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EXAMINATION & EVALUATION
HIGHER SECONDARY COURSE
There will be one terminal and one test examination in each year. Final Examinations of H.S. courses are conducted by AHSEC. N.B.: A student must have 80% of attendance in the regular classes.
T.D.C. COURSE (Six Semesters)
As per Academic Calendar of Dibrugarh University, two sessional examination and at least two unit tests are conducted by the respective departments of the college for internal assessment before End Semester (Final) Examinations. The relevant dates of such examination are notified by the concerned departments.
There shall be 20% marks for internal assessment and 80% marks for End Semester examination in each course during every semester. There shall be no provision for re-evaluation of the answer-scripts of the end semester examinations. However. A candidate may apply for re-scrutiny to the University.
(As per the notification of Dibrugarh University Poogramme notice, notified vide memo no DU/DR-A/8-1/11/1534 dated 14-03-2011)
End Semester (Final) examinations are conducted by the University itself.
RULES AND REGULATIONS RELATING TO EXAMINATIONS
1. Students must be regular to their respective classes of any programme.Attendance is primary factor for appearing in the examinations. Students are directed to refer to the ATTENDANCE section given in the prospectus.End Semester (Final) examinations are conducted by the University itself.
2. Students must appear in the sessional examination and unit tests of their respective subjects and make successful results, failing of which, students will be debarred from appearing in the End Semester (final) Examinations.
3. It is mandatory for the students of T.D.C. course to take active participation in departmental Seminars/Group Discussions organized by the respective departments from time to time. Failing of which ,they will be debarred from appearing in the End Semester (Final) Examinations.
4. Requests, after Non-compliance to above mentioned rules, will not be entertained at any cost.
(a) Examination and evaluation shall be done on a oontinousbasis, atleast three times during each semester.
(b) There shall be 20% marks for internal assessment and 80% marks for the End Semester examination In each courses during every semester.
(c) There -Shall be no provision for re-evaluation of the answer-scrpits of the end semester examinations. However, a candidate may apply for re-scrutiny.
(d) Internal Assessment :
(i) In internal assessment different tools such as objective tests, written tests, assignments, paper presentation, laboratory work etc. suitable to the courses may be employed.
(ii) The students will be informed in advance about the- nature of assessment. Students shall be required to compulsorily attend internal assessment including appearing the Sessional Tests, failing which they wiJI not be allowed to appear for the End-Semseter examinations. The department may arrange special in-semester examination wherever necessary.
(e) End Semester Examination :
(i) There shall be one End Semester examination carrying 80% Marks in each course of a Semester covering the entire syllabus prescribed for the Course. The End seme.ster examination is normally a written/laboratory based examination/Project Work/Dissertation.
(ii) The Controller of Examinations shall make necessary arrangements foy notifying the dates of the End Semester examinations and other procedures as per Dibrugarh University Rules (at least 20 days in advance) and the Academic Calendar notified by the University.
(iii) Normally, the End-semester examination for each course shall be of three hour duration.
(f) Betterment Examination :
(i) A student shall be entitled to take the "betterment examinations" in any two theory courses of any of the six semesters after passing the Sixth Semester examination only once. Infits case, the higher marks secured by the student shall be retained. The candidates shall have to apply for betterment examination within one year of passing the Sixth Semester examination.
(ii)No betterment shall be allowed in the practical examination.


Press releases should be part of your overall communications strategy.
Is your business currently using a consistent press release template? Most businesses can generally be categorised into two groups: those that sell products and those that sell services. Though nowadays the lines are getting blurred between what is a product and what is a service.
Whether your business is a service provider or product producer, you need to inform your clients and potential clients of everything new that your business has to offer.
Writing and distributing a press release is one of the most efficient ways to announce your new product or service offering. With many different media – online, social media, bloggers, newspapers, magazines, specialty magazines and even newsletters, you can tap into several avenues and distribution networks for your press release.
First, let's have a look at the different elements of a press release (or any news announcement).
Headline – This should summarise what you are announcing – whether it is a product or a service. It has to be interesting and attention-grabbing enough to make readers and the media notice your news. Remember, your press release will compete with hundreds of others. You have to make it stand out.
Kicker – This is usually the phrase or text underneath the headline. This could be optional, but if you have an important idea or feature that will not fit into the headline, use a Kicker to highlight it upfront as well.
Dateline – This is to identify the place and date where the news is happening or where the press release is being issued.
Lead paragraph – Usually highlights the most important thing or feature of what you are announcing in the press release. It needs to be interesting and informative for the reader and the media. You can treat the lead paragraph as the summary of your announcement.
Body of the release – This is where you write down all the relevant and major details of your announcement. You can write the benefits, features, how the product works, availability and other information about the product that will make the reader/buyer interested to buy it. You can also include background information, statistics, research findings and other items that will make your news release interesting and informative.
Contact details – Include your contact details to make it easy for the readers or the media to get in touch with you in case they want to get more information about your announcement.
The app, which runs on all smart phones and mobile devices, will make it easier for people to monitor and stick to their budget.
The finance monitoring app is being backed by many institutions including the big banks as part of their money and wealth education campaigns.
You can include details here about the problem many people have about sticking to their budget, over spending and the lack of planning regarding their finances. Then talk about how the money monitoring app can help them solve those problems.
Use statistics and data to show some budgeting trends or consumer spending patterns. These are always helpful in giving more weight to the story.
Include some quotes from the company that is launching the app or the developer behind the app.
You can also include some background information on how the app came about. What prompted the development of this app? Side stories can add to the 'colour and flavour' of the article.
Add more details here about the benefits of the apps.
This is only a basic template that you can use as a guide or to help you get started. Of course you can always improve on it by re-arranging items depending on their importance or whatever you want to highlight on your news announcement.
The thing to remember is to write your press release in a way that will capture the readers' attention and will make them read further up to the end of the document. Also important to consider that whatever your service or product is, you are trying to solve a client or a buyer's problem, so think about how your product or service can help your target audience.
If you need any help with press release writing or if you have any question on this article, feel free to contact us and we will be happy to help. We can explore press release ideas to highlight and to tell the story about your company, your products and services.


