When we use the phrase "Hollywood smile," we more often think of someone like Clark Gable (who wore dentures) than Austin Powers (played by Mike Myers in fake teeth), but all of these smiles are artificially constructed. Recently, the artist behind many of Hollywood's most famous dental effects has shared some of the enlightening secrets of his art.
Gary Archer came over to the US in 1976. His father was a dental technician, and he entered his father's shop in '82 or '83, he recalls. They were working exclusively on making actual dental restorations until they were contacted by a makeup artist looking for special dentures.
These dentures were to be used in the Robin Williams film Mrs. Doubtfire. The primary effect they had to achieve was being able to fall out of someone's mouth into a glass of water. The effect worked well (it's still one of the most-played clips from the movie), and Archer became one of the go-to guys for fake teeth in Hollywood.
Shortly after his work on Mrs. Doubtfire, he was called on to make a very different special effect: vampire fangs. He was recruited for making the fangs for 1994's Interview with the Vampire. He would later reprise this function for 1998's Blade.
Archer says there's some challenge in making vampire fangs. The fangs have to be realistic and they have to be fully functional. They can't interfere with the actor's speech. To make sure that's the case, they model all the false teeth on articulators to make sure they don't interfere.
In the case of Blade, Archer wasn't completely successful–Snipes definitely has a bit of an impediment in the movie, but compared to the schlocky CGI, the fangs seem like superb effects work!
Perhaps Archer's most famous work is on the Austin Powers films. Austin Powers is a character who is largely defined by his dentition. If he didn't have those outrageously bad teeth, he wouldn't be nearly as humorous a contradiction.
Archer admits that he actually did base the design for Austin Powers on some of his British friends, three drinking buddies from his youth.
Two of Archer's more recent projects have highlighted the tension Hollywood has with perfect teeth. For The Wolf of Wall Street, Jonah Hill wanted to have blindingly white veneers to more accurately reflect the person he was portraying in the movie. These teeth were obviously fake and helped to give his character an air of self-interested deceptiveness. Of course, they were also hard to wear, and Hill had to work hard to learn to speak with them in. He even called appliance help lines to practice his speech over the phone.
On the other hand, when Matthew McConaughey was starring in Free State of Jones, he knew that his teeth were too perfect to be believable for the time period. To help him look more realistic, Archer created some less perfect dentures that better reflected oral health from the 1860s.
Cosmetic dentistry was born in Hollywood. The first porcelain veneers were used to help stars project a beautiful smile, even though their teeth might be failing. The 1920s and 30s were probably the low point for oral health in the US, and not even Hollywood stars were immune. Though few stars wore a full set of dentures like Clark Gable, many of them had veneers that they could wear on camera to make their smiles beautiful.
However,since then cosmetic dentistry has deviated from the Hollywood ideals. While Hollywood's teeth tend to be outrageously perfect or comically bad, most people are looking for teeth that appear naturally attractive. And while Hollywood teeth might need to last just for the length of a shot, modern cosmetic dentistry is built to last.
If you are looking for your own Westchester County smile and not a Hollywood knockoff, please call (914) 332-4402 today for an appointment with a cosmetic dentist at Advanced Dentistry of Tarrytown.


Few would disagree with the notion that those who can work should work. But the waiver of the work requirement now eschewed by the state of Florida for areas of Miami-Dade County with high unemployment is for the limited circumstance of a lack of job opportunities in a community.
Because of this recent change, low-income workers who fail to work or participate in job training at least 80 hours in a month face a series of escalating sanctions. At the end of the month, any worker who was only able to work 79 hours is sanctioned and cannot receive food stamps for a month.
The next time they fail to work 80 hours in a month, even if years have passed since the previous sanction, they lose benefits for three months. The next time, and each time after, they lose their food stamps for six months.
These severe sanctions are not required by federal law.
This approach to limiting the number of food stamp recipients makes little economic sense. Leaving aside estimates that every $5 provided in food stamps generates $9 of economic activity, the federal government pays 100 percent of the cost of food-stamp benefits, while the administrative costs of the program are split 50/50 between the federal and state governments.
It's easy to see that the newly reinstated work requirements will cost us, Florida's taxpayers, more money because of these increased costs. The increased administrative burden of tracking the hours worked by the roughly 300,000 people subject to the work requirements in Florida is significant. Floridians will now pay more to provide food stamps to fewer people and our already strained community organizations and food banks will bear the brunt of ensuring that no one in our community goes hungry.
Liam McGivern is a staff attorney in the public benefits unit at Legal Services of Greater Miami, Inc.


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Coimbatore: Even as it celebrates two years of services in the city, Uber, today announced a partnership with Southern Railway here.
Through this partnership, Uber will set up kiosks and provide dedicated pick-up and drop zones at Coimbatore Junction.
In conjunction with Uber's second anniversary in the city, the company aims to provide reliable first and last mile connectivity option to the Railway station and Coimbatore is the first city in Tamil Nadu that marks the partnership with Railways, Uber South General Manager, Christian Freese said in a release here.
"We are very excited about our partnership with Southern Railway as we celebrate two years of Uber in Coimbatore. By complementing the available public transit infrastructure, we re bridging the first and last mile connectivity gaps, making it easily accessible to commuters," he said in the release.


A Lagos High Court has ordered the National Agency For Food, Drug Administration and Control (NAFDAC) to immediately direct the manufacturers of soft drinks; Fanta and Sprite (Nigeria Bottling Company PLC) to include a written warning that the content of the bottles cannot be taken with Vitamin C.
This was the result from a suit filed against the NBC and NAFDAC by Lagos businessman, Dr Emmanuel Fijabi Adebo and his company, Fijabi Adebo Holdings Limited.
His lawyer alleged that sometime in March, 2007, his client's company purchased large quantities of Coca-Cola, Fanta Orange, Sprite, Fanta Lemon, Fanta Pineapple and Soda Water from NBC for export to the UK for retail purposes and supply to their customers. When the packages arrived there, fundamental health related matters were raised on the contents and composition of the Fanta and Sprite products by the UK Health Authorities, specifically the Stockport Metropolitan Borough Council's Trading Standard Department of Environment and Economy Directorate.
Adebo's Lawyer urged the court to declare that the Nigeria Bottling Company was negligent and breached the duty of care owed to their valued customers and consumers in the production of contaminated Fanta and Sprite soft drinks with excessive "benzoic acid and sunset" addictive. They also urged the court to direct NAFDAC to conduct and carry out routine laboratory tests of all the soft drinks and allied products of the company to ensure and guarantee the safety of the consumable products, produced from the Nigeria Bottling Company factory.
Although the Nigeria Bottling Company contended that the claimants claims are speculative, frivolous and vexatious and should be dismissed with substantial costs, NAFDAC did not file any defence.
"That NAFDAC shall forthwith mandate Nigeria Bottling Company to, within 90 days hereof, include on all the bottles of Fanta and Sprite soft drinks manufactured by the company, a written warning that the content of the said bottles of Fanta and Sprite soft drinks cannot be taken with Vitamin C as same becomes poisonous if taken with Vitamin C.


