of cancer and who subsequently sold his creation to a department store chain. Instead, the Rudolph character and story was developed for commercial purposes by a Montgomery Ward copywriter at the specific request of his employer, and that copywriter then tested the story out on his own daughter during the development process to ensure it would appeal to children.
Rudolph came to life in 1939 when the Chicago-based Montgomery Ward company asked one of their copywriters, 34-year-old Robert L. May, to come up with a Christmas story they could give away in booklet form to shoppers as a promotional gimmick — the Montgomery Ward stores had been buying and distributing coloring books to customers at Christmastime every year, and May's department head saw creating a giveaway booklet of their own as a way to save money. Robert May, who had a penchant for writing children's stories and limericks, was tapped to create the booklet.
May, drawing in part on the tale of The Ugly Duckling and his own background (he was often taunted as a child for being shy, small, and slight), settled on the idea of an underdog ostracized by the reindeer community because of his physical abnormality: a glowing red nose. Looking for an alliterative name, May considered and rejected Rollo (too cheerful and carefree a name for the story of a misfit) and Reginald (too British) before deciding on Rudolph. He then proceeded to write Rudolph's story in verse as a series of rhyming couplets, testing it out on his 4-year-old daughter, Barbara, as he went along. Although Barbara was thrilled with Rudolph's story, May's boss was worried that a story featuring a red nose — an image associated with drinking and drunkards — was unsuitable for a Christmas tale. May responded by taking Denver Gillen, a friend from Montgomery Ward's art department, to the Lincoln Park Zoo to sketch some deer. Gillen's illustrations of a red-nosed reindeer overcame the hesitancy of May's superiors, and the Rudolph story was approved. Montgomery Ward distributed 2.4 million copies of the Rudolph booklet in 1939, and although wartime paper shortages curtailed printing for the next several years, a total of 6 million copies had been distributed by the end of 1946.
The post-war demand for licensing the Rudolph character was tremendous, but since May had created the story on a "work made for hire" basis as an employee of Montgomery Ward, that company held the copyright to Rudolph, and May received no royalties for his creation. Deeply in debt from the medical bills resulting from his wife's terminal illness (she died about the time May created Rudolph), May persuaded Montgomery Ward's corporate president, Sewell Avery, to turn the copyright over to him in January 1947, and with the rights to his creation in hand, May's financial security was assured. (Unlike Santa Claus and other familiar Christmas figures of the time, the Rudolph character was a protected trademark that required licensing and the payment of royalties for commercial use.)
"Rudolph the Red-Nosed Reindeer" was reprinted commercially beginning in 1947 and shown in theaters as a nine-minute cartoon the following year, but the Rudolph phenomenon really took off when May's brother-in-law, songwriter Johnny Marks, developed the lyrics and melody for a Rudolph song. Marks' musical version of "Rudolph the Red-Nosed Reindeer" (turned down by many in the music industry who didn't want to meddle with the established Santa legend) was recorded by cowboy crooner Gene Autry in 1949, sold two million copies that year, and went on to become one of the best-selling songs of all time (second only to "White Christmas"). A stop-action television special about Rudolph produced by Rankin/Bass and narrated by Burl Ives was first aired in 1964 and remains a popular perennial holiday favorite in the U.S.
May quit his copywriting job in 1951 and spent seven years managing the Rudolph franchise his creation had spawned before returning to Montgomery Ward, where he worked until his retirement in 1971. May died in 1976, comfortable in the life his reindeer creation had provided for him.
The story of Rudolph is primarily known to us through the lyrics of Johnny Marks' song (which provides only the barest outlines of Rudolph's story) and the 1964 television special. The story Robert May wrote is substantially different from both of them in a number of ways.
Rudolph was neither one of Santa's reindeer nor the offspring of one of Santa's reindeer, and he did not live at the North Pole. Rudolph dwelled in an "ordinary" reindeer village elsewhere, and although he was taunted and laughed at for having a shiny red nose, he was not regarded by his parents as a shameful embarrassment; Rudolph was brought up in a loving household and was a responsible reindeer with a good self-image and sense of worth. Moreover, Rudolph also did not rise to fame when Santa picked him out from a reindeer herd because of his shiny nose; instead, Santa discovered the red-nosed reindeer quite by accident, when he noticed the glow emanating from Rudolph's room while he was delivering presents to Rudolph's house. Worried that the thickening fog that night (already the cause of several accidents and delays) would keep him from completing his Christmas Eve rounds, Santa tapped Rudolph to lead his team, which the young reindeer agreed to do, after first stopping to complete one last task: leaving behind a note for his mother and father.
As Ronald Lankford noted in his cultural history of American Christmas songs, Rudolph's story was a classic reflection of American values during the 1940s and beyond:
Much like the modern Santa Claus song, Rudolph's story is for children; more specifically, it is a children's story about overcoming adversity and earning, by personal effort, respect in the adult world. As a young deer (child) with a handicap that turns out to be an unrecognized asset, Rudolph comes to the rescue of an adult (Santa) at the last minute (on Christmas Eve). When Rudolph saves the day, he gains respect from both his peers (the reindeer who refused to include him in games) and the adult world. The story of Rudolph, then, is the fantasy story made to order for American children: each child has the need to express and receive approval for his or her individuality and/or special qualities. Rudolph's story embodies the American Dream for the child, written large because of the cultural significance of Christmas.
Archibald, John J. "Rudolph's Tale Left Him Cold."
St. Louis Post-Dispatch. 6 December 1989 (p. E3).
Flynn, Tom. The Trouble with Christmas.
Buffalo, NY: Prometheus Books, 1993. ISBN 0-87975-848-1 (pp. 122-123).
Frankel, Stanley A. "The Story Behind Rudolph the Red-Nosed Reindeer."
Good Housekeeping. December 1989 (p. 126).
Lankford, Ronald D. Sleigh Rides, Jingle Bells, & Silent Nights.
Gainesville: University Press of Florida, 2013. ISBN 978-0-8130-4492-7 (pp. 85-88)
Lillard, Margaret. "Rudolph Lit Up Creator's Career."
Los Angeles Times. 17 December 1989 (p. A7).
"How an Advertising Copywriter Helped Rudolph Become 'The Most Famous Reindeer of All.'"
Morrison, Gary W. The Grand Rapids Press. 15 December 1998 (p. C1).
Lollar, Kevin. "Reginald the Red-Nosed Reindeer?"
Gannett News Service. 21 December 1989.
Murphy, Cullen. "Rudolph Redux."
The Atlantic. August 1990 (p. 18).
Ogintz, Eileen. "The Man Who Created Rudolph …"
Chicago Tribune. 13 December 1990 (Tempo; p. 1).
The Palm Beach Post. "Rudolph's Rise to Fame Was Long, Arduous"
25 December 1999 (p. A21).
The Time-Life Book of Christmas.
New York: Prentice Hall, 1987. ISBN 0-13-133679-7 (p. 101).