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Absolute Advantage - Chapter 43.2
Absolute Advantage
Note: Novel will be on a short hiatus as we do a quality check. Thank you for your understanding! ^^
'Well, I'm not a strange person……!'
She doesn't know if she's just weird.
'I know it sounds weird to say this myself, but I'm not a strange person…….'
In addition, she kept saying things that were only less persuasive, but she was tired of her own excuses and bowed her head.
'Okay, let's go.'
'!'
But Bora nodded reluctantly, as she was not going to leave until she said yes.
So the two arrived in front of the police station. However, the woman did not enter the police station and kept touching the wallet.
When she saw her exceptionally white skin turning red to her ears, she saw through it.
This woman is so tactless.
She can't even act.
'This is actually….'
"Actually?"
'Actually, it's my wallet. I'm sorry I lied.'
The woman bowed her head.
Bora burst into laughter as she stared blankly at the scene. It was so funny and sad that she crouched down until the laughter turned into crying.
'Hic…'
The woman stood by her in silence. Bora cried for a long time and sprang up.
'I know it was a lie.'
'D-did you know that?'
The woman stared at Bora with her eyes wide open. Then why did you follow me all the way here? Her feelings were penetrated into the light brown eyes.
'Cause I think you want to save me.'
'I want to live, too.'
While standing awkwardly again, the child in the stomach knocked on the stomach. Bora solidified with her belly wrapped in the fetal movement she had never felt before.
'Oh… It's a fetus. I'm actually pregnant. I just got fetal movement. It's called fetal movement, right?'
"Yes, yes. Fetal movement. I think it's right.'
The two women talked awkwardly as if they had first spoken of the words pregnancy and fetal movement.
'Would you like to touch it?'
The woman timidly approached Bora. Bora grabbed her gently stretched wrist and took it to her stomach. Soon a small sound came through the palm of the hand.
"It moved, right?"
'Yes, it moved!'
The woman said she was running a small volunteer group. Her name is Haewon.
Haewon's first impression was like that to her.
Someone who can't lie, has no knack but looks around better than anyone else. A person who stares beyond the sight of others
Nothing in this world is given for granted.
However, among the countless people who passed Bora on the bridge that day, only Hae-won noticed her in danger and talked to her as if it was natural.
Let's live. Let's not die like this.
She only remembered the not-too-distant old memories, but Bora's nose was sour. However, she added with a brave smile, conscious of Hae-won's worried gaze.
She no longer felt guilty. Bora was saved by Haewon that day – her clumsy kindness moved her.
Hae-won held Bora's hand without saying a word.
Sometimes the warmth of others permeates the mind faster than words. The two thought at the same time that this was the time.
"Are you eavesdropping?"
"What do you mean by eavesdropping? I'm hearing a lot of things at Haewon's workplace."
"Ordinary people call it a crime."
"Too bad. I'm not normal."
Adam took off the earphones one by one and put them down on his desk. Then he put his chin on the back of his forelocked hand.
"You sound like you've never committed a crime in your life."
"I'm a civilian now."
Now, Li Yu-yen emphasized.
"No, everything else aside. Stop monitoring Seo Hae-won, alright? What are you going to do if you get caught later?"
"Do you think I'll get caught?"
Adam asked back shamelessly.
"……I don't know about people. Haa, that's good, and it's up to you."
Li Yu-yen shook his head as if he were sick of it. Adam stared at Li Yu-yen and snapped his open mouth.
"Starting tomorrow, I'll go to work at Seohwa Welfare."
"I don't do anything these days."
"That's true. What's up with Seohwa Welfare?"
Li Yu-yen frowned sharply.
Is it related to eavesdropping on Seo Hae-won just now? As far as he knew, Seo Ellie's problem ended well. Then why? It was frustrating to see what Adam was up to.
"A fly got twisted."
The subject was omitted, but the context was Seo Hae-won. What about the fly?
When he peeked at Adam, he didn't look like he would answer even if he asked him. Irritation and discomfort were evident from his expression as if he didn't want to speak.
"Don't you want to go in person?"
"It's so obvious when I go to her."
"Are you jealous?"
Adam's eyebrows wiggled at the word jealousy.
Comments for chapter "Chapter 43.2"
After Becoming the Hero's Ex-fiancée
I Left the Time-limited Villainous Duke Without Saving Him
The Tamed Heiress
Caution to under-aged viewers
contains themes or scenes that may not be suitable for very young readers thus is blocked for their protection.