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Las Vegas Is Hawaii's 'Ninth Island'
lasvegas_sign.jpg
Kristy Totten
On the surface, Hawaii and Las Vegas don't have a lot in common.
One's a tropical island with clear blue water and lush greenery, and the other is a bone-dry desert.
But Hawaiians love Las Vegas. Las Vegas has the biggest population of Hawaiians outside Hawaii, so the city is sometimes called the ninth island.
Dorinda Burnet is the president of the Las Vegas Hawaiian Civic Club. She told KNPR's State of Nevada that many people from Hawaii are attracted to Las Vegas because, like their home state, it is a community that is based in the tourism and the service industry.
However, Las Vegas is a lot less expensive place to live. Housing prices and basics like food and gas are much cheaper in Las Vegas than on the island.
It is not just people from the Hawaiian archipelago that are calling Las Vegas home, Burnet said. People from several Pacific Islands, including Samoa, Tonga, the Cook Islands and Micronesia have moved to Las Vegas.
Burnet said that many people from those Pacific Island nations came to Southern Nevada through Brigham Young University in Hawaii and BYU in Provo. She said many people from Polynesian are members of the Church of Jesus Christ of Latter-Day Saints.
While many people from Hawaii and other Pacific Island nations have decided to live in Las Vegas, a lot come here to gamble. Burnet said Boyd Gaming was the first company to market to Hawaiians.
Support comes from
The California Hotel downtown has long catered to Hawaiians.
Burnet said casino companies like to have Hawaiians in their casinos because they are not known to "cause any hassles" and they love to gamble.
While people from Hawaii have moved to Las Vegas, they still work to keep their culture alive. Burnet said the civic club she is a part of was started when the Hawaiian monarchy was overthrown in the 1800s and a voice for the people was needed.
She said the club aims to be a unified voice for the Hawaiian people and provide inspiration, motivation and education.
"We can talk about the good 'ol days of where we were raised but if we don't go ahead and share that part of our culture with our children there lies no foundation," she said.
As part of that education effort, the Las Vegas Hawaiian Civic Club will hold its 28th Annual Pacific Islander Festival on September 15 and 16 in Henderson.
The festival will feature live entertainment, craft booths, an area with traditional games for kids, and of course, food.
Burnet said it is part of the Aloha Spirit or the spirit of giving and sharing.
Dorinda Burnet, president, Las Vegas Hawaiian Civic Club
city of henderson
The Hawaiian Language Nearly Died. A Radio Show Sparked Its Revival
Here's What People Are Saying About Racial Weirdness in 'Aloha'
Don't Simply Say 'Hawaiians' & Don't Say Eruptions Just Started

redpajama_set_name: RedPajamaCommonCrawl


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IAN KIRKPATRICK
Ian is a Canadian contemporary artist currently based in the UK. His work is inspired by the history of art and design, from ancient cave paintings and Greek amphorae, to graffiti and computer graphics. The hieroglyphic surfaces of his 2D and sculptural pieces remix iconographies from the past and present, often in response to current political and social themes. He creates most of his work digitally, then manufactures it out of industrial materials including stainless steel, artificial leather, embroidery, vinyl, corrugated cardboard, Perspex and Dibond.
His art has been exhibited across the UK and internationally, with shows in New York, Chicago, Montreal, Berlin, Rome and London. He has produced commissions for the London 2012 Olympics, the Tour de France, and the Oxford Museum of Natural History - and has worked on public art projects in London, Leeds, Southampton, Amsterdam and Rotterdam, for clients including MVRDV architects, Provast Developers, Morgan Sindall, and Berkeley Group.
Copyright Ian Kirkpatrick; All rights reserved.


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Long arginine 3-IGF-1, abbreviated as IGF-1 LR3 or as LR3-IGF-1, is a synthetic protein and lengthened analog of human insulin-like growth factor 1 (IGF-1). The product represents an intermediary metabolite, affecting the GH (growth hormone) level in the human body. IGF-1, also known as somatomedin C, has a number of structural similarities with insulin, hence the substance gets its name. Currently, the original IGF-1 and its modified versions are applied in medical practice, as well as power sports to increase the power indicators of bodybuilders, boost endurance, etc. By its structure and schematics, the modified IGF-1 is the almost complete analog of the original IGF-1. IGF-1 is important for the growth of bones and muscles. The product has a similar effect on the human body and leads to the appearance of identical positive and adverse effects. The main feature that IGF-1 LR3 stands out with is the prolonged effect, the aspect that the rivals cannot boast. The product was originally developed to improve the biological activity of the IGF. The LR3 IGF-1 preparation consists of 83 amino acids that form its effects. In practice and during clinical and laboratory phased studies, it was found that the modified version of IGF-1 is at least 2 times stronger than the original. It is also noteworthy that this peptide has not only a more lasting effect but way more pronounced anabolic effect. Thus, an injection of IGF-LR3 can lead to a significant increase in muscle growth during a short course of use, lasting no more than 4-6 weeks.
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When you think of wood working tools, one of the first tools that probably comes to mind is the table saw. Many people think of a table saw first because it is often thought of as the work horse of the wood shop. The table saw is used in almost every woodworking project because is so versatile and serves such a basic purpose.
The table saw is the most useful tool in the wood shop for most people, both professional wood workers as well as hobbyist wood workers. The main purpose for a table saw is that it is used to size wood. That is, to cut it down to size. If you have a large sheet of plywood, a table saw is the most effective tool to cut it down to a manageable size. Table saws are also frequently used for ripping wood. Ripping wood is the term that is given when you take a large board and cut it into two or more other boards in order to work with them.
Table saws are an extremely useful tool when you become a bit more advanced in the wood shop and begin to construct jigs in order to complete your projects. When you create a jig, you can easily use the table saw to cut wood to a particular size for a project, make repetitive cuts, and to create grooves and slots in wood.
There are two main types of table saws. The bench top table saw is for light users who may not use their tool very often, or for people who need a portable tool. Because this table saw only ways around sixty or sixty-five pounds, it is considerably more portable than other types. However, because it is smaller, a bench top table saw will not cut wood that is thicker than 3" and may not be the best tool for the job for larger projects.
A contractor saw is a heavier duty table saw that utilizes a larger table. Because there is a larger motor, it is able to handle different thicknesses of wood and will likely be the best choice for people who are serious about wood working. These saws are approximately 280 pounds on average.
When you are working with a table saw it is important to keep safety in mind at all times. Because there is a greater amount of blade exposed, there is a greater risk of injury to the user if they are not careful.
Be sure to always keep the floor around the table saw clean and free from debris and dust. Do not wear gloves when you are operating the table saw because they could easily catch on the blade and they will not allow you the proper tactility that you will need. Be sure to wear ear and eye protection, and if it feels awkward while you are doing it, do not do it, it is likely a dangerous movement.


Manchester United manager Jose Mourinho said his players were tired in the wake of their 1-1 draw with Swansea on Sunday that saw them miss out on the chance to go third.
Wayne Rooney scored a dubiously awarded first-half penalty before a sensational second-half Gylfi Sigurdsson free-kick.
The result left United in fifth on 65 points, level with Manchester City ahead of their clash with Middlesbrough and a point behind Liverpool, who play Watford on Monday.
FT: United 1 Swansea 1. A disappointing afternoon at Old Trafford as Rooney's first-half penalty is cancelled out by a Sigurdsson free-kick.
After the match, Mourinho told MUTV: "It's not that we looked tired, we are tired.
"If some people want to analyse the performance itself, that's one thing, but you cannot do that, you can't analyse the performance out of context. The context is nine matches in April, this is the ninth match in April with a squad of 22 that has now been reduced.
"The players are very, very, very tired. So, I don't isolate the performance from the context.
He added: "We are in a very difficult situation but the boys gave absolutely everything, so I am more than happy and pleased with them.
"I am intelligent and experienced enough not to isolate the performance from the context, and to say they're brave guys, they gave everything they could once more. On Thursday [at Celta Vigo], we'll go again."
Mourinho made mention to his side's next big test, the first leg of their Europa League semi-final against Celta Vigo.
"For me, the next game is always a big game.
"We give everything. When you give everything, you can't do any more, so for sure we're going to give everything. With one more day to rest than from Thursday night to Sunday morning, we have one day more. It's a little bit more human, if you can say that, and for sure we're going to give everything.


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On Friday, a motley crew of us headed down to Oxegen 2009. We knew we wouldn't be camping but with the weather forecast, it was probably for the better. We caught: Republic of Loose (awesome), a few minutes of Lily Allen, Fight Like Apes (crazy mental good), The Hours (well, I did and they were superb), a bit of Duke Special, Fun Lovin Criminals (serious smooth) and the amazing Blur. Darren's got lots of photos over on Flickr plus some great ones from the Springsteen gig in the RDS on Sunday.
@brianmc: Ah good to see ya commenting Brian. Was great to meet ya on Friday.
You totally pwn that ferris wheel!