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A List of Planché's Theatrical Works
Contents for this page (Planché's Theatrical Works)
Note about List
316 (Year 1819)
331 (Author's Note, 1879)
NOTE ABOUT LIST: This list appears at the end of Volume Five of The Extravaganzas of J. R. Planché. It has been carefully reproduced from the 1879 source, down to typos and misspellings, missing punctuation, and the like. Bracketed notes in the text are to add information not otherwise present or to avoid possible misapprehensions. Play-bills were not always consistent; slight variations might appear within one season and even from one printing-house. Play descriptions and subtitles can differ; major differences between this list and other available sources are noted in square brackets, as are the sources of translations and adaptations I have identified. (This is from my own investigations; Donald Roy also provides identification of sources�some of them different�in his work.) Page notations are not as they appear on the pages of the original (numerals in the upper, outside corner), but are added to help the reader identify location in the original text. The original list is arranged with hanging indents; the second line beginning under the third character following the long dash. (This did not seem feasible to duplicate online.)
The term �burletta,� originally indicating a musical comic play in Italy, came in Britain to be primarily a legal term suggesting a theatrical piece with music, applied to melodrama, burlesque, farce, and almost any other genre a minor theater wished to put on. Where identification is possible, the type of piece indicated by �burletta� is specified.
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A COMPLETE LIST
THE DRAMATIC PRODUCTIONS
J. R. PLANCHÉ
With Mr. Planché�s assistance, the Editors are enabled to furnish the following complete list of his dramatic works, to which are added the dates and places of their productions, a record of which cannot fail to be acceptable to all who take an interesting the history of the stage. To ensure accuracy, the play-bill of the period has in every instance been referred to.
1.---Amoroso, King of Little Britain. Burlesque, One Act. Theatre Royal, Drury Lane. 21st April, 1818. [Despite the lack of note, this does not appear to have been published.]
2.---Rodolph, the Wolf ; or, Columbine Red Riding-hood Speaking Pantomime. Olympic Theatre, 21st December, 1818.
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3.---The Troubadours; or, Jealousy Outwitted. Operatic Drama. Olympic Theatre. 9th February, 1819 (n.p.). [Footnote adds �Signifies not printed.�]
4.---Abudah ; or, The Talisman of Oromanes. Melodrama, Two Acts. Theatre Royal, Drury Lane, Easter Monday, 13th April, 1819 (n.p.).
5.---The Czar ; or, A Day in the Dockyards. Melodrama, Three Acts. Sadler�s Wells, 21st June, 1819 (n.p.). [A translation of Le Bourgmestre de Sardam, ou le prince charpentier by Joseph Mélesville Duveyrier aîné (Recollections1, 24).]
6.---The Caliph and the Cadi ; or, Rambles in Bagdad. Burletta, One Act. 16th August, 1819 (n.p.). [No theater specified. Footnote refers reader to volume one, page 13, where Planché explained the meaning of �burletta,� which was no longer used by 1879. This piece is described in the Theatrical Inquisitor as �a Musical Interlude� (Sept. 1819, 158).]
7.---Fancy�s Sketch ; or, �Look before you Leap.� Burletta, Two Acts, Adelphi Theatre. 29th October, 1819 (n.p.).
8.---Odds and Ends ; or, Which is the Manager? Burletta, One Act. Adelphi Theatre, 19th November, 1819 (n.p.).
9.---The Vampire ; or, The Bride of the Isles. Melodrama, Three Acts. Lyceum Theatre (English Opera House), Strand, 9th August, 1820. [Translation and adaptation of Charles Nodier�s Le Vampire. Note that the editors give the full name of the theater at first and then shorten it as it occurs later. The �English Opera House� was later known as the �Lyceum,� and indeed sometimes was simply termed the �English Opera.�]
10.---A Burletta of Errors ; or, Jupiter and Alcmena. Three Acts. Adelphi Theatre, 6th November, 1820 (n.p.).
11.---Who�s to Father Me ? Burletta, Two Acts. Adelphi Theatre, 13th November, 1820 (n.p.).
12.---The Deuce is in Her ; or, Two Nights at Madrid. Burletta, Two Acts. Adelphi Theatre, 27th November, 1820 (n.p.).
13.---Zamoski ; or, The Fortress and the Mine. Melo-
drama, Three Acts. Adelphi Theatre, 11th December, 1820 (n.p.). [Also advertised as a �romantic melodrama.�]
14.---Dr. Syntax. Opening of Christmas Pantomime. Adelphi Theatre, 6th December, 1820. [This was not printed. Evidently the editors assumed readers would know pantomimes were never likely to be printed, and so did not feel it necessary to indicate as much. It almost certainly debuted on the 26th of December, the traditional date for a pantomime.]
15.---Giovanni, the Vampire ; or, �How shall we get Rid of Him?� Burletta, Three Acts. Adelphi Theatre, 15th January, 1821 (n.p.). [One of many spin-offs from W. A. Mozart�s Don Giovanni, also a spoof of vampire tales, then very popular.]
16.---Kenilworth Castle ; or, the Days of Queen Bess. Melodrama, Three Acts. Adelphi Theatre, 8th February, 1821 (n.p.). [Adaptation of Sir Walter Scott�s novel.]
17.---Lodgings to Let. Burletta, Two Acts. Adelphi Theatre, 19th February, 1821 (n.p.).
18.---Half-an-hour�s Courtship ; or, La Chambre à Coucher. Burletta, One Act. Adelphi Theatre, 27th February, 1821 (n.p.).
19.---Sherwood Forest. Burletta, Three Acts. Adelphi Theatre, 12 March, 1821 (n.p.).
20.---The Mountain Hut ; or, The Tinker and His Son. Melodrama, Three Acts. Sadlers [sic] Wells, 23rd April, 1821 (n.p.).
21.---The Witch of Derncleugh. Opera, Three Acts. English Opera House, Lyceum, Strand, 30th July, 1821 (n.p.).
22.---Capers at Canterbury. Burletta, Three Acts. Adelphi Theatre, 1st October, 1821 (n.p.).
23.---The Corsair�s Bride ; or, The Valley of Mount Etna. [sic] Melodrama, Three Acts. Adelphi Theatre, 22nd October, 1821 (n.p.).
24.---Love�s Alarum. Burletta, Two Acts. Adelphi Theatre, 8th November, 1821 (n.p.).
25.---Le Solitaire ; or, The Unknown of the Mountain.
Melodrama, Three Acts. Olympic Theatre, 24th November, 1821 (n.p.).
26.---The Pirate. Operatic Drama, Three Acts. Olympic Theatre, 14 January, 1822. [Adaptation of Sir Walter Scott�s novel.]
27.---All in the Dark ; or, The Banks of the Elbe. Musical Drama, Two Acts. English Opera, Lyceum, Strand, 10th July, 1822.
28.---The Fair Gabrielle. Operetta [,] One Act. English Opera, Lyceum, 5th September, 1822.
29.---Ali Pacha. Melodrama, Two Acts. Theatre Royal, Covent Garden, 19th October, 1822. [Also ascribed to J. H. Payne.]
30.---Maid Marian ; or, the Huntress of Arlingford. Opera, Three Acts. Theatre Royal, Covent Garden, 3rd December, 1822. [Adapted from several sources.]
31.---Clari ; or, the Maid of Milan. Opera, Three Acts. Theatre Royal, Covent Garden, 8th May, 1823. [Also ascribed to J. H. Payne.]
32.---I Will have a Wife. Musical Farce, Two Acts. English Opera, Lyceum, 7th August, 1823 (n.p.).
33.---Too Curious by Half ; or, Marplot in Spain. Musical Drama, Two Acts. English Opera, Lyceum. 27th August, 1823 (n.p.).
34.---Cortez ; or, the Conquest of Mexico. Opera, Three Acts. Theatre Royal, Covent Garden, 5th November, 1823. [Adaptation of old English opera.]
35.---St. Ronan�s Well. Melodrama, Three Acts. Adelphi Theatre, 19th January, 1824 (n.p.).
36.---Military Tactics. Interlude, One Act. English Opera House, 6th July, 1824 (n.p.).
37.---The Frozen Lake. Opera, Two Acts. English
Opera House, 3rd September, 1824 (songs only printed).
38.---Der Freischutz. [sic] Opera, Three Acts. Theatre Royal, Covent Garden, 14th October, 1824. [A translation of the German libretto.]
39.---The Woman never Vext ; or, The Widow of Cornhill. Comedy, Five Acts (altered from Rowley). Theatre Royal, Covent Garden, 9th November, 1824.
40.---Pageant of the Coronation of Charles 10th of France. Theatre Royal, Covent Garden, 11th July, 1825. [This was never printed, simply being a reenactment of the ceremony performed that year in Paris.]
41.---Lilla. Opera, Two Acts. Theatre Royal, Covent Garden, 21st October, 1823 (n.p.).
42.---Jocko ; or, the Brazilian Monkey. Melodrama, Two Acts. Theatre Royal, Covent Garden, 8th November, 1825. [A translation of a popular French melodrama by two writers simply identified as �Gabriel et Rochefort� on the title page. Despite the lack of notice, Planché�s translation was never published. It is also found advertised as Jocko ; or, The Ape of Brazil.]
43.---Success ; or, a Hit if you Like it. Allegorical Burlesque, One Act. Adelphi Theatre, 12th December, 1825. [This was the first revue in English theater; the editors classified it according to the 1825 playbill.]
44.--- Oberon ; or, the Elf King�s Oath. Opera, Three Acts. Theatre Royal, Covent Garden, 12th April, 1826. [Although termed an �opera� by the English of the time, this was truly what its composer, Carl-Maria von Weber, called a singspiel, a melodrama with abundant music but primarily spoken dialogue.]
45.---Returned Killed. Farce, Two Acts. Theatre Royal, Covent Garden, 31st October, 1826.
46.---All�s Right ; or, the Old Schoolfellow. Interlude, One Act. Theatre Royal, Haymarket, 15th June, 1827 (n.p.).
47.---Pay to My Order ; or, A Chaste Salute. Vaudeville, One Act. Royal Gardens, Vauxhall, 9th July, 1827 (songs only).
48.---The Rencontre ; or, Love will find out the Way.
Operatic Comedy, Two Acts. Theatre Royal, Haymarket, 12th July, 1827 (n.p.).
49.---You Must Be Buried. Farce, One Act. Theatre Royal, Haymarket, 11th August, 1827 (n.p.). [The failure of this farce to be printed may have to do with a scandal. The death of a prominent public figure just prior to the farce�s opening prompted many to assume the title referred to the death, although it did not. Outrage was such, however, that the piece was pulled from the program and another substituted. It was never performed again.]
50.---Paris and London. Burletta, Three Acts. Adelphi Theatre, 21st January, 1828.
51.---The Merchant�s Wedding ; or, London Frolics in 1638. Comedy, Five Acts, altered from Rowley. Theatre Royal, Covent Garden, 5th February, 1828.
52.---Carron Side ; or, the Fête Champêtre. Opera, Two Acts. Theatre Royal, Covent Garden, 27th May, 1828 (n.p.).
53.---A Daughter to Marry. Interlude, One Act. Theatre Royal, Haymarket, 16th June, 1828.
54.---The Green-eyed Monster. Musical Comedy, Two Acts. Theatre Royal, Haymarket, 18th August, 1828.
55.---The Mason of Buda. Burletta, Two Acts. Adelphi Theatre, 21st October, 1828. [Elsewhere, Planché called this an �operetta.� It was, in essence, a short melodrama with much music. Translated and adapted from Eugène Scribe�s Le Maçon.]
56.---Charles XII.; or, the Siege of Stralsund. Drama, Two Acts. Theatre Royal, Drury Lane, 11th December, 1828.
57.---Thierna-na-Oge ; or, the Prince of the Lakes. Melodrama, Two Acts. Theatre Royal, Drury Lane, Easter Monday, 20th April, 1829 (songs only).
58.---The Partisans ; or, The War of Paris. Historical Drama, Five Acts. Theatre Royal, Drury Lane, 21 May, 1829 (n.p.).