redpajama_set_name: RedPajamaCommonCrawl


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Attend the 6th annual Battle of the Bands
PULLMAN – The WSU Student Entertainment Board will host its 6th annual Battle of the Bands at 7 p.m. on Friday, April 10, in the CUB Senior Ballroom. This event is free of charge.
"The event is shaping up to include acts with the highest level of talent we've seen to date. The atmosphere is always one of excitement and competitive fun, so don't miss this opportunity to watch bands go head-to-head for prizes," said SEB Concerts Programmer Christian Kollgaard.
Eight bands will perform acts ranging in style from punk to folk to pop. Kollgaard believes this is a great way to enjoy diverse local and regional music. The bands will face a panel of judges and audience voting and participation is strongly encouraged. Winning bands will receive prizes including an invitation to perform at WSU's annual spring music festival on Saturday, April 25.
Kollgaard said SEB is expecting 500 people in attendance. Members from the WSU basketball team will be attending the event to sign autographs and interact with attendees. In addition, EA games will have a gaming area set up for students to use.
For more information contact Kollgaard at 509-335-3503 or visit www.myspace.com/wsubob.
battle of the bands, ea games, kollgaard, men's basketball, Student Entertainment Board
Shane Hentges to chair WSU's neuroscience program
Hentges has been a professor for the past 14 years at Colorado State University. She takes over for Steve Simasko, who has chaired the program since 2008.
By Josh Babcock,	College of Veterinary Medicine
Undergraduate researchers tackle important questions in sciences, humanities
Reducing greenhouse gas emissions, relieving chronic pain, understanding protest behavior and conserving wildlife are among the goals of eight faculty-mentored undergraduate research projects
By Adriana Aumen,	College of Arts and Sciences


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Fleetwood Mac began NYC-area run at Madison Square Garden (pics, setlist)
photo by Toby Tenenbaum
Fleetwood Mac's tour hit NYC on Monday night for their first of two shows at Madison Square Garden since 2015. It's a slightly different lineup than it was then, since the band ousted Lindsey Buckingham and replaced him with Crowded House's Neil Finn and Heartbreakers guitarist Mike Campbell. Like they've been doing on this tour, Monday's MSG show opened with the trifecta of "The Chain" (with Finn taking Buckingham's vocal part), "Little Lies" and "Dreams." Their set also included such Mac classics as "Rhiannon," "Gypsy," "Everywhere," "Landslide," "Gold Dust Woman," "Go Your Own Way," "Don't Stop" and more.
Also like they've been doing on this tour, they give each of their new members a chance to shine, with Neil playing Crowded House's hit "Don't Dream It's Over" and covering Tom Petty's "Free Fallin'" as a tribute with images of Tom (some with Stevie) projected during the song. They also played "Black Magic Woman," which original member Peter Green wrote for Fleetwood Mac (it was on 1969's English Rose) before Santana turned it into a hit. Check out the setlist below and pictures from MSG are in the gallery above.
Stevie, Christine, Mick and the rest of Fleetwood Mac play NJ's Prudential Center on Wednesday and return to the Garden on March 18 (tickets to both are still available), while Stevie will be inducted into the Rock And Roll Hall of Fame at Barclays Center on March 29.
SETLIST: Fleetwood Mac @ Madison Square Garden 3/11/2019
Second Hand News
Black Magic Woman
Don't Dream It's Over (Crowded House cover)
You Make Loving Fun
Gold Dust Woman
Go Your Own Way
Free Fallin' (Tom Petty cover)
All Over Again
photos by Toby Tenenbaum
Filed Under: Fleetwood Mac, Madison Square Garden, Mike Campbell, Neil Finn, Stevie Nicks
Tour news: Coldplay, Orville Peck, Stevie Nicks, Mr Bungle / Melvins, Billy Idol, Sisters of Mercy, more
SZA adds second NYC & LA shows to arena tour
SZA announces arena tour with Omar Apollo, including MSG