After two Christian boys were earlier arrested for allegedly blaspheming a Quran and were subsequently released, the Egyptian media, following the claims of the Muslim Brotherhood, credited President Morsi with their release: Ikhwan Web, the Brotherhood's official English website, and the website of its political wing, the Freedom and Justice Party, both ran with a report titled "Morsi Orders Release of Christian Boys Held for Desecrating Holy Quran in Egypt, the opening sentence of which reads: "Two Egyptian Coptic boys are freed from juvenile detention, at President Morsi's instructions…" This magnanimous narrative was widely disseminated in the media, including in the West.
Yet, according to the lawyer of the two Christian boys, Guirgus Bebaway, "the claim that Morsi interfered to have the two children released is simply false …. President Morsi had nothing to do with the Release of Nabil Nady Rizk, 10 years old, and Mina Nagui Farag, 9 years old," the two boys who "were taken to a different place until the situation calms down in their village," where wild riots and protests had ensued.
Likewise, Morsi's visit to Sinai—where, among other signs of jihadi infiltration, Christians were recently attacked and displaced—was trumpeted by the Western media as proof of his commitment to protect the Copts. For example, in a report titled "Egypt's president visits Sinai to 'reassure' Copts," AFP wrote "Egyptian President Mohamed Morsi visited the Sinai peninsula on Friday to meet with and reassure Coptic families who fled from the town of Rafah after receiving death threats, his Facebook page said" (emphasis added).
Yet, according to the Coptic bishop of Sinai, although he and many Coptic representatives were eager to meet with Morsi, they were never allowed an opportunity, but rather were kept in the lobby with Sinai's Bedouins and others, where they all got to hear the president declare some platitudes concerning the equality of all Egyptians from afar—platitudes that seemed so generic that Bishop Qazmaan remarked "we cannot determine the sincerity of his words."
Finally, because Egypt's Copts were recently denied justice concerning last year's Maspero Massacre—when the Egyptian military slaughtered Christians protesting over the constant attacks on their churches, including by running them over with armored vehicles, only to be exonerated in court—they congregated again around Maspero both to protest and mark the anniversary of the incident. And, just as the Egyptian media had demonized the protesting Christians during the original Maspero Massacre—falsely claiming that Copts were attacking and killing Egypt's soldiers, which even the Western media ran with—the media again turned victim into persecutor in its coverage of the anniversary.
For example, a TV anchorman for El Qahira station, while covering the anniversary march, asked "why rehash all this?' and, in the non-sequitur of the year, claimed that whenever Copts demonstrate and call for their rights, "only one nation, one people" profits: Israel. Thus, once again, Egypt's Christian minority, who seek only equality, were portrayed as "traitors," more interested in empowering foreign powers than in helping build Egypt. He even broadcast non-violent scenes from last year's massacre—not the ones of soldiers shooting at and running over Christians—asking, "What's the big deal"?
The sister of one of the slain Copts from the massacre, Mina Daniel, further confirmed all this, saying that the media "continues to be corrupt"; that she was invited to be interviewed by one station, which proceeded to edit and delete her words; and, in short, "nothing has changed … the same thing that happened last year during the massacre, when the media claimed Copts were attacking the military is happening today… this is a catastrophe, and we continue to suffer from the same story."
Indeed, despite all the media propaganda, whether straight from Egypt's president or from Egypt's mainstream media, it is business as usual for Copts: they are portrayed as disloyal troublemakers, who, nonetheless, are cared for by the government—when the truth is the exact opposite.


Three more characters are joining Mario Tennis Aces. Luma, Pauline, and Boom Boom will be added to the game in early 2019, the company revealed today.
Based on how they're presented in a new trailer, Luma will seemingly be first up in January. Boom Boom will then follow in February, and finally Pauline in March.
As long as you participate in the game's online tournaments, you'll have access to these characters each month. They'll be available subsequently to those who miss out on the events like past characters.


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Written and Directed by: Gareth Edwards
Starring: Scoot McNairy, Whitney Able, and Mario Zuniga
"I don't want to go home."
I can't help but think I like the idea behind Monsters more than the final product itself. After all, it takes balls to title a movie Monsters and then completely foreground the human characters, with the titular beasts acting more as background noise. Pulling it off with any effectiveness is another thing altogether, and I suppose Gareth Edwards more or less does so with his debut feature, even if it does leave one with the feeling that it's a carefully arranged bouquet of good intentions more than anything else.
In the not-too-distant future, extraterrestrials have crash-landed on Earth, specifically Mexico, most of which has been cordoned off as an "infected zone" that's hostile for travelers. American photojournalist Andrew Kaulder frequents the fringes of this area and one day finds him tasked with escorting his boss's daughter (Whitney Able) back to the States. When forces conspire to thwart her safe passage via ferry, the two must travel through the infected zone, where they begin to discover the truth about this region and its inhabitants—both those native to the area and the more recent intruders.
Obviously, Edwards has more on his mind than a typical, spectacle-driven monster movie. Instead, he comes at the genre in a fairly fresh way by capturing the aftermath of an attack; I always grew up wondering if folks in Japan eventually developed Kaiju insurance (It's gotta count as an act of god, right? You can never be sure because insurance companies are the true monsters.) once Godzilla and friends decided to stomp out their cities on a frequent basis, and Monsters attempts to take a grounded approach to take stock of living in a post-Kaiju world. Unsurprisingly, the United States manages to make a political power play out of the situation by erecting a huge wall and leaving Mexico to fend for itself, a development pointing towards one of Edward's true aims with Monsters, which becomes half political allegory, half indie-romance-drama.
Let's start with unpacking the latter: Andrew and Sam are initially stand-offish, with the former only making a whiskey-fuelled move after a sweltering night on the town and despite the latter's impending engagement. He has his own relationship baggage, and McNairy brings a believably weary quality to a woefully cynical character who makes a living by photographing death and destruction. But if I'm being honest, the romance between the two seems like a matter of procedure more than anything and treated as a mere inevitability when a platonic relationship may have been more natural—I think Edwards has plenty of material without cramming a romance that only seems to serve his larger allegorical purposes.
That inevitability hangs over most of the proceedings, which become something of a leisurely, well-photographed travelogue through the heart of a magically-realist Mexico, here realized with lush, earthy environs that stand in sharp contrast to the brief glimpses of a lifeless America. Andrew and Sam's journey is lined with well-meaning locals, a cast-off, forgotten people who have become even more of an afterthought in the wake of the creatures' arrival. Naturally, the film flips that script by relegating the monsters to the background, where they operate more as an impetus for survival and only occasionally emerge for what feel like dutiful check-ins. Despite the obvious stakes, this survival quest rarely feels immediate or intense, as the monsters are an unknown quantity, mostly described by various forms of media throughout the film. Like Andrew and Sam, we're meant to be wary by default—after all, the government has designated their territory as a danger zone.
As the two would-be lovers learn more about the monsters and realize their awe-inspiring beauty, the lack of urgency is a bit more understandable. Once Edwards really turns the monster movie concept on its head to reveal exactly what he's up to, he solidifies the already obvious, heavy-handed metaphor. It's hardly subtle stuff, what with the two characters observing America's wall and musing on how different it is to be on the outside looking in. The film's obvious concerns with immigration make it the perfect companion to District 9 for a double feature of thinly-veiled but well-meaning allegories. I half expected one of them to realize that we're the real monsters (but Cannibal Holocaust this ain't, I guess).
Like Blokamp with District 9, Edwards marvelously realizes his grand vision despite a shoestring budget. There's a tactility and rawness to the film that's more palatable than many sterile, mega-budgeted blockbusters. During those few moments he does indulge the title characters, it's clear that Edwards's imagination owes more to Lovecraft than Kaiju films—I really love how monstrously weird and luminescent these creatures are. Strange beasts, indeed. His decision to consign them to the back-burner is, again, admirable—I will always champion a monster movie that insists on humanity. Monsters is especially insistent, and, even though is particular focus on a budding relationship amidst such chaos falls a bit flat, it finds moments of sublimity to extend beyond its immediate, headline-inspired concerns. If there's any real terror here, it's in the universal and existential angst of the film's climactic moment, which posits that the cosmos has us randomly clashing into each other for chance encounters that are as fleeting as they are monumental. Rent it!