59.---Manoeuvering. Interlude, One Act (with C.
Dance). Theatre Royal, Haymarket, 1st July, 1829 (n.p.). [This appears to be Planché�s first collaboration with Dance.]
60.---Der Vampyr. Opera, Three Acts. English Opera House, 25th August, 1829 (songs only). [A translation of the libretto to Heinrich Märschner�s operatic adaptation of the Nodier drama. Planché also assisted with the costume and set design.]
61.---The Brigand. Drama, Two Acts. Theatre Royal, Drury Lane, 18th November, 1829. [A free adaptation of Marie-Emmanuel-Guillaume-Marguerite Théaulon�s Le Bandit. Various sources describe it as an �operatic drama� or a �Romantic drama.�]
62.---The National Guard ; or, Bride and no Bride. Theatre Royal, Drury Lane, 4th February, 1830 (n.p.).
63.---The Dragon�s Gift ; or, The Scarf of Flight and the Mirror of Light. Melodrama, Two Acts. Theatre Royal, Drury Lane, Easter Monday, 12th April, 1830 (n.p.).
64.---Hofer ; or, The Tell of the Tyrol. Opera, Three Acts. Theatre Royal, Drury Lane, 1st May, 1830.
65.---The Jenkinses. Farce, Two Acts. Theatre Royal, Drury Lane, 9th December, 1830.
66.---Olympic Revels ; or, Prometheus and Pandora. Burletta, One Act (with C. Dance). Olympic Theatre, 3rd January, 1831. [Again, this shows the imprecision of �burletta.� It was a burlesque.]
67.---The Romance of a Day. Opera, Two Acts. Theatre Royal, Covent Garden, 3rd February, 1831.
68.---My Great Aunt ; or, Where there�s a Will. Comedy, One Act. Olympic Theatre, 5th March, 1831.
69.---The Legion of Honour. Musical Drama, Two Acts. Theatre Royal, Drury Lane, 16th April, 1831 (n.p.). [Identified by the Age as a translation of Le Centenaire (17 Apr. 1831, 126).]
70.---A Friend at Court. Comedy, Two Acts. Theatre Royal, Haymarket, 28th June, 1831 (n.p.).
71.---The Army of the North ; or, The Spaniard�s Secret. Drama, Two Acts. Theatre Royal, Covent Garden, 29th October, 1831 (n.p.). [Planché terms this piece a �melodrama� in his memoirs. It was based loosely on events of the Napoleonic Wars.]
72.---The Love Charm ; or, The Village Coquette. Opera, Two Acts. Theatre Royal, Drury Lane, 3rd November, 1831 (songs only).
73.---Olympic Devils ; or, Orpheus and Eurydice. Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1831. [Again, this �burletta� was a burlesque.]
74.---The Compact. Play, Three Acts. Theatre Royal, Drury Lane, 5th April, 1832 (n.p.).
75.---His First Campaign. Military Spectacle, Two Acts. Theatre Royal, Covent Garden, 1st October, 1832 (n.p.).
76.---The Paphian Bower ; or Venus and Adonis. Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1832. [Another burlesque.]
77.---Promotion ; or, A Morning at Versailles in 1750. Vaudeville. Olympic Theatre, 18th February, 1833. [This was a one-act interlude, which the editors assumed would obviously be one act.]
78.---Reputation ; or, The Court Secret. Play, Five Acts. Theatre Royal, Covent Garden, 4th March, 1833.
79.---The Students of Jena ; or, the Family Concert. Operetta, One Act. Theatre Royal, Drury Lane, 4th June, 1833 (n.p.).
80.---The Court Masque ; or, Richmond in the Olden Time. Opera, Two Acts. Adelphi Theatre (English Opera Company), 9th September, 1833 (songs only). [In this year, the English Opera company moved into the Adelphi Theatre for the summer season. See Adelphi Calendar.]
81.---High, Low, Jack, and the Game ; or, The Card Party. Burlesque Burletta, One Act (with C.
Dance). [This terminology may be a spoof�when �burlettas� were not melodramas, they were usually burlesques.] Olympic Theatre, 30th September, 1833.
82.---Gustavus III.; or, The Masked Ball. Opera, Three Acts. Theatre Royal, Covent Garden, 13th November, 1833. [Another translation (and adaptation, in this case) of a libretto.]
83.---The Deep, Deep Sea ; or, Perseus and Andromeda. Burlesque Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1833. [See note to 81.]
84.---The Challenge. Opera, Two Acts. Theatre Royal, Covent Garden, 1st April, 1834 (songs only).
85.---Secret Service. Comedy, Two Acts. Theatre Royal, Drury Lane, 29th April, 1834.
86.---The Loan of a Lover. Vaudeville, One Act. Olympic Theatre, 29th September, 1834.
87.---My Friend, the Governor. Vaudeville, One Act. Olympic Theatre, 29th September, 1834. [Although he often had more than one piece playing at the same time, this appears to be the only time in Planché�s career he had two pieces debut on the same date.]
88.---The Regent. Drama, Two Acts. Theatre Royal, Drury Lane, 18th October, 1834.
89.--- The Red Mask. Opera, Three Acts. Theatre Royal, Drury Lane, 15th November, 1834 (songs only). [By T. P. Cooke, based on James Fenimore Cooper�s The Bravo. Planché also assisted in the staging.]
90.---Telemachus ; or, the Island of Calypso. Burlesque Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1834. [See genre note to 81. An adaptation of a young people�s novella by François de Salignac de la Mothe Fénélon.]
91.---The Court Beauties. Burletta, One Act. Olympic Theatre, 14th March, 1835. [This �burletta� was termed a �dramatic sketch� on the bills, as in Lacy�s Acting Edition (1).]
92.---The Travelling Carriage. Melodrama, Two Acts. Theatre Royal, Drury Lane, 26th October, 1835 (n.p.). [Translation of melodrama by Mélesville and Hestienne, Le Berline de l�émigré.]
93.---The Jewess. Drama, Three Acts. Theatre Royal, Drury Lane, 16th November, 1835. [This was a melodramatic translation of Eugène Scribe�s libretto for La Juive, altered to give a happy ending to the play. Planché himself detested the revised ending, and published an apology to Scribe with the acting edition.]
94.---Chevy Chase. Melodrama, Three Acts. Theatre Royal, Drury Lane, 3rd March, 1836 (n.p.). [Adaptation drawn from the folk ballad, Walter Scott�s The Lay of the Last Minstrel, and Thomas Percy�s The Hermit of Warkworth (1771) (Times, 4 Mar. 1836, N. pag.).]
95.---Court Favour. Comedy, Two Acts. Olympic Theatre, 29th September, 1836.
96.---Siege of Corinth. Opera, Three Acts. Theatre Royal, Drury Lane, 8th November, 1836 (songs only).
97.---The Two Figaros. Comedy Vaudeville, Two Acts. Olympic Theatre, 30 November, 1836.
98.---Riquet with the Tuft. Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1836. [This �burletta� was Planché and Dance�s first fairy extravaganza, a translation of an 1811 French work by Antoine-Jean-Baptiste Simonnin�s, Riquet à la houppe; mélo-féerie en deux actes, à grand spectacle, et mélée de couplets, adapted from Charles Perrault.]
99.---A Peculiar Position. Farce, One Act. Olympic Theatre, 3rd May, 1837.
100.---Norma. Opera, Two Acts. Theatre Royal, Drury Lane, 24th June, 1837. [Translation of libretto.]
101.---The New Servant. Vaudeville, One Act. Olympic Theatre, 29th September, 1837 (n.p.).
102.---The Child of the Wreck. Melodrama, Two Acts. Theatre Royal, Drury Lane, 7th October, 1837.
103.---Caractacus. Play, Five Acts (altered from Beaumont and Fletcher). Theatre Royal, Drury Lane, 6th November, 1837 (n.p.).
104.---Puss in Boots. Burletta, One Act (with C. Dance). Olympic Theatre, 26th December, 1837. [Planché and Dance�s first original fairy extravaganza; all those to come would be original, also. Adapted from Charles Perrault.]
105.---The Magic Flute. Opera, Two Acts. Theatre Royal, Drury Lane, 10th March, 1838 (songs only). [A translation of the libretto to W. A. Mozart�s Die Zauberflöte.]
106.---The Drama�s Levée ; or, A Peep at the Past. Review. Olympic Theatre, Easter Monday, 16th April, 1838. [Note that �burletta� does not appear any more, due to changes in the laws governing theatrical performance; the editors use �review� instead of the French spelling Planché preferred.]
107.---The Printer�s Devil. Farce, One Act. Olympic Theatre, 11th October, 1838.
108.---The Queen�s Horse. Farce, One Act (with M. B. Honan). Olympic Theatre, 3rd December, 1838.
109.---Blue Beard. Fairy Extravaganza, One Act (with C. Dance). Olympic Theatre, 2nd January, 1839. [Adapted from Charles Perrault.]
110.---Faint Heart Never Won Fair Lady. Comedy, One Act. Olympic Theatre, 28th February, 1839.
111.---The Garrick Fever. Farce, One Act. Olympic Theatre, Easter Monday, 1st April, 1839.
112.---The Fortunate Isles. Masque in honour of Her Majesty�s marriage. Theatre Royal, Covent Garden, 12th February, 1840.
113.---The Sleeping Beauty in the Wood. Fairy Extravaganza, Three Acts. Theatre Royal, Covent Garden, 20th April, 1840. [Adapted from Charles Perrault.]
114.---The Spanish Curate. Comedy, Five Acts (altered from Beaumont and Fletcher). Theatre Royal, Covent Garden, 13th October, 1840.
115.---Opening of Christmas Pantomime. Harlequin and the Giant Helmet ; or, The Castle of Otranto. Theatre Royal, Covent Garden, 26th December, 1840. [Again, like other pantomimes, this was never printed.]
116.---The Captain of the Watch. Comedy, One Act. Theatre Royal, Covent Garden, 25th February, 1841.
117.---The Embassy. Drama, Two Acts. Theatre Royal, Covent Garden, 22nd March, 1841 (n.p.).
118.---Beauty and the Beast. Fairy Extravaganza, Two Acts. Theatre Royal, Covent Garden, Easter Monday, 12th April, 1841. [Adapted from Jeanne-Marie Leprince de Beaumont.]
119.---[The] Marriage of Figaro. Opera, Two Acts. Theatre Royal, Covent Garden, 15th March, 1842. [Translation of libretto to W. A. Mozart�s La Nozze di Figaro.]
120.---The White Cat. Fairy Extravaganza, Two Acts. Theatre Royal, Covent Garden, Easter Monday, 28th March, 1842. [Adapted from Marie-Catherine le Jumel d�Aulnoy.]
121.---The Follies of a Night. Comedy Vaudeville, Two Acts. Theatre Royal, Drury Lane, 5th October, 1842.
122.---The Way of the World. Comedy, Five Acts (altered from Congreve). Theatre Royal, Haymarket, 17th December, 1842 (n.p.). [Alterations consisted of modifications to make the play acceptable to contemporary sensibilities.]
123.---Fortunio ; or, The Seven Gifted Servants. Fairy Extravaganza, Two Acts. Theatre Royal, Drury Lane, 17th April, 1843. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s Belle-belle, ou Le Chevalier Fortuné.]
124.---Who�s Your Friend ? or, the Queensbury Fête. Comedy, Two Acts. Theatre Royal, Haymarket, 22nd August, 1843.
125.---The Fair One with the Golden Locks. Fairy Extravaganza, One Act. Theatre Royal, Haymarket, 26th December, 1843. [Adapted from Marie-Catherine le Jumel d�Aulnoy.]
126.---Grist to the Mill. Comedy, Two Acts. Theatre Royal, Haymarket, 22nd February, 1844.
127.---The Drama at Home ; or, An Evening with Puff. Dramatic Review, One Act. Theatre Royal, Haymarket, Easter Monday, 8th April, 1844.
128.---Somebody Else. Comedy, One Act. Theatre Royal, Haymarket, 4th December, 1844.
129.---Graciosa and Percinet. Fairy Extravaganza, One Act. Theatre Royal, Haymarket, 26th December, 1844. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s Gracieuse et Percinet.]
130.---The Golden Fleece. Classical Burlesque, Two Acts.
Theatre Royal, Haymarket, Easter Monday, 24th March, 1845. [Planché provided a subtitle, �or, Jason in Colchis and Medea in Corinth.� The second act is a parody of Euripides� tragedy.]
131.---A Cabinet Question. Farce, One Act. Theatre Royal, Haymarket, 23rd September, 1845.