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California Philharmonic Presents 'Bastille Day' Co
111 S. Grand Ave.
Francophiles will cheer "Vive la France" when the California Philharmonic Orchestra presents its "Bastille Day" concert at Walt Disney Concert Hall on July 14.
Cal Phil Founder and Music Director Dr. Victor Vener will conduct a feast of French music – Camille Saint-Saëns' Symphony No.3 in C minor Op. 78 "Organ Symphony," Hector Berlioz' Symphonie Fantastique and selections from "Les Misérables" by Alan Boublil and Claude-Michel Schönberg.
The concert begins at 2 p.m., Sunday, July 14, at Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles, CA 90012. The orchestra's ever popular "Talks With the Maestro" chats with Dr. Vener take place at 1 p.m. in BP Hall. Tickets range from $37.50 to $140 with subscriptions ranging from$33 to $122.50, all available at www.calphil.com and (323) 850-2000. Groups of 10 or more may call (323) 850-2050. Box office hours are Tuesday-Friday, 12 noon to 5 p.m. and 2 hours prior to performance.
Saint-Saëns' Symphony No. 3 in C minor "Organ Symphony" opens the concert and spotlights the world-famous Disney Hall Pipe Organ, considered one of the top six organs in the world by BBC Music Magazine's Classical-Music.com. Disney Hall Organ Conservator Philip Allan Smith will play the 6,134-pipe organ towering above the rear of the stage that was designed by architect Frank Gehry in consultation with organ consultant and tonal designer Manuel Rosales and built by German organ builder Glatter-Götz. The Organ Symphony received wild applause and entered the canon of musical masterpieces when it premiered in London in 1886. Its beautiful finale is heard in the 1995 movie "Babe" and also at Disney World's Epcot Center.
Berlioz' "Symphonie Fantastique" – a tale told in music about an artist driven to madness by his vision of the perfect woman – is actually about the composer himself. In 1827, the 23-year-old Berlioz saw "Hamlet" performed in Paris, with Irish actress Harriet Smithson as Ophelia. She was at the pinnacle of her career and from the moment he saw her, the man was completely obsessed, bombarding her with impassioned letters. "Symphonie Fantastique" is his attempt to attract the actress' attention. She finally gave in and they were married in 1833, but it didn't last. Even after their divorce, Berlioz continued to take care of her and she was eventually buried with him (and his second wife) in a Paris cemetery.
Selections from the mega-hit musical "Les Miserables" will be performed by "Les Mis" Broadway star Randal Keith and Anne Martinez, accompanied by the 150-voice Cal Phil Chorale, director, Marya Basaraba. Keith was selected by "Les Mis" producer Cameron Mackintosh and played the role of Jean Valjean in nearly 3,000 performances on Broadway and on the National Tour, as well as in Canada, China and South Korea.
CALIFORNIA PHILHARMONIC "BASTILLE DAY": California Philharmonic Orchestra, conducted by Music Director Dr. Victor Vener, presents "Bastille Day" with Saint-Saëns' Symphony No.3 c minor Op. 78 "Organ Symphony," Berlioz' Symphonie Fantastique and selections from Boublil and Schönberg's "Les Misérables." Guest artists: "Les Mis" Broadway star Randal Keith, Anne Martinez and the 150-voice Cal Phil Chorale sing selections from "Les Mis" and Disney Hall Organ Conservator Philip Allan Smith plays the 6,134-pipe organ for "Organ Symphony." Sunday, July 14, 2 p.m. preceded by "Talks With the Maestro" interactive chat with Dr. Vener at 1 p.m. in BP Hall. Walt Disney Concert Hall, 111 S. Grand Ave., Los Angeles, CA 90012. $37.50 to $140 with subscriptions available. www.calphil.com, (323) 850-2000.


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Milena Simončič-Hren, slovenska ljubiteljska igralka Šentjakobskega gledališča Ljubljana, * 21. november 1919, Trst, Italija, † 15. julij 1995, Ljubljana

Življenje in ustvarjanje
Emilija Milena Simončič (poročena Hren) se je rodila v Trstu očetu Ivanu, železniškemu uradniku, in materi Mariji. Imela je starejšega brata Lojza. Po drugi svetovni vojni je nastopala v uprizoritvi Medved Antona Pavloviča Čehova, ki so jo igrali na terenu, dobiček pa so namenili v dobrodelne namene Rdečega križa. Med drugim so nastopili tudi v Šentjakobskem gledališču Ljubljana, kjer je vodstvo gledališča opazilo Mileno in jo povabilo na avdicijo, ki jo je uspešno opravila. Njena prva vloga je bila učiteljica Minka v Cankarjevih Hlapcih (premiera decembra 1946), v naslednjih več kot štirih desetletjih pa je ustvarila 119 vlog in nastopila v 2330 ponovitvah ter tako postala ena najvidnejših ljubiteljskih igralk tistega časa. Igrala je vloge različnih žanrov in zahtevnosti – od ljubimk v mladih letih do karakternih vlog v zrelejšem obdobju. Najljubše so ji bile vloge Mete v Tavčarjevem delu Cvetje v jeseni, Veronike Deseniške v istoimenski Župančičevi tragediji, Görnerjeve Pepelke, pa Marsovca v Dobričaninovi komediji Človek z Marsa.

Zelo dejavna ljubiteljska igralka pa ni bila povezana z gledališčem le ustvarjalno; na pomoč je priskočila tudi kot administratorka v upravi šentjakobske gledališke hiše. »Leta 1945 so člani na novo postavili svoj oder, ki jim ga je leta 1943 porušil italijanski okupator. Prvi povojni direktor je postal Miran Petrovčič, Milena Simončičeva mu je priskočila na pomoč pri pisarniških delih, Ančka Grgurevič je skrbela za šentjakobski arhiv in za zapisnike na sejah, Marjan Lombar je opravljal blagajniška dela, odrska dela pa Pavle Jeršin in Franc Vagaja. Ivan Romih, ki je bil hkrati tudi 'hišni' karikaturist, je bil scenski mojster. Vsi ti pa so, po službi, seveda, še nastopali tudi na odrskih deskah.«

Milena Simončič-Hren je sodelovala tudi pri pripravi jubilejnega zbornika ob 50-letnici delovanja Šentjakobskega gledališča. Poročena je bila z Jožefom Hrenom. Umrla je v Ljubljani, kjer je tudi pokopana.