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Tag Archives: shakespeare
A Birthday Blog for the Bard
Posted on March 19, 2016 by Theatre Room Asia
As the world marks the death of William Shakespeare, 400 years on, there have been many celebrations of his work across the globe. Today I want to share some of them – the ones that have particularly resonated with me. Here in Hong Kong, we have just had the Royal Shakespeare Company (RSC) performing some of the Histories, all the Henries, in repertoire, to great acclaim. The company then moved to Beijing, where those plays have never been been seen before. My first offering, therefore, is a lecture by Gregory Doran, artistic director of the RSC, given upon his return from this tour. Entitled Is Shakespeare Chinese? , Doran speaks beautifully about the universality of Shakespeare, and for those of you that follow Theatre Room, you will know that this is something that often raises questions for me….but more of this later.
As a theatre practitioner, generally people expect you, firstly, to love Shakespeare with a passion, and secondly, to have seen every single play he ever wrote. My answers to both of those inevitably provoke a surprised response, which I secretly quite like. Recently, one of my students, Nadia, chose a speech from King John to use in a solo performance employing some of the techniques of Jerzy Grotowski. The outcome was stunning, the words brought alive in an incredible way. I have never seen or read King John but that performance has now compelled me to do so. This brings to me to my next share, a series of Shakespeare's monologues and soliloquies performed by some of the UK's most respected actors. Filmed for the The Guardian and presented in two parts, they are very compelling viewing.
An accompanying piece written by theatre critic Michael Billington, also for The Guardian, explores three of the films in greater detail. Connecting to this, in an article for The Independent, journalist Oscar Quine interviews Cicely Berry (pictured below), who has been voice coach at the RSC for over 45 years. Known to be a force of nature (Berry has worked with some of the best known actors over the last half century) the piece, The RSC's formidable voice coach reveals how to capture the sound of Shakespeare, makes interesting reading.
Another two-part documentary really caught my imagination. Made for the BBC and written and presented by historian Simon Schama, eponymously titled Simon Schama's Shakespeares, they explore the world of Shakespeare and how it shaped his writing. They are both worth a watch as Schama manages to vividly connect the plays and their characters to the contemporary world in which they were written to exist.
And finally, in the interests of balance, another BBC production from their programme strand Arts Night, in which writer and broadcaster Andrew Marr champions some great Renaissance dramatists who, he posits, have been neglected because they worked at the same time as William Shakespeare.
Posted in Directors, European Theatre Traditions, Theatre, Theatre History, Theatre Resources, Theatre Traditons, Uncategorized	| Tagged Cecily Berry, Gregory Doran, RSC, shakespeare	| Leave a reply
A Devine Wright?
Posted on August 31, 2014 by Theatre Room Asia
As much of the world begins a new academic year, so does Theatre Room. I am going to pick up where I left off in August with a further two articles that were published as a result of comments made by Ira Glass about Shakespeare and his relevance to a contemporary audience.
The first one that particularly caught my attention was written by Noah Berlatsky for The Atlantic. In it, Berlatsky talks about Shakespeare's political conservatism and how this shaped his writing.
Ira Glass recently admitted that he is not all that into Shakespeare, explaining that Shakespeare's plays are "not relatable [and are] unemotional." This caused a certain amount of incredulity and horror—but The Washington Post's Alyssa Rosenberg took the opportunity to point out that Shakespeare reverence can be deadening. "It does greater honor to Shakespeare to recognize that he was a man rather than a god. We keep him [Shakespeare] alive best by debating his work and the work that others do with it rather than by locking him away to dusty, honored and ultimately doomed posterity," she argued.
Rosenberg has a point. A Shakespeare who is never questioned is a Shakespeare who's irrelevant. And there are a lot of things to question in Shakespeare for a modern audience. One of those things, often overlooked in popular discussions of his work, is his politics.
Shakespeare was a conservative, in the sense that he supported early modern England's status quo and established hierarchy, which meant defending the Crown's view of divine monarchical right and opposing the radicals, often Puritan, who questioned it.
For all the complexity and nuance of Shakespeare's plays, his political allegiances were clear. James I was his patron, and Macbeth in particular is thought to be a tribute to the King. It even includes a reference to the Gunpowder Plot assassination attempt at James. That reference is made by Lady Macbeth as part of her effort to convince her husband to murder Duncan. The villainous traitors in the play are thus directly linked to traitors against James.
Macbeth isn't a one-off to flatter the King, either: Rebels and usurpers in Shakespeare's plays are always the bad guys. When Hamlet spits out the lines:
Oh fie, fie, 'tis an unweeded Garden
That grows to Seed: Things rank, and gross in Nature
Possess it merely.
The vision of sickening wrongness there is in part repulsion at his mother marrying his uncle, but it's also a political disgust at the fact that the rightful ruler is gone, replaced by a usurpur. What's "rank and gross" is not just sexual impropriety, but perversion of divine order. The Tempest is about restoring the rightful Duke to his place in spite of his usurping brother, while Othello shows that Shakespeare's sympathies are not just with kings, but with any authority figure, as the sneaking underling Iago attempts to overthrow his noble Captain. It is significant here, too, that (as many critics have pointed out) Iago has no real motive for his animosity. He does not articulate a critique, or even a complaint, about the way Othello exercises power. Instead, he simply says:
I hate the Moor
And it is thought abroad, that 'twixt my sheets
He has done my office: I know not if't be true;
But I, for mere suspicion in that kind,
Will do as if for surety.
Rebellion against one's superiors is presented as a matter of misguided jealousy and intrinsic spite. Similarly, the Puritan Malvolio in Twelfth Night, who aspires to the hand of a woman above him in social standing, is a hypocrite and a fool. The Puritan political resistance, or the Puritan ideological opposition to hierarchical norms, is never voiced, much less endorsed.
In Shakespeare, those in authority rarely provoke resistance through injustice. In general, the one thing Shakespeare's rulers can do wrong is to shirk their authority, trying to retire too early (King Lear) or consorting with those beneath them (Henry IV.) Often, their role is to come on at the end as a kind of hierarch ex machina, assuring all that "Some shall be pardon'd and some punished," like the Prince at the end of Romeo and Juliet, or Prince Fortinbras at the end ofHamlet ("with sorrow I embrace my fortune"—yeah, we bet you're sorry).
It's sometimes said that Shakespeare always wrapped things up with a king on his throne and all right with the world as a reflection of a general belief among his contemporaries in the Great Chain of Being—a conception of the universe as divinely ordered hierarchy, each subordinate in his or her divinely ordered place. But there were many people in Shakespeare's time who were mistrustful of kings and received authority—real-life versions of Malvolio, who Shakespeare pillories. Within his own context and within his own milieu, Shakespeare consistently championed the most powerful, and set himself against those who challenged their authority. He saw hierarchy as good and rebels as evil.
None of this is a good reason to dismiss Shakespeare. But it is a good basis for critical skepticism toward him. What would Twelfth Night look like from Malvolio's perspective—or even from a perspective where it is not on its face ridiculous to imagine someone marrying across class? What real grievances might Iago or Macbeth have if it were possible for Shakespeare to show us an authority figure who isn't a paragon? What happens to Julius Caesar if the rebels have some actual, genuine concerns about tyranny? As Rosenberg says, Shakespeare was a man, not a god—and as a man, he had a particular perspective, particular axes to grind, and particular blind spots. His plays aren't entombed, authoritative holy writ; they're living arguments, which means that, at least at times, they're worth rebelling against.
The second comes from The Washington Post, written by Alyssa Rosenberg and explores the notion that the way a play is adapted/staged/interpreted will, of course, have a bearing on its relevancy to a modern audience: What we get wrong when we talk about Shakespeare.
Posted in Theatre, Theatre and politics, Theatre and Society, Theatre Criticism, Theatre History, Theatre Production	| Tagged shakespeare	| Leave a reply
A Shakespearian Smorgasbord
Posted on June 1, 2014 by Theatre Room Asia
Today's post is a bit of a pick and mix of all things Shakespeare that have come my way recently. Firstly, a very recent interview with Sam Mendes, acclaimed director of both stage and screen. His latest theatrical outing was directing Simon Russell Beale as King Lear at the National Theatre in London. Here he is in conversation with Mark Leipacher about that very production.
Along with Mendes, there are a series of video and audio recordings from the National that talk with the actors about their approach to creating all the major roles in Lear. You can listen to Talking Lear here or watch them here. Another from the same series, which is really interesting, is a discussion hosted by theatre critic Michael Billington between psychoanalyst, Mike Brearley, and academic, Laurie Maguire, where they discuss Shakespeare's understanding of the complexities of the human mind and how these would appear to be evident in King Lear.
Finally in connection with King Lear Simon Russell Beale wrote a piece for The Telegraph in April, Whys Shakespeare always says something new, in which talks at length about playing the Bard, the dangers of editing the text and why he considers that Shakespeare still has something to say today.
Another production that has been making headlines beyond its rave reviews is Titus Andronicus currently at The Globe Theatre, London. Titus is renowned for its violence – 14 deaths, a brutal rape and scenes of mutilation and cannibalism. Inevitably, stage blood is often used by the litre in productions of the play, and occasionally to great and gruesome effect. This particular production has clearly pushed the boundaries, being described as full of violence and sick humour in Hannah Furness' article for The Telegraph, Globe audience faints at 'grotesquely violent' Titus Andronicus. The fainting count at the time the article went to press was growing rapidly. If rumours are to be believed, the largest number to faint so far in one performance is 43.
It is clear from the publicity photographs why the squeamish are not faring well at The Globe. Indeed those who faint have been dubbed 'droppers' by fellow theatre goers and Globe staff. Furness writes:
One theatre-goer, who watched the show's opening night, said there had been "quite a few droppers" in the audience, who fainted upon seeing so much blood. Another reported he had "almost puked" by the interval, while a third warned: "You will definitely need a strong stomach". Others praised the "Brilliantly staged and flawlessly acted" production, but warned of "blood and violence galore"
What is amazing that amongst all the gore, the director, Lucy Bailey has also been highly praised for bringing out the darkly comic elements of Titus and making sense of what is often seen as faltering marriage of knock-about humour and extreme suffering on Shakespeare's part.
I n her article for The Guardian, There's method in theatre's blood and gore, Marina Warner talks about violence on stage through history, why tragedies such as Titus bring us face to face with intense violence and how they also carry a vital contemporary message. A great read.
There is some really good related reading on The Globe's website. One is a great piece wittily entitled Food for Thought by Cedric Watts about the cannibal or anthropophagous banquet scene in the play. Another is The Sound of Cracking Bone by Robert Shore which looks at the rehabilitation of Titus as a play of substance and how staging it in a theatre resembling its original setting allows it to breath again. It also reminded me of my favourite of Shakespeare's stage directions, which comes from Titus,
Enter a messenger with two heads and a hand
The maxim, there's no such thing as bad publicity seems to have held true for The Globe and they have quietly taken advantage of the 'droppers' to garner extra publicity for the show. No one has actually said how much stage blood they are getting through, but it didn't stop one intrepid journalist heading off to find where it was all made. There will be blood! written by Nick Clark for The Independent visits the suppliers of the fake blood for Titus who make up to 450 litres of the stuff every week and have doubled their production in the last year, largely due to bloody productions of Shakespeare's plays.
Finally for today, a shout out for The Internet Archive which has recently posted the Orson Welles Shakespeare Collection, a selection of Shakespeare's plays adapted for the radio by him in the 1930s and which were groundbreaking at the time. Welles is perhaps best known for the movie Citizen Kane, as well as one of the most famous broadcasts in the history of radio, his adaptation War of the Worlds which caused widespread panic when American listeners thought it was real and that an invasion by extraterrestrial beings was taking place.
However, he was also a celebrated Shakespearian actor and during the late 1930s, Welles was the toast of Broadway, thanks to a string of audacious revivals of the Shakespeare's work. The most famous of these was his 1937 adaptation of Julius Caesar. Welles costumed the piece in modern dress with soldiers wearing what looked like Nazi black shirts. The show was lit in such a way as to recall a Nuremberg rally. Obviously this was playing at a time when Hitler's power was growing, and the production is said to have jolted American audiences and made Welles famous, with Time Magazine even putting him on its cover.
The recordings made available by The Internet Archive are obviously dated and sound quality is not always great, but they have a surprising intensity about them. You can access them here and I have embedded Julius Caesar to give a flavour of what the rest are like.
https://ibreadingroomasianedition.files.wordpress.com/2014/06/380700_julius_caesar.mp3
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Posted in Theatre, Theatre Criticism, Theatre History, Theatre Practice	| Tagged Globe Theatre, King Lear, Orson Welles, Sam Mendes, shakespeare, Simon Russell Beale, Titus Andronicus	| 1 Reply
Posted on July 25, 2013 by Theatre Room Asia
I found myself recently in a conversation about what the term World Theatre means? I came to the conclusion that it depends on where in the world you are. For me, Cantonese Opera is not World Theatre because it exists on my doorstep, but for my students the work of Harold Pinter is, for example, as is the Broadway Musical.
But an announcement last week by a theatre company got me back on to this subject and it really got me thinking. The Globe Theatre in London, who I also wrote about recently, said they are sending a production of Hamlet on the first genuine world tour in theatre history. Starting on 23 April 2014, the 450th anniversary of Shakespeare's birth, the company will spend two years travelling by planes, trains, boats and buses to visit every nation on Earth – 205 countries in all. My immediate thoughts were, 'is this inspired or is it arrogance – only a British company would consider doing this?'. However, a quick Google search later disabused me of my cynicism. The proposed tour was reported in Canada, Australia and the US (not surprisingly, you might think), but also in India, China, Egypt, Turkey and many other places where English is not spoken as a first language. The saintly Peter Brook commented that it is:
a bold and dynamic project……the six simplest words in the English language are 'to be or not to be'. There is hardly a corner of the planet where these words have not been translated. Even in English, those who can't speak the language will at once recognise the sound and exclaim 'Shakespeare!'"
According to The Globe's artistic director, Dominic Dromgoole the idea came about because they wanted to build on the festival they hosted last year where all 37 Shakespeare plays were performed in 37 different languages, by actors from 37 countries. I wrote about it my post Globe to Globe. Further details were given in an interview with Maev Kennedy in the Guardian
Globe theatre plans 205-nation Hamlet world tour
Two-year tour will start next April on 450th anniversary of Shakespeare's birth, and aims to visit every nation on Earth
"I think having a lunatic idea is a very good thing, it's a great way to keep everybody focused and dazzled and delighted by the ambition and energy of the company," said the artistic director, Dominic Dromgoole. "If we're going to do every country in the world it has to be every country, we're not going to leave anyone out. All the 'Stans, South and North Korea – we're very keen to get into North Korea. Antarctica? Fuck yes."
He said it had to be Hamlet for the project. "It is an iconic play, instantly recognisable anywhere. It has that capacity to question, to challenge, to inspire in any country in the world," he said.
The show will open at the Globe next April, and close there exactly two years later on 23 April 2016, which also happens to be Dromgoole's last day as artistic director.
The 204th and 205th stops are already decided: the Rift Valley in Kenya – "where human life began on Earth", Dromgoole said – and Elsinore in Denmark, the castle where Shakespeare set his tragedy. They will be performing in theatres, in town squares, on beaches and in jungle clearings. There are, however, many gaps and question marks in the plan.
The company will snake across Europe, at one point playing four countries in five days, into the Caribbean, America north and south, down the west coast of Africa, on into Australia and the Pacific islands ("logistically that could be quite hard work," Dromgoole said, looking slightly anxious for the first time) on to Indonesia, Japan, China and Asia, back up the east coast of Africa, to Elsinore and then home. Easy.
The experiment is unprecedented but builds on links forged through the Globe's last spectacular attempt to link nations through the words of the glover's son from Stratford-upon-Avon. Last summer as part of world Shakespeare season celebrating the Olympics, the Globe invited companies to come and perform every play the Bard wrote in 37 different languages – including Troilus and Cressida in Maori, Two Gentlemen of Verona in Shona (spoken in Zimbabwe and Zambia), and the Henry VI plays divided among the Balkans in Serbian, Albanian and Macedonian.
The season proved a wild success, seen by more than 100,000 people in six weeks, 80% of them first-time visitors to the Globe. "It was such a fantastic experience I thought we need to keep that energy going, we need another bananas idea," Dromgoole explained.
The touring Hamlet will be the Globe's scaled-down version, which has already been admired in UK tours, with a cast of eight – from a company of 12 to allow for illness and even the odd day off – playing more than two dozen roles between them, scampering through the text of Shakespeare's longest play in just over two and a half hours.
Although they hope to attract sponsorship, the unsubsidised main house on the South Bank has been making a handsome profit in recent years, and small-scale tours having been covering their costs or better.
Since Dromgoole launched Romeo and Juliet in a camper van six years ago – the modern version of the strolling players of Shakespeare's day arriving in a wagon piled high with props and costumes, he said – he has been trying to reach the parts other tours don't touch.
This summer he is sending a company out to play Shakespeare's history plays on the actual battlefields that sparked regime change, with Henry VI on the wide green fields in Yorkshire where in 1461 streams ran red with blood and ditches were choked with bodies at the battle of Towton.
"Touring is in our blood," Dromgoole said. "It's what Shakespeare's company did, it's what we do – and it's great fun."
Another interview here with The Globe's executive producer, Tom Bird, gives you an even greater idea about the possibilities and logistics behind the tour.
I have to applaud Dromgoole for his vision. It is inspired. Perhaps Shakespeare is the true World Theatre? He is performed in the original and in translation all over the world. I was reading an interview with a Kuwaiti actor yesterday who said his greatest challenge and love was always Shakespeare (in Arabic). I've seen bilingual performances here in Hong Kong. Shakespeare is a favourite in Korea.
This tour will be an interesting one to follow once it gets underway. I am looking forward to how it is received. You can follow it on Twiiter @WorldHamlet.
Posted in Theatre, World Theatre	| Tagged shakespeare, The Globe Theatre	| Leave a reply
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World - Restoring order
Gang violence out of control in Haiti: UN
Haiti's ambassador to the UN, Antonio Rodrigue, attends a Security Council meeting on Haiti at UN Headquarters in New York City on January 24, 2023 / © AFP
Gang violence is spiralling out of control in Haiti, the UN envoy to that country said Tuesday as she appealed again for the creation of an international force to restore order in the poorest country in the Americas.
Haiti has been mired in political and economic crisis for years, with rampant lawlessness, poverty and despair. The assassination of president Jovenel Moise in July 2021 triggered another acute downturn in national stability.
Powerful and well-armed gangs control much of Haiti and regularly kidnap people and hold them for ransom.
"Gang-related violence has reached levels not seen in decades. Murders and kidnappings increased for a fourth consecutive year," Helen La Lime said in presenting Secretary-General Antonio Guterres' latest report on Haiti.
She said 1,359 kidnappings were recorded in 2022, more than doubling that recorded in 2021 and averaging roughly four per day.
Murders are up by a third since 2021, with 2,183 reported, said La Lime.
"This violence is part of well-defined strategies designed to subjugate populations and expand territorial control," the envoy said.
She said gangs kill men, women, and children deliberately with snipers shooting from rooftops.
Dozens of women and children as young as 10 have been raped as a way to spread fear "and destroy the social fabric of communities under the control of rival gangs."
Haitian police are now equipped with armored vehicles donated by Canada but the force is "overstretched, understaffed and underresourced" and has failed to stop the rise in gang violence, Guterres said in the report.
"I reiterate the urgent need for the deployment of an international specialized armed force," Guterres said in the report, echoing comments Tuesday from the envoy.
He first passed on this request back in October from Haitian Prime Minister Ariel Henry, who asked the Security Council to create such a force.
Nothing has come of it. Some countries have said they were willing to take part in such a force but apparently none wanted to lead it.
The appeal was reiterated Tuesday by Haiti's ambassador to the UN, Antonio Rodrigue, who said that without restoration of law and order the country cannot hold new elections and get back on its feet.
Haiti right now has neither a president -- Moise was not replaced -- nor parliament as all its lawmakers' terms have run out and the country has not held national elections since 2016.
Food prices are up 63 percent since 2021 and nearly five million people in Haiti suffer acute food insecurity, the UN says.
"The hour is grave. We need much more action," Rodrigue said.
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My earth is the cave, Plato's shadows of trees, arms of the dark, branch like a person, fire like light, shadow just shade sending shade giving shade like a cover like a roof like a shelter like a planet in space. Earths grow up like bodies like my body in shapes put together and named pronouned like a planet is mother because we're home here were born here stomp our feet here throw a tantrum here change our minds here. but i grew from the root shadowed dirt of the tree, from the shadow of what we call a tree, we call a body, call an earth, call a girl, call a shadow in the shape of something familiar to what our own eyes have seen, until the light changes, shadows break, tree refracts, branch full of light, roots leave the earth and breathe air leaves translucent bark breaks from the trunk shadow light different light tree parts in light changing in light until you see.