132.---The Bee and the Orange Tree ; or, The Four Wishes. Fairy Extravaganza, One Act. Theatre Royal, Haymarket, 26th December, 1845. [Adapted from Marie-Catherine le Jumel d�Aulnoy.]
133.---The Irish Post. Comic Drama, Two Acts. Theatre Royal, Haymarket, 28th February, 1846. [This is truly a farce, although it was advertised as a �drama.�]
134.---The � Birds � of Aristophanes. Classical Burlesque, One Act. Theatre Royal, Haymarket. Easter Monday, 18th April, 1846. [Planché did not consider this a burlesque, but rather a species of extravaganza, although his audience saw little distinction. It was a loose adaptation of Aristophanes� comedy rather than a strict translation.]
135.---Queen Mary�s Bower. Comedy, Three Acts. Theatre Royal, Haymarket, 10th October, 1846.
136.---Spring Gardens. Farce, One Act. Theatre Royal, Haymarket, 15th October, 1846.
137.---Story Telling ; or, Novel Effects. Farce, One Act. Theatre Royal, Haymarket, 16th December, 1846, partly acted on 9th December, when W. Farren was seized with illness during the performance (n.p.). [Hopefully not from the quality of the writing.]
138.---The Invisible Prince. Fairy Extravaganza, One Act. Theatre Royal, Haymarket, 26th December, 1846. [Also bore subtitle, �or, The Island of Tranquil Delights.� Adapted from Marie-Catherine le Jumel d�Aulnoy�s Le Prince Lutin.]
139.---The New Planet ; or, Harlequin out of Place. Dramatic Review. 5th April, 1847.
140.---The Jacobite. Drama, Two Acts. Theatre Royal. Haymarket, 12th June, 1847. [Despite its description, this is a very farcical comedy.]
141.---The Pride of the Market. Drama, Three Acts. Theatre Royal, Lyceum, 18th October, 1847. [Despite its description, this is a comic melodrama.]
142.---The Golden Branch. Fairy Extravaganza, Two
Acts. Theatre Royal, Lyceum, 27th December, 1847. [Adapted from Marie-Catherine le Jumel d�Aulnoy.]
143.---Not a bad Judge. Drama, Two Acts. Theatre Royal, Lyceum, 2nd March, 1848. [Advertised as a �comic drama� by Lacy�s; it is a bloodless crime melodrama with comic relief; one of a handful of detective stories written at the time.]
144.---Theseus and Ariadne. Classical Burlesque, Two Acts. Theatre Royal, Lyceum, Easter Monday, 25th April, 1848. [Planché provided a subtitle, �or, The Marriage of Bacchus.�]
145.---The King of the Peacocks. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 26th December, 1848. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s La Princesse Rosette.]
146.---A Romantic Idea. Fantastic Drama, One Act. Theatre Royal, Lyceum, 8th March, 1849. [Again advertised by Lacy�s as a �comic drama,� it is spoof of Gothic melodrama.]
147.---Hold your Tongue. Comedy, One Act. Theatre Royal, Lyceum, 22nd March, 1849.
148.---The Seven Champions of Christendom. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, Easter Monday, 9th April, 1849. [Note: This was in actuality a revue, or �dramatic review,� as the editors term it, which borrowed the imagery of a nursery tale.]
149.---A Lady in Difficulties. Comedy, Two Acts. Theatre Royal, Lyceum, 15th October, 1849.
150.---The Island of Jewels. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 26th December, 1849. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s Le Serpentin vert.]
151.---Fiesco ; or, The Revolt of Genoa. Historical Play, Five Acts. Theatre Royal, Drury Lane, 4th February, 1850. [Translated from Friedrich von Schiller.]
152.---Cymon and Iphigenia. Fairy Extravaganza, One Act. Theatre Royal, Lyceum, Easter Monday, 1st April, 1850. [This is not a �fairy� play, but rather an adaptation of a comedy by David Garrick.]
153.---My Heart�s Idol. Comedy, Two Acts. Theatre Royal, Lyceum, 16th October, 1850.
154.---The White Hood. Drama, Two Acts. Theatre Royal, Lyceum, 11th November, 1850 (n.p.).
155.---The Day of Reckoning. Melodrama, Three Acts. Theatre Royal, Lyceum, 4th December, 1850. [Translated and adapted from L�Enfant de Paris by Émile Souvestre.]
156.---King Charming ; or, The Blue Bird of Paradise. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 26th December, 1850. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s L�Oiseau bleu.]
157.---The Queen of the Frogs. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, Easter Monday, 21st April, 1851. [Adapted from Marie-Catherine le Jumel d�Aulnoy's L Grenouille bienfaisante.]
158.---The Prince of Happy Land ; or, The Fawn in the Forest. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 26th December, 1851. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s La Belle biche au bois.]
159.---The Mysterious Lady. Comedy, Two Acts. Theatre Royal, Lyceum, 18th October, 1852.
160.---The Good Woman in the Wood. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 27th December, 1852. [Adapted from Charlotte-Rose de Caumont de la Force.]
161.---Mr. Buckstone�s Ascent of Mount Parnassus. Dramatic Review, One Act. Theatre Royal, Haymarket, 28th March, 1853.
162.---The Camp at the Olympic. Dramatic Review, One Act. Olympic Theatre, 17th October, 1853.
163.---Once upon a time there were Two Kings. Fairy Extravaganza, Two Acts. Theatre Royal, Lyceum, 26th December, 1853. [Adapted from Marie-Catherine le Jumel d�Aulnoy�s La Princesse Carpillon.]
164.---Mr. Buckstone�s Voyage Round [sic] World (in Leicester Square). Dramatic Review, One Act. Theatre Royal, Haymarket, Easter Monday, 12th April, 1854.
165.---The Knights of the Round Table. Comedy, Five Acts. Theatre Royal, Haymarket, 20th May, 1854. [Translation and adaptation of Xavier de Montépin�s Les Chevaliers du Lansquenet.]
166.---The Yellow Dwarf. Fairy Extravaganza, One Act. Olympic Theatre, 26th December, 1854. [Planché�s full title included �and the King of the Gold Mines.� Adapted from Marie-Catherine le Jumel d�Aulnoy.]
167.---The New Haymarket Spring Meeting. Dramatic Review, One Act. Theatre Royal, Haymarket, Easter Monday, 9th April, 1855.
168.---The Discreet Princess. Fairy Extravaganza, One Act. Olympic Theatre, 26th December, 1855. [Planché also provided the subtitle, �or, the Three Glass Distaffs.� This was sometimes mistakenly called �Richcraft,� after the name of its comical antagonist. Adapted from Marie-Jeanne L�Héritier de Villandon.]
169.--- Young and Handsome. Fairy Extravaganza, One Act. Olympic Theatre, 26th December, 1856. [Adapted from Henriette-Julie de Castelau, comtesse de Murat.]
170.--- An Old Offender. Comic Drama, Two Acts. Adelphi Theatre 22nd July, 1859.
171.---Love and Fortune. Lyrical Comedy, One Act. Princess�s Theatre, 24th September, 1859. [A "comedy in verse" based on an anonymous French work of 1715, Le Ceinture de Vénus (Extravaganzas 5, 196).]
172.---My Lord and My Lady. Comedy, Five Acts. Theatre Royal, Haymarket, 12th July, 1861.
173.---Love�s Triumph. Opera, Three Acts. Theatre Royal, Covent Garden, 3rd November, 1862.
174.---Orpheus in the Haymarket. Classical Burlesque. Theatre Royal, Haymarket, 26th December, 1865. [Adaptation of Hector Cremieux�s libretto to Jâcques Offenbach�s Orphée aux enfers.]
175.---King Christmas. Masque, One Act. Gallery of Illustration. 26th December, 1871.
176.---To which may be added the Lyrical portion of Babil and Bijou, Fairy Spectacle, by Dion Boucicault. Five Acts and a Prologue. Theatre Royal, Covent Garden, 29th August, 1872 (songs only).
Of the above 176 pieces, I believe I may fairly claim 72 as original, 10 being written in conjunction with Charles
Dance, and 62 by me exclusively. The remaining 104 consist of translations and adaptations from the French, Spanish, Italian, and German [,] alterations of early English comedies, or of dramas by modern authors which were confided to me for revision. The titles of the majority will sufficiently indicate the sources from which they were derived, or the works from which they were adapted.
In conclusion, I cannot allow these volumes to pass from the press without offering my most grateful thanks to each and all of my friends, who, either as promoters, editors, or subscribers, have so kindly assisted in their publication, and thus presented me with a testimonial of their esteem in a form which I feel constitutes one of the highest compliments that can be paid to a living author.
J. R. PLANCHÉ,
College of Arms.
1st October, 1879.
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AJTMH Focuses on Mentorship Training in LMICs, Global Health Research
News Posts, Publications
Although mentoring is an important part of academic research, it is not common practice in many countries. In particular, many mentoring guidelines and strategies are tailored for high-income countries and lack appropriate approaches for mentoring in low and middle-income countries (LMICs).
Doug Heimburger, Featured
Featured Publication: Attrition of HIV-exposed infants from early infant diagnosis services in low- and middle-income countries: a systematic review and meta-analysis
Research led by Vanderbilt investigators found nearly 40% of HIV-exposed infants in low‐ and middle‐income countries (LMIC) were not in care at 18 months of age or had died. Despite the availability and progress of HIV prevention of mother-to-child transmission (PMTCT) programs which includes postpartum follow-up of HIV-positive mothers and their HIV-exposed infants, many infants do not remain engaged in early infant diagnosis (EID) services that are essential to optimal health outcomes.
HIV/AIDS, James Carlucci, Kate Clouse, Maternal and Child Health, Featured
HIV-positive pregnant women at significant risk of loss to follow up from HIV Care after delivery in South Africa
In 2017, according to UNAIDS, more than 90% of HIV-positive pregnant women accessed antiretroviral (ART) medicines to prevent mother-to child transmission of HIV in Southern Africa, and recent research suggests access and adherence to ART remains high during pregnancy due in part to the scale up of national antenatal (ANC) and ART care clinics. Engagement in HIV care after delivery, however, can be challenging.
Kate Clouse, HIV/AIDS, South Africa, Featured
Calling for improved HIV data systems on World AIDS Day
Publications, Global Health Topics
https://rstmh.org/blog/2017/nov/28/calling-improved-hiv-data-systems-world-aids-day
On World AIDS Day, The Royal Society of Tropical Medicine and Hygiene, published a blog post by Kate Clouse, Ph.D., MPH, VIGH core faculty. She calls for improved HIV data systems to provide quality care and ensure lifelong engagement in HIV care.
Featured, HIV/AIDS, World AIDS Day, Kate Clouse
World Malaria Day Perspective: James Carlucci M.D.
News Posts, Global Health Topics, Publications, Domestic Education and Training Programs (MPH/MD)
World Malaria Day 2017, observed on Tuesday, April 25, seeks to raise awareness and highlight the need to close the gap in access to malaria prevention tools. While the burden of disease continues to decline, efforts to improve access to interventions that prevent, diagnose and treat malaria are needed to reach the Sustainable Development Goals of malaria elimination by 2030, especially in sub-Saharan Africa where malaria is most prevalent.
James Carlucci, Malaria, Vanderbilt Master of Public Health (MPH), Mozambique
2016 Core Faculty Publications
2016 Publications (ordered by pub date) List of Core Faculty