Režiserka, scenografinja in kostumografinja Barbara Kapelj, ki je velik del otroštva preživela v »zaodrju« Šentjakobskega gledališča, ima v spominu duhovito podobo Milene Simončič-Hren: »Poka vice in kadar zamahne z rokami, se posuje na tla pepel njene vedno tleče cigarete.«

Vzdevek »ljudska umetnica«
Kako velik pečat je v povojni ljubiteljski gledališki dejavnosti pustila Milena Simončič-Hren, pričajo tudi zapisi v jubilejnih zbornikih Šentjakobskega gledališča. Ob 70-letnici delovanja leta 1991 je bilo zabeleženo: »Večina Šentjakobčanov je zelo zelo discipliniranih. Kadar je treba kaj narediti, to store in mednje sodi prav gotovo Milena Simončič-Hrenova. /…/ To je tista Milena, ki je še danes nepozabna Meta v Cvetju v jeseni, ki je bila prefinjen Ariel v prvem šentjakobskem Shakespearu v Viharju … sploh se ne da naštevati številnih vlog, ki bi blestele tudi v vsakem poklicnem gledališču …«

Sama se je odrskega ustvarjanja spominjala takole. »Danes sem 'ljudska umetnica' v pokoju – špasen in satiričen vzdevek, ki mi ga je med nami Šentjakobčani podaril pokojni direktor Miran Petrovčič. Ob premierskih srečanjih me igralci starejše in srednje generacije še zmeraj takole ogovarjajo: 'Glej, glej, ljudska umetnica prihaja!' S kančkom nostalgije se zamislim in priznavam – da, zares ljudska; dopoldne administracija, popoldne vaje pogosto tja v nočne ure, večkrat tudi pomoč pri kostumih za bližajočo se premiero, tudi do prvih zimskih jutranjih ur, ko smo z okna garderobe opazovali prižiganje luči v Plečnikovih stojnicah, pa nervoza, da me doma mogoče že pogrešata mož in najina lovska psička Brina. No, to je bil pač moj problem. Kaj pa drugi? Nisem bila edina, ki bi prispevala za gledališče, bilo jih je več in če ne bi marljivo sodelovala naša in predvsem še prejšnja generacija, ne bi bilo nič. Mislim, da smo postavili dokaj lep in trden temelj temu ljudskemu gledališču, sicer danes v tej lepi stavbi Mestnega doma ne bi bila pritrjena tablica z napisom Gledališče in uprava, kar je napisal s svojim črkopisom še pokojni Lojze Sadar …«

Milena Simončič-Hren je s svojimi odrskimi stvaritvami segla v srce številnim gledalcem. Dramaturg, publicist in prevajalec Vladimir Frantar je o njej zapisal: »Prve predstave za odrasle, ki sem jih začel spremljati od sezone 1953/54, so bile predvsem veseloigre in spevoigre, ki so tedaj napolnjevale dvorano: Nestroyjeva Ah, ta ljubezen šmentana, Lichtenbergovo Veselo popotovanje (strinjam se, da me je v glavni vlogi Inge Hoffmann, 'dame na slabem glasu', popolnoma očarala Milena Simončič, ob njej pa je bil njen kavalir elegantni šentjakobski veteran Milan Košak). /…/ Spominjam se, da sem prvič gledal Cankarjevo komedijo Za narodov blagor prav v Šentjakobskem teatru in predstava – v režiji Balbine Baranović-Battelino – je bila za tiste čase (1957) zelo moderna, prav avantgardna. Ob starejših igralcih so se dobro uveljavili tudi mlajši. Prihajali so vedno novi igralci; nekateri so po nekaj predstavah odšli, veliko jih je ostalo. /.../ Vsakdo od njih je bil samosvoja, nadarjena igralska osebnost. Odšla je Ervina Petrovčič, a ostala je legendarna Milena Simončič in v svojem zadnjem obdobju nastopila tudi v vrsti opaznih manjših, karakternih vlogah.«

Nagrade
- 1985, jubilejna Linhartova značka za 30 let delovanja

- 1981, red zasluge za narod s srebrno zvezdo (priznanje članom Šentjakobskega gledališča Ljubljana)

- 1981, harlekin I. (ob 60-letnici delovanja Šentjakobskega gledališča Ljubljana)

- 1973, 2000. nastop

- 1971, Linhartova značka

- 1971, maska (priznanje za 25 let gledališke dejavnosti v Šentjakobskem gledališču Ljubljana)

- 1966, 1500. nastop

- 1960, 1000. nastop

- 1957, 500. nastop

Vloge v Šentjakobskem gledališču (izbor)
- 1949/50, Dundo Maroje (Pera), režija Mirko Mahnič

- 1950/51, Cvetje v jeseni, režija Mirko Mahnič

- 1951/52, Na razpotju, režija Miran Petrovčič

- 1952/53, Hči mestnega sodnika, režija Miran Petrovčič // Ženitev, režija Drago Pogorelc Karus

- 1953/54, Otok in Struga, režija Miran Petrovčič // Hiša v Montevideu, režija Drago Pogorelc Karus // Veselo potovanje, režija Miran Petrovčič

- 1954/55, V soboto se poročim, režija Hinko Košak // Skupno stanovanje, režija Drago Pogorelc Karus

- 1955/56, Divji lovec, režija Miran Petrovčič (S to uprizoritvijo počastijo 85. obletnico rojstva pisatelja F. S. Finžgarja, ki se je gledališču pismeno prisrčno zahvalil za čestitke in uprizoritev.) // Jara meščanka, režija Balbina Baranović-Battelino (S to uprizoritvijo je gledališče proslavilo 150. obletnico rojstva velikega srbskega komediografa Sterije Popovića.)

- 1956/57, Družina Blo, režija Miran Petrovčič

- 1957/58, Za pravdo in srce, režija Miran Petrovčič // Človek z Marsa, režija Drago Pogorelc Karus

- 1958/59, Maškarada, režija Drago Pogorelc Karus // Deseti brat, režija Viktor Molka

- 1959/60, Ujež, režija Miran Petrovčič // Otok in Struga, režija Miran Petrovčič // Važno je imenovati se Ernest, režija Miran Petrovčič

- 1960/61, Hvarčanka (Dobra, služabnica pri Poloni), režija Mirko Mahnič (Predstava je imela izreden uspeh.)