Travellers, hikers, explorers, lend us your wrists! The watch you're viewing feels like it's been tailor made just for you!
As mentioned this is an explorer's watch, and it contains everything you would need to Trek the great outdoors. You have a Digital Compass, Altimeter, Thermometer as well as a barometer, and it's 100m water resistant.
Lots of good things to say about this watch. The sheer amount of features is unbelieveable! The thing that got me though is how well it fits on my wrist. I've gone through dozens of watches that were way too tight, or the holes were so far apart that if it wasn't too tight, it was too loose. This one so far has been perfect, haven't needed to adjust it once since putting it on my wrist.
It's big, that's for sure! On the one hand (pardon the pun), it's good especially since I can see all the features really well. On the other though, it does look a bit too bulky on my wrist, and even though it shouldn't, I sometimes find myself thinking it'll fall off. Disconcerting but gotta get used to it. Otherwise great watch.
I can't read maps to save my life (quite literally sometimes). So taking a compass with me is pretty much futile. THIS though was actually much easier, particularly that screen, it's much larger and the compass actually remembered which way I was going! One of my friends went camping with me as well, and thanks to the barometer I could tell when it was going to be cold, so I was ready with enough changes of clothing so neither of us would get sick!
You've heard of well rounded watches? Well this watch is taking the concept to a whole new level! To be honest the only reason I'm giving this watch 4 stars is I don't know when I'll use every single one of the features! I gotta admit it definitely looks good though! Really fits well on my wrist. Impulse buy, and as I said too many features, but overall a good watch.