 Tao J, Qian HZ, Kipp AM, Ruan Y, Shepherd BE, Amico KR, Shao Y, Lu H, Vermund SH. Effects of depression and anxiety on antiretroviral therapy adherence among newly diagnosed HIV-infected Chinese MSM. AIDS. 2017 Jan 28;31(3):401-406. doi: 10.1097/QAD.0000000000001287.
Core Faculty Publications
2016 Publications: January through October List of Core Faculty
Faculty Publication: Factors associated with the use of mosquito bed nets in Mozambique
FGH News and Success Stories, Global Health Topics, News Posts, Publications
Meridith Blevins, Troy Moon, Mozambique, Malaria, Mosquitoes
Benjamin Andrews, M.D., and co-authors' publication recognized
Publications, Global Health Topics, News Posts
Benjamin Andrews, M.D. and co-authors were recognized by the Global Emergency Medicine Literature Review Editorial Board (GEMLR) for a recent publication. The recognized publication is titled "Simplified severe sepsis protocol: a randomized controlled trial of modified early goal-directed therapy in Zambia." Andrews provides clinical and research mentoring to Master of Medicine students at the University of Zambia.
Benjamin Andrews, Zambia
VU Ph.D. student, Akhenaten Tankwanchi, explores the global dilemma of "brain drain in an era of increased globalization."
News Posts, Global Health Topics, Publications
https://news.vanderbilt.edu/2013/09/18/brain-drain/
The past decade has seen a dramatic rise in the number of physicians trained in Sub-Saharan Africa (SSA) emigrating to the United States, resulting in a "brain drain" on nations in the greatest need for affordable and accessible health care. This global dilemma is explored in the dissertation of Akhenaten Tankwanchi, a portion of which was published recently in PLOS Medicine.
Vanderbilt research developing new chemical against mosquitoes to eradicate malaria
News Posts, Announcements, Global Health Topics, Publications
https://news.vanderbilt.edu/2013/05/31/chemical-causes-kidney-failure-in-mosquitoes-study/
Researchers are targeting a possible new weapon in the fight against malaria, science that could also be applied in the fight against other devastating mosquito-borne illnesses, according to a Vanderbilt study published in PLOS ONE.
Mosquitoes, Malaria
Vanderbilt researchers publish findings into the biological basis of odor-sensitive behaviors central to disease transmission
http://www.pnas.org/content/110/20/8260
Mosquito research news from the Hillyer Laboratory at Vanderbilt
News Posts, Announcements, Publications
https://news.vanderbilt.edu/2013/04/23/setting-mosquito-hearts-racing/
Julián Hillyer knows how to set mosquito hearts racing.
New Experiences in Narrative, a collection of essays by Fogarty trainees
Fogarty International Center (FIC)
VIGH Faculty: Recent Publications
October 2012 Publications