- 1965/66, Sneguljčica, režija Drago Pogorelc Karus

- 1971/72, Opalo ima vsakdo rad (Opala Kronkie), režija Jože Vozny

- 1972/73, George Dandin (gospa de Sotenville), režija France Penko

- 1982/83, Hvarčanka (Barbara), režija Jurij Souček, Alja Tkačev

- 1984/85, Medvedek na obisku (Aha), režija Peter Ovsec

- 1988/89, Vsi, ki smo ga imeli radi (Gina), režija Peter Militarov

- 1993/94, Ukradeni princ in izgubljena princeska, režija Alen Jelen

Viri

 Jubilejni zbornik Šentjakobskega gledališča 1920–1961

 Šentjakobsko gledališče 1921–1971, jubilejni zbornik ob 50-letnici

 Jubilejni zbornik Šentjakobskega gledališča 1921–1981

 Teater je teater, zbornik ob 70-letnici Šentjakobskega gledališča

 Zbornik Šentjakobskega gledališča Ljubljana ob 90-letnici

 Gledališki list Šentjakobskega gledališča sezona 1966/67, št. 5

 Šentjakobsko gledališče Ljubljana, arhiv

Sklici

Slovenski gledališki igralci

redpajama_set_name: RedPajamaWikipedia


Based in Toronto, Ontario, the Elmer Iseler Singers have developed an enviable and acclaimed reputation throughout Canada, the United States and internationally. The 20-voice professional choir, founded by the late Dr. Elmer Iseler in 1979, boasts a performance repertoire that spans 500 years, with a focus on Canadian composers, through concerts, broadcasts and recordings.
Added to the EIS's busy concert schedule, the choir sponsors annual choral workshops through their GET MUSIC! Educational Outreach Initiative for secondary school conductors and choirs, with joint public performances as a wrap-up to the workshop sessions.
Touring is a major part of the EIS work. In the 2016-2017 season, the choir scheduled two multi-city tours – one to Atlantic Canada and one to Western Canada (including Oceanside Classical Concerts at Knox, Parksville BC).
Conductor and Artistic Director, Dr. Lydia Adams, is a native of Glace Bay, Nova Scotia. Dr. Adams received her music education at Mount Allison University, New Brunswick; the Royal College of Music and the National Opera Studio, London, England. Extensive tours and guest conducting appearances across Canada and the United States recently included a tour of the world's first Cree opera, Pimooteewin: The Journey, by Tomson Highway and Melissa Hui.
Dr. Adams' innovative programming has included over 50 new commissions in the past 13 years. Accolades are given to Dr. Adams as composer, too. Her compositions are performed worldwide. In addition to her position with EIS, Dr. Adams is Conductor and Artistic Director of the Amadeus Choir in Toronto.
The late Dr. Elmer Iseler, the choir's founder, is deemed the most decorated musician in Canada, and was honoured with awards nationally and internationally. Dr. Iseler is credited with having achieved a sound and technique in choral singing that was unparalleled in Canada. He established a benchmark in Canadian choral music, to which other choirs across the country, and internationally, aspire.
The Elmer Iseler Singers celebrate their 40th Anniversary during this 2018-2019 season.
ELMER ISELER Choral Visionary, a biography by Walter Pitman, O.C., O.On.