Since release 1.3.0, the Themosis framework provides a plugin boilerplate in order to help you develop custom WordPress plugins that can leverage Themosis framework APIs.
The plugin boilerplate provides a similar folder structure borrowed from the themosis-theme and let you develop WordPress plugins using manageable and scalable methods.
From your browser, go to our plugin boilerplate repository.
Click the Clone or download green button on the right of the screen.
Choose Download ZIP and save the plugin file on your machine.
Extract the files into your project htdocs/content/plugins directory.
You could activate the plugin now but its files names and properties do not correspond yet to our planned extension. Please read the following steps in order to properly configure your custom plugin and make it work with the Themosis framework.
The plugin boilerplate contains a default composer.json file with basics informations. Please first update the composer.json file properties in order to define your plugin as a correct PHP package as well. If you require PHP packages, you can define them here so when you install your complete Themosis framework application, any plugin dependencies are loaded into application root vendor directory and not with your plugin.
Inside the composer.json file, leave the typeproperty set to wordpress-plugin. This helps composer to install your plugin in the correct folder when creating a project with your extension.
Make sure to add your plugin vendor directory to the .gitignore file as you won't need to track those dependencies.
Following WordPress recommendations, let's first update our plugin root file name and its inner properties.
Open your extension into your favorite IDE or code editor.
At plugin root, rename the default plugin-name.php file as your plugin folder name; In our example, this file is renamed as themosis-documentation.php.
Open your new plugin root file (in our case themosis-documentation.php file).
Update comments located at the top of the file (Plugin Name, Plugin URI, Description, Version,...) except the Domain Path which is already set correctly for you.
In your plugin root file, find and replace all instances of MY_PLUGIN_TD by your custom plugin textdomain constant.
Make sure to set your constant value ("themosis-documentation" in our example) as the same value as top file comment Text Domain: themosis-documentation.
The slug property is a plugin key name. This is used by your theme in order to support the plugin. The name property is your plugin display name used on admin notice.
The namespace property is the most important one. It will help define a custom path to your plugin and avoid conflicts with others plugins. Like the placeholder value suggests, we recommend you to use your domain name, its tld extension and finally the plugin name, all separated with a dot ..
Finally the config property is your plugin configuration files names prefix to use. Same as the namespace property except that you separate each term by an underscore _. This is also important in order to avoid configuration file names conflicts.
When developing custom plugins, it is mandatory to work with a PHP namespace. This will help prevent class conflicts with all your plugins.
Before defining class namespace, we first need to update the file names of the given default configuration files stored inside the resources/config directory of our custom plugin based on the config plugin property we just set.
The paths contains the plugin namespace string defined on your plugin root file inside the $vars variable. Make sure to correctly define it here as well.
Open the default Sample.php controller file stored in the resources/controllers directory.
The Sample controller is there to give an example of a properly defined controller to use inside your plugin. We recommend you to rename the Sample class controller for your needs.
You now have a fully configured custom plugin. From the WordPress administration, active your custom plugin and start developing your custom features.
You can define default routes from your plugin routes.php file. This is useful for example if you would like to provide default views/templates without the need for the theme to handle them.
The theme routes.php file can override routes defined inside the plugin. This behavior lets a theme developer customize the template.
Since it is mandatory to use PHP namespace for all plugin classes, you can't call directly the Themosis framework facades like inside the theme admin files. In order to use the APIs provided by the framework, you first need to import it.
This is also similar from "namespaced" classes of your custom theme.