 Philip Ciampa, M.D., M.P.H., Sten Vermund, M.D., Ph.D., Carolyn Audet, Ph.D. "Comprehensive Knowledge of HIV among Women in Rural Mozambique: Development and Validation of the HIV Knowledge 27 Scale." in PLOS One.
VIGH July 2012 Publications
Global Health Topics, News Posts, Publications
VIGH Core and Affiliated Faculty Publications

 July 2012
VIGH Core and Affiliated Faculty Presentations at AIDS 2012
Recognition and Awards, News Posts, Global Health Topics, FGH News and Success Stories, Publications
HIV/AIDS, Troy Moon, Benjamin Andrews, Meridith Blevins, Vanderbilt-CIDRZ AIDS International Research Training Program (AITRP), Sten Vermund, Conferences, Carolyn Audet
IeDEA Network at AIDS 2012
News Posts, Events, Publications
AIDS 2012 IeDEA and Euro-Coord Satellite SessionThe Translational Power of Collaboration: Harnessing Large Datasets to Understand the HIV/AIDS Epidemic and to Opimize Care and Treatment Monday, July 23 from 6:30 to 8:30 p.m. Visit the IeDEA.org website for more information.
Conferences, Presentations, Sten Vermund


The second line of the Harbin Z-5, based on new the new design provided by 1961 manufacturing drawings. The helicopter receive certification for production on 21 September 1963.
In May 1963, work began to upgrade the Harbin Z-5 main rotor construction from steel tube spar and wood to complete metal blades with a bonded honeycomb filler.
Resources related to the Z-5 (1963) , provided by the Vertical Flight Society.
Resources related to the Z-5 (1963) , provided by public sources across the internet.