The T-Rex 250 PRO DFC also incorporated numerous new features based on Align's innovative designs and outstanding manufacturing process, resulting in a helicopter that is overall more stable, easier to fly, and excels in 3D performance.
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Barbara York
BACK TO ORAL HISTORIES
Interview Date: June 14, 2017
Interview Location: Denver, CO
Interviewer: Rob Stoddard
Collection: Oral History Collection
Stoddard: It's June 14, 2017. We are at the TCC tech studios at The Cable Center here in scenic and beautiful Denver, Colorado. And I'm Rob Stoddard from NCTA, the Internet and Television Association. Today we're going to spend a few minutes with someone who's been the backbone of our industry's trade association for more than 35 years. A role model for women of color and people of color. A wonder woman, a power broker, award recipient, a Cable Hall of Famer. The leader and keeper of the flame for our industry's trade show for 35 of its 65 years. The great Barbara O. York, currently senior vice president for industry affairs at NCTA, the industry trade association. Welcome to our oral and video history. This is The Cable Center Hauser Oral and Video History Project. Barbara, it's great to have you here.
York: Thank you.
Stoddard: In full disclosure, of course, we've been NCTA colleagues for more than 15 years. By my count we've been friends and industry colleagues now for more than 30 years. So we think of this as an inside job.
York: This is an inside job.
Stoddard: Absolutely. And of course many of us have known you for many years and I think to a lot of us you've been very intriguing over the years. You clearly have a very distinguished heritage and I thought we might start if you could explain to us your personal background. Where are you from, what global influences have affected your life?
York: Thank you, Rob. And thank you very much, the Cable Center. It's a pleasure to be here. It's a pleasure to participate in this program. As a member of the board I've heard so much about this program and it's an honor and truly a fulfilling pleasure to be part of it. So thank you. And to all the staff and to Rob, thank you very much for doing this with me. So I was born in Calcutta, India, post-World War II. My parents are Shanghainese. Before the world war four children, my older brother and sisters, were born in Shanghai. Then the war intervened and my father was in business between India, England, and China and he was in India when the war started. It was the jute business. The jute was grown in India, banked in China and then --
Stoddard: Sorry, what is that again?
York: Jute. Which is what made gunnysacking, which was the Saran Wrap, the binding, the crating of the shipping industry in those days. Everything had gunnysack all over it. So that was his business. And he was in India when the war started and so then there's like an up to 10-year gap between when my mother was in China with the four children and he was in India. After World War II she joined him in Calcutta and the four of us were born. We lived in Calcutta until I was age 13 and then the Indochina war broke out in the Himalayan Mountains and so we all lost our citizenships. We were all declared -- we had no residency and no citizenship anywhere, so we all had to leave as Chinese folk. And there was a whole bunch of Chinese people who left India at that time. Our intent was to go to Hong Kong for a short time, pay our deference to our grandparents, and then go on to England where my father was trying to put the business back together. Unfortunately he passed away when we were in Hong Kong so we stayed in Hong Kong for just a bit. Actually my eldest sister is still there. I was just there for the four years of high school and then came to the US to Trinity College on a full scholarship. So Washington [DC] became my home then and after Trinity I stayed on to just work a little bit and then go back to grad school. And then one thing led to another, led to another, and pretty soon I had nine years under my belt at Grocery Manufacturers of America working. And it really has set my path working in trade associations, working under the phenomenal George Cook who was the CEO of GMA, getting to know Tom Wheeler who was the vice president of public affairs in GMA. And then once Tom left GMA to go to NCTA a couple of years later he called George and said, "I have a job, this is what it sounds like, do you know anybody?" And George came to me and he said, "I don't want you to leave GMA, but this is a great opportunity, why don't you go talk to Tom?"
Stoddard: All right, hold that thought. We don't want to get too far down the line because I want to circle back and ask you -- we're going to talk a lot today about the history of our industry trade show and the impact that you've had on this trade association and this industry over the decades. Before I do that I'd like to hear a little bit more about how your Indochinese upbringing has impacted the way you look at life and even the way you look at the job. Can you describe for us any attributes that you think have arisen in your behavior and performance based on your background?
York: Actually that's a great question, and it really has. I think understanding people as very diverse people, very diverse religions, and very diverse living cultural habits. Growing up in India I had Muslim friends, Hindu friends. We grew up Catholic, Catholic friends. I was under the British system so I learned all the British ways of behaving. So the overlays of culture, one on top of the other, understanding all that and not letting it throw you off. I think that has helped me and has helped me really in our work world because you can't get thrown off.
Stoddard: You're known to possess an internal calm. You seem unflappable in a million ways and that might explain some of that.
York: I think it does, it really does. Understanding people, listening, looking, learning, and accepting. I really think accepting is a big part of it.
Stoddard: That's great. So this very circuitous path brought you here to school and to the United States and eventually to the Grocery Manufacturers Association prior to your career with cable. Talk a little bit about that nine-year period at GMA and what you learned from that, and how it prepared you for work in the cable universe.
York: George was a remarkable CEO and his philosophy on staff is if you can -- he'd let you try anything you think you could do and expected you to succeed. He gave you the latitude to succeed, but he gave you the responsibility to. So I started as an editorial assistant working on the newsletter and through that learned everything about the grocery industry because I had to interview and write up stories of people in our industry and in our association. I had to learn how to put the newsletter together. I had to learn in due course how to run the printing press. So my job then eventually became learning the whole office and learning how things work and who was who. So I then became the manager, the internal administrative manager. And two things came of that. One, because I always had a keen interest in journalism and writing and in news, I joined the media relations team and worked with Jim May and Tom a little bit before he left.
Stoddard: And Jim May went on to a career at NAB, the broadcasters' association?
York: And then the Air Transport Association, and he retired from there. And then from there the other thing I also did was move the building. GMA was at 14th and K and we moved to Georgetown and I was responsible for the whole buildout.
Stoddard: All in Washington, DC?
York: All in Washington. So it was a very varied career. Each year of my near nine years I was doing something different and I think that really set me up for NCTA.
Stoddard: So from George Cook at GMA you had your first encounter with, as you mentioned, Tom Wheeler. Now, of course for people that may not recognize that name straight up, all these decades later Tom Wheeler has had a distinguished career and most recently prior to the date of this shooting stepped down as chairman of the Federal Communications Commission after many years in cable, many years in the wireless industry, but you met Tom kind of before Tom was cool, I guess.
York: He was always cool.