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text:
module Azure::ContainerService::Mgmt::V2018_03_31
  module Models
    #
    # AADProfile specifies attributes for Azure Active Directory integration.
    #
    class ManagedClusterAADProfile

      include MsRestAzure

      # @return [String] The client AAD application ID.
      attr_accessor :client_app_id

      # @return [String] The server AAD application ID.
      attr_accessor :server_app_id

      # @return [String] The server AAD application secret.
      attr_accessor :server_app_secret

      # @return [String] The AAD tenant ID to use for authentication. If not
      # specified, will use the tenant of the deployment subscription.
      attr_accessor :tenant_id

      #
      # Mapper for ManagedClusterAADProfile class as Ruby Hash.
      # This will be used for serialization/deserialization.
      #
      def self.mapper()
        {
          client_side_validation: true,
          required: false,
          serialized_name: 'ManagedClusterAADProfile',
          type: {
            name: 'Composite',
            class_name: 'ManagedClusterAADProfile',
            model_properties: {
              client_app_id: {
                client_side_validation: true,
                required: true,
                serialized_name: 'clientAppID',
                type: {
                  name: 'String'
                }
              },
              server_app_id: {
                client_side_validation: true,
                required: true,
                serialized_name: 'serverAppID',
                type: {
                  name: 'String'
                }
              },
              server_app_secret: {
                client_side_validation: true,
                required: false,
                serialized_name: 'serverAppSecret',
                type: {
                  name: 'String'
                }
              },
              tenant_id: {
                client_side_validation: true,
                required: false,
                serialized_name: 'tenantID',
                type: {
                  name: 'String'
                }
              }
            }
          }
        }
      end
    end
  end
end

redpajama_set_name: RedPajamaGithub


text:
/ Xeni Jardin / 2:33 pm Fri Aug 7, 2015
Greens grown in space are now on Space Station astronaut menu
Fresh veggies grown in space microgravity are on the menu for the first time for NASA astronauts on the International Space Station.
Crew members on Expedition 44, including NASA's one-year astronaut Scott Kelly, harvested some "Outredgeous" red romaine lettuce Monday, Aug. 10, from the Veggie plant growth system on the nation's orbiting laboratory.
From the NASA announcement:
The astronauts will clean the leafy greens with citric acid-based, food safe sanitizing wipes before consuming them. They will eat half of the space bounty, setting aside the other half to be packaged and frozen on the station until it can be returned to Earth for scientific analysis.
NASA's plant experiment, called Veg-01, is being used to study the in-orbit function and performance of the plant growth facility and its rooting "pillows," which contain the seeds.
NASA is maturing Veggie technology aboard the space station to provide future pioneers with a sustainable food supplement – a critical part of NASA's Journey to Mars. As NASA moves toward long-duration exploration missions farther into the solar system, Veggie will be a resource for crew food growth and consumption. It also could be used by astronauts for recreational gardening activities during deep space missions.
Astronauts on the International Space Station are ready to sample their harvest of a crop of "Outredgeous" red romaine lettuce from the Veggie plant growth system that tests hardware for growing vegetables and other plants in space.
Credits: NASA
Read more: "Meals Ready to Eat: Expedition 44 Crew Members Sample Leafy Greens Grown on Space Station"
NASA plans to grow food on future spacecraft and on other planets as a food supplement for astronauts. Fresh food, such as vegetables, provide essential vitamins and nutrients that will help enable sustainable deep space pioneering.
Cooking / diets / Food / gardening / international space station / ISS / kale / NASA / nutrition / plant based / scott kelly / Space / space exploration / space station / veganism / vegans / veggies
McMansion Hell awards its annual prize for the best gingerbread McMansion!
Last year, McMansion Hell (previously) inaugurated its annual gingerbread McMansion competition, inviting America's bakers to challenge themselves to build the largest, most ostentatious, most ill-conceived McMansion in gingerbread form.
Seaweed-fed sheep belch less methane
North Ronaldsay, a remote island in the Orkney archipelago off Scotland's northern shore, long ago built a flint wall to keep sheep close to the shore and away from the cows' grazing land. Since then, the sheep have adapted so well to beach life they only eat seaweed, and scientists have found they belch less […]
Gin yogurt criticized
A doctor in Britain leveled a complaint against food company Müller over its latest product, yoghurt flavored to taste like gin cocktails and containing a small amount of alcohol. The yoghurts, which were launched last year, contain 0.5% gin. A spokesperson for the yoghurt maker said the product was fat-free, high in protein and contained […]


text:
Four Sisters Before the Wedding is a 2020 Filipino Family comedy-drama film directed by Mae Cruz-Alviar, produced by Star Cinema and SCX. It serves as both a prequel and a sequel to the 2013 film, Four Sisters and a Wedding. It premiered on December 11, 2020, via KTX, iWant TFC, Sky Cable PPV, Cignal PPV as well in SM Cinemas and CityMall Cinemas in select modified general community quarantine areas.

Premise
During the COVID-19 pandemic, the Salazar sisters in the present day have an online meeting because of CJ's affair with Nicole, until the topic changes to the siblings' life in the past: the story on how the siblings caught their father Caloy having an affair with another  woman.

Cast

Main cast
 Charlie Dizon as Theodora Grace "Teddie" Salazar
 Alexa Ilacad as Roberta Olivia "Bobbie" Salazar
 Gillian Vicencio as Alexandra Camille "Alex" Salazar
 Belle Mariano as Gabriella Sophia "Gabbie" Salazar

 Supporting cast

Special Participation
Toni Gonzaga as Teddie Salazar-Teodoro
Bea Alonzo as Bobbie Salazar-Harris
Angel Locsin as Alex Salazar
Shaina Magdayao as Gabbie Salazar
Enchong Dee as CJ "Reb-Reb" Salazar
Freddie Webb as Grace's father (shown in the movie in a still picture with Grace's mother Ibiang)

Production
On February 27, 2020, Star Cinema announced that 2013 film movie "Four Sisters and a Wedding" will have a prequel.

On October 10, 2020, Ilacad posted a photo with co-stars on her Instagram page which the production began to shoot the film.

References

External links

2020 films
Philippine comedy-drama films
2020 comedy-drama films
Prequel films
Films directed by Mae Cruz-Alviar
Philippine prequel films

redpajama_set_name: RedPajamaWikipedia


When it comes to septic tanks and systems, it's pretty much never a DIY situation. A malfunctioning septic system can contaminate Brandeis drinking water supplies and cause flooding, as well as create sewage backup and biohazardous situations. If you need a septic system installed, pumped or repaired, hiring a certified Brandeis, CA septic professional is a no-brainer.