text:
НЕТЕРИТОРИЈАЛНА САМОУПРАВА НАЦИОНАЛНИХ МАЊИНА У СРБИЈИ
NON-TERRITORIAL SELF-GOVERNANCE OF NATIONAL MINORITIES IN SERBIA
Author(s): Tamás Korhecz
Subject(s): Public Law, Inter-Ethnic Relations, Ethnic Minorities Studies
Published by: Правни факултет Универзитета у Београду
Keywords: Collective rights; Self-governance of national minorities; Competencies of national councils; Restriction of minority rights; Constitutional Court of Serbia;
Summary/Abstract: The self-governance of national minorities might be provided on territorial and non-territorial (personal) bases. It is institution of the public law by which the effective participation of national minorities in public affairs is ensured in a particular State. In legal order of the Republic of Serbia the self-governance of national minorities is guaranteed by the Constitution and it is realized throe elected national councils of national minorities, established first in 2002. National councils and their legal regulation generated political and legal disputes; consequently several initiatives were launched for the constitutional review of the law in 2010 and 2011. This paper is devoted to the analyses of this Decision enacted in 2014. On the one hand, the Constitutional Court authoritatively resolved some open constitutional disputes and contributed to the better understanding of this institution, but on the other hand, because of some shortcomings and controversies in reasoning created further uncertainties concerning the actual legal framework of self-governance of national minorities in Serbia. .
Journal: Анали Правног факултета у Београду
HELSINŠKE SVESKE: Minorities in transition HELSINŠKE SVESKE: Minorities in transition 2001 HELSINŠKE SVESKE: Tranzicija i manjine HELSINŠKE SVESKE: Minorities in transition 2001 Ustavna revizija i manjinska prava - u kojoj meri je reviziona vlast slobodna da menja posebna prava manjina u ustavu Republike Srbije? Constitutional Review and Minority Rights - in which merit is the revisionist authority free to change the special rights of minorities in the constitution of the Republic of Serbia? 2017 Iránytű a jog alkotásához és nyelvéhez A compass on legislation and its language 2017 Уставносудско и законско уобличавање нормативне надлежности Аутономне Покрајине Војводине Constitutional Shaping of the Regulatory Powers of the Autonomous Province of Vojvodina – Ten Years of Application of the Constitution of the Republic of Serbia 2018