Welcome to the video section of JeremyHouchens.com! This is a place to share videos I find interesting on a range of topics. There are music videos, language studies, instrument studies, travel videos, and a whole host of other inspiring video productions.


text:
The Book of Ovid
Artist: Gaspano "Gus" Ricca
Date: c. 1930
Medium: Oil on gesso panel canvas board
Dimensions: Sight Size: 18" x 14"
Condition: Excellent recently cleaned with minimal restoration
Original Use: As of yet unidentified
The artist's signature, lower right
With irreverent humor, this original oil-on-board painting shows a horned satyr smoking a pipe distracted from his reading by a nude figure in the foreground. Dating to 1929-1930, when Ovid's Ars amatoria was in the news quite a bit, with the city of San Francisco's ban of the Ars amatoria in 1929 and its legalization for import and ownership in 1930. The gag her appears to be in the "Anything Goes" libertine culture of the Jazz Age, banning a book for erotic content seems to be missing the point. This has playful art deco style, this was created by the New York based illustrator Gaspino Ricca, who used the name "Gus" Ricca and made a name for him self during the Golden age of Comics. We have yet to locate the exact usage of this compelling, whimsical piece. The artist contributed several covers for Liberty and Collier's during the 1930s and created much interior work for The New Yorker and Esquire among other magazines.
Verso notations and labels
A Biography of the Artist – Courtesy of David Saunders:
Gaspano "Gus" Ignazio Ricca was born February 22, 1906 in Brooklyn, New York City. His father, Ignazio Ricca, was born in 1860 in Santa Margherita Belice, Italy and came to America in 1888. His mother, Julia Brown, was born in 1876 in NYC of Italian and Irish ancestry. His parents married on August 23, 1895 in NYC, and had one child. The family lived at 245 Steuben Street in Brooklyn. The father was a classically-trained artist with a studio at 236 Court Street in Brooklyn.
In 1918, during the Great War, Gaspano Ricca was a twelve-year-old student in the seventh grade, and was not eligible to register for military service.
In June of 1919 Gaspano Ricca completed the eight grade, after which he entered the work force. He worked at a printing shop that created graphic material for newspaper advertising.
In 1928 Gaspano Ricca drew gag cartoons for The New Yorker magazine.
In 1929 he began to draw illustrations for Radio Revue Magazine.
In 1931 the Century Publishing Company produced "Grim Jim" by Talbot Mundy with a dust jacket designed by Gaspano Ricca.
In 1931 he drew illustrations of notable radio personalities for nationally syndicated newspapers.
In 1934 he drew portraits of newsworthy people for Time Magazine.
In 1933 Gaspano Ricca drew covers and story illustrations for Liberty Magazine.
In 1934 he illustrated Esquire Magazine.
In 1935 he created a cover and story illustrations for Collier's Magazine.
In 1939 Gaspano Ricca joined with Billie Gould and Dorothy Haubert to form Gould, Ricca & Haubert Advertising Agency at 45 West 45th Street.
In 1940 Gaspano Ricca joined the staff of the Harry A. Chesler comic shop, which produced contents for comic books published by Martin Goodman, Street & Smith, and Fawcett Publications.
In 1944 Gaspano Ricca became the art director of Harry A. Chesler's Dynamic Comics, for which he drew several memorable cover illustrations.
In 1945 he was listed as Vice President of Billie Gould, Incorporated, public relations firm at 55 West 42nd Street.
In 1945 Gaspano Ricca drew gag cartoons for Stag Magazine, which was published by Martin Goodman (1908-1992).
In 1948 Gaspano Ricca joined the staff of The New York Star newspaper, where the Art Director was Walt Kelly (1913-1973).
In 1952 Gaspano Ricca drew horror and crime comic books that were produced by St. John Publishing and also the American Comics Group.
After 1953 the comic book industry suffered lower sales, as readers became fascinated with television shows. Publishers were also attacked for producing uncensored comic books, which were widely believed to promote juvenile delinquency. This fear was further inflamed by opportunistic politicians.
By 1954 most artists that had worked for comic books and pulps had to look for other sources of income. Gaspano Ricca continued to sell gag cartoons to men's adventure magazines and worked as a free-lance artist for newspaper advertising.
Gaspano "Gus" Ignazio Ricca died at age fifty in NYC on April 27, 1956.
Verso view
Tagged With: 1920s, allegorical, fantasy, Gaspana "Gus" Ricca, glamour, Golden Age, illustration, jazz age, New York, nude, original cover art, original illustration art, pin up, risque, satyr
Added to Gallery: February 27, 2018


text:
Revised Code Keywords
Revised Code Number
The Legislative Service Commission staff updates the Revised Code on an ongoing basis, as it completes its act review of enacted legislation. Updates may be slower during some times of the year, depending on the volume of enacted legislation.
Section 125.11 | Contract award.
Title 1 State Government
Chapter 125 Department of Administrative Services - Office Services
You are viewing a past version of this section that is no longer in effect View Current Version
Legislation:
House Bill 114 - 129th General Assembly
(A) Subject to division (B) of this section, contracts awarded pursuant to a reverse auction under section 125.072 of the Revised Code or pursuant to competitive sealed bidding, including contracts awarded under section 125.081 of the Revised Code, shall be awarded to the lowest responsive and responsible bidder on each item in accordance with section 9.312 of the Revised Code. When the contract is for meat products as defined in section 918.01 of the Revised Code or poultry products as defined in section 918.21 of the Revised Code, only those bids received from vendors offering products from establishments on the current list of meat and poultry vendors established and maintained by the director of administrative services under section 125.17 of the Revised Code shall be eligible for acceptance. The department of administrative services may accept or reject any or all bids in whole or by items, except that when the contract is for services or products available from a qualified nonprofit agency pursuant to sections 125.60 to 125.6012 or 4115.31 to 4115.35 of the Revised Code, the contract shall be awarded to that agency.
(B) Prior to awarding a contract under division (A) of this section, the department of administrative services or the state agency responsible for evaluating a contract for the purchase of products shall evaluate the bids received according to the criteria and procedures established pursuant to divisions (C)(1) and (2) of section 125.09 of the Revised Code for determining if a product is produced or mined in the United States and if a product is produced or mined in this state. The department or other state agency shall first remove bids that offer products that have not been or that will not be produced or mined in the United States. From among the remaining bids, the department or other state agency shall select the lowest responsive and responsible bid, in accordance with section 9.312 of the Revised Code, from among the bids that offer products that have been produced or mined in this state where sufficient competition can be generated within this state to ensure that compliance with these requirements will not result in an excessive price for the product or acquiring a disproportionately inferior product.
(C) Division (B) of this section applies to contracts for which competitive bidding is waived by the controlling board.
(D) Division (B) of this section does not apply to the purchase by the division of liquor control of spirituous liquor.
(E) The director of administrative services shall publish in the form of a model act for use by counties, townships, municipal corporations, or any other political subdivision described in division (B) of section 125.04 of the Revised Code, a system of preferences for products mined and produced in this state and in the United States and for Ohio-based contractors. The model act shall reflect substantial equivalence to the system of preferences in purchasing and public improvement contracting procedures under which the state operates pursuant to this chapter and section 153.012 of the Revised Code. To the maximum extent possible, consistent with the Ohio system of preferences in purchasing and public improvement contracting procedures, the model act shall incorporate all of the requirements of the federal "Buy America Act," 47 Stat. 1520 (1933), 41 U.S.C. 10a to 10d, as amended, and the rules adopted under that act.
Before and during the development and promulgation of the model act, the director shall consult with appropriate statewide organizations representing counties, townships, and municipal corporations so as to identify the special requirements and concerns these political subdivisions have in their purchasing and public improvement contracting procedures. The director shall promulgate the model act by rule adopted pursuant to Chapter 119. of the Revised Code and shall revise the act as necessary to reflect changes in this chapter or section 153.012 of the Revised Code.
The director shall make available copies of the model act, supporting information, and technical assistance to any township, county, or municipal corporation wishing to incorporate the provisions of the act into its purchasing or public improvement contracting procedure.
Available Versions of this Section
June 29, 2011 – House Bill 114 - 129th General Assembly [ View June 29, 2011 Version ]
September 29, 2015 – House Bill 64 - 131st General Assembly [ View September 29, 2015 Version ]