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Education is taken seriously by Treasure Coast residents. School systems throughout the Treasure Coast are continually striving to improve. Much emphasis is placed on the quality of education offered throughout the three county area, Martin County, St. Lucie County, and Indian River County, in all schools; public, private, and parochial. To pursue additional information on all schools, please explore the schools or school district of your choice.
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Previous school record such as a report card, test scores.
In Florida, kindergarten attendance is mandatory. A child must be five years of age on or before September 1st of the school year in order to be admitted to kindergarten.
Children who are six years of age on or before September 1st and who have completed a successful year of kindergarten, (public or non-public) may be admitted to first grade anytime during the school year.
Florida law requires school attendance of all six to 16 year old children.
Students must earn 24 credits in grades 9-12 in a planned program, pass the state's minimum competency tests, and have a cumulative grade point average of at least 1.5 in order to graduate from high school. The Florida legislature has approved legislation raising the cumulative GPA to 2.0 for graduation and to participate in a school band or team sport. All incoming freshman for the school year beginning August 1997 must meet the new grade point average.
For more information on individual schools, information is available from each of the districts or the individual school sites.


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We look for and provide improved pricing and supply opportunities for our customers where possible.


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Cesare Nembrini Pironi Gonzaga (ur. 21 listopada 1768 w Ankonie, zm. 5 grudnia 1837 w Numanie) – włoski kardynał

Życiorys
Urodził się 21 listopada 1768 roku w Ankonie, jako syn Alessandra i Marii Nembrinich. Studiował na prawo kanoniczne i prawo cywilne na Uniwersytecie Bolońskim (gdzie uzyskał doktorat utroque iure), a następnie dyplomację na Papieskiej Akademii Kościelnej. Po studiach wstąpił na służbę do Kurii Rzymskiej i został referendarzem Najwyższego Trybunału Sygnatury Apostolskiej oraz relatorem Świętej Konsulty. 5 czerwca 1803 roku otrzymał święcenia kapłańskie. W latach 1802–1807 był gubernatorem Ascoli Piceno, a w okresie 1807–1808 – gubernatorem Kampanii. W czasie francuskiej okupacji Rzymu, przebywał w rodzinnej Ankonie. W 1814 roku został papieskim delegatem w Perugii, a dwa lata później prolegatem w Romanii. Następnie mianowano go klerykiem Kamery Apostolskiej i wikariuszem bazyliki watykańskiej. 24 maja 1824 roku został mianowany biskupem Ankony, a dwa tygodnie później przyjął sakrę. 27 czerwca 1829 roku został kreowany kardynałem prezbiterem i otrzymał kościół tytularny S. Anastasiae. Był ostatnim żyjącym kardynałem z nominacji Piusa VIII. Zmarł 5 grudnia 1837 roku w Numanie.

Przypisy

Włoscy kardynałowie
Gonzagowie
Kardynałowie z nominacji Piusa VIII
Ludzie urodzeni w Ankonie
Urodzeni w 1768
Zmarli w 1837

redpajama_set_name: RedPajamaWikipedia


Bollywood superstar Salman Khan's much awaited film "Tubelight" might not hit the screens on Eid in Pakistan as some local filmmakers have started a movement to stall the release of the film. The filmmakers along with the Film Distributors Association and the Film Producers Association want to ensure better business for Pakistani films during the Eid holidays. The distributors, producers and filmmakers say they want to protect the interest of Pakistani movies as two big films, "Yalghaar" and "Shor Sharaba", along with others in the pipeline, are slated for an Eid release.
Hussain said the associations are planning to send an official letter to Prime Minister Nawaz Sharif as well. He confirmed a meeting was held in Lahore at which it was decided that the entire Pakistani film industry will join the planned protest to stop the release of "Tubelight" on Eid. "It has been decided that all those related to the Pakistani film industry will support the Pakistani films that are supposed to release on Eid-ul-Fitr," Hussain added.
Chaudhry Ejaz Kamran, the chairman of the Pakistan Film Distributors Association has also supported the move. "It is not fair asking our films to compete with big Bollywood projects on Eid and it is cruel to our industry", he said. As per the sources, the Ministry had given directives to stop the release of "Tubelight" and Vidya Balan's "Begum Jaan" well in advance.


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Q: What exactly does the stop color % mean in css gradient? What exactly does the stop color % mean in css3 gradient? Good example would be great..

A: From MDN:

Color stops
Color stops are points along the gradient line that will have a
specific color at that location. The location can be specified as
either a percentage of the length of the line, or as an absolute
length. You may specify as many color stops as you like in order to
achieve the desired effect.
If you specify the location as a percentage, 0% represents the
starting point, while 100% represents the ending point; however, you
can use values outside that range if necessary to get the effect you
want.

Follow the link above for three good examples.