Stoddard: He was always cool?
York: Tom was a cool cat. As VP for public affairs and government relations he was high energy. Same high energy, same dynamism, same total focus on what he was doing and total focus on making a difference. And he did that at GMA, he did that at NCTA. I know, since I've known him for all these years at CTIA, in all his venture capital efforts and firms that he started, and then as we know, also with the FCC.
Stoddard: So you had such a strong relationship that when Tom moved over to then the National Cable Television Association, NCTA, he invited you to come over. And you were telling me a little earlier, before we began this segment, of an amazing job interview that you had with Tom Wheeler in 1982. What was that like?
York: So I came over for the interview and I had never done conventions before. I had never even attended one and the job was really running NCTA as well as the convention. I said, "I really don't have convention experience. I have conference experience, having worked at all of GMA's executive conferences." And he said, "Don't worry. I've got everything in place. I've got three vendors. What I need you to do is be the person working with those three companies and then reporting in to me so that you're saving me some time." And the three companies were, one, Williams/Gerard who did general sessions for my 35 years, and Dobson and Associates that was and continued do logistics and all of the underpinnings of the convention work, and then Frank Masters and Trade Associates. And he did the exhibit floor for a couple of years, then Dan Dobson took it over. So just taking one aside here, and this oral history is to really thank Bud Melto at Williams/Gerard, Dan Dobson who's deceased but Carol Sullivan who is still -- who just shut his shop down, and the Freeman Decorating Company and Joyce [Rasinski?] there, to thank them very, very much for without them the 35 years would have never happened.
Stoddard: So flashing back to '82, Wheeler essentially told you, "Barbara, don't worry, piece of cake, all you need to do is come in and run all the pieces."
York: Piece of cake.
Stoddard: How did that work out?
York: Actually worked out really good. I quickly got to know and love all of the Williams/Gerard, Dobson and Associates and for the short time Trade Associates. They're all very professional, very good. And coordinating with them was easy. They did not have the substance part of the NCTA agenda so that was really my role in the first few years, ensuring that the focus -- actually it was my role in all 35 shows now that I think about it. Focusing the show on what the industry needed, when it needed, and hopefully just pointing the way to the near future of where it was going. And as I look back over the years, when it started to where it came through to 2016, we really did do that. I think we reflected what the industry was doing, stepped ahead of them just a little bit, not too far to get into trouble, but just far enough that the dispersion in the industry could see what was coming next.
Stoddard: We're going to take a deep dive into some of those experiences in just a moment, but I have to tell you I'm in a lot of ways touched and moved by the tribute you just paid to three or four individuals and companies and organizations that stayed with you really for 35 years. And I think many of us were in awe of the fact that you kept that team together through thick and through thin in an era when frankly most of us turn vendors and contractors over almost on an annual basis year over year. What was it about those relationships and why was it important to stick with those teammates all the way through? What difference did it make in the way that you led and staged the trade shows?
York: They always delivered. In all honesty, every year I would get calls from competitors and they'd say, "Are you ready? Would you like a bid? We can come and talk to you." I took the calls, I took the meetings, but in the end my answer to them was always the same. They've never failed NCTA. They've delivered what we were going for. So to take something away when there was no failure and performance was perfect -- they met all the needs -- would not have been the right thing to do.
Stoddard: Impressive, to say the least. So 35 years, annual basis, every year, and you managed to reinvent that trade show and make it feel new and fresh and different every year. And how did you do it? What did it take to breathe new life into it every year? Because you could easily have just come in and said, "We're going to do the same thing over again. We'll spend a few weeks getting ready for it, let's recruit some speakers and roll." But I personally saw the time and energy you invested to make that happen. What was the secret sauce there?
York: The industry. This wonderful, wonderful industry we have that's never stood still itself in the 35 years. I mean when we first started it was just, gosh, 25 channels. That's right 25 channels in '82. And C-SPAN had launched, CNN had launched, ESPN had launched, but that was it. HBO had launched. But then the plethora of networks came online, each more exciting, different, fun, energizing. It was great. And then the operators were not far behind, increasing the capacity, the technology, the introduction of the cable modem, the introduction of broadband, wireless, Wi-Fi. I mean the technology, everything got better and better every year and that was our inspiration. So to answer your question, it really is the inspiration came from the industry and that percentage, probably 5-10% of the effort. The second part really came from what we were talking about earlier, listening and hearing and understanding and being part of. And just the convention committees over the years, our friends, like you even before you came to NCTA, over the years listening to you because you were in the field, you were working it. Your input was important and that gave us what we needed to do to make each year meet that year's needs. And then the rest of it is just plain -- I won't deny it -- plain old hard work and hours and hours and hours and hours.
Stoddard: Sure. Worst kept secret, you worked many weekends, many nights, and particularly as the show approached you just didn't stop, it became a 24/7 job.
York: And my team too. It was not just me, it was the team. And the team was very special over the years. I mentioned Carol Sullivan; she's been strong, but even on the NCTA side in the early years Ann Dorman and then evolving to today with Mark Bell and Lauren Dwyer who just left. I can't go down too many names because over the 35 years there's so many but really and truly the team has always been great and they always got inspired. They never stopped being inspired by our individual.
Stoddard: Sure. Well, and a lot of that credit goes to you personally, if I might say. So speaking of names, the show operated under many different monikers over the years. My earlier recollections were Cable '87, Cable '88. At some point it became the National Show or maybe it was always the National Show.
York: Always the National Show.
Stoddard: Then it became the Cable Show for a few years and then ultimately INTX, the internet and Television Exposition and we'll circle back to talk a little bit more about that, but what was important about the way the show was branded? How did you look at it as you went into it on a year-by-year basis?
York: It's interesting. We would call it Cable '82, Cable '83, but the underlying premise was it was always the National Show because in those days we had the Western Show, the Texas Show and the Midwest Show, the Eastern Show, all the shows. And cable was growing so fast it needed that B2B component in the meetings and the exhibits all the time all over the United States. Then as the operators and as the companies grew, the operating companies grew and consolidated and became a more nationwide footprint, then things -- we didn't need to distinguish so intensely. And then, as you saw, in the late '80s, early 2000s the demise of the regional shows. And I think the last Western Show was 2002. We were saying 2002, 2003, but
-- and then it became -- at that point we said we'll just stay with the National Show for the short time. Then NCTA rebranded itself to Cable, and Cable was everything even in the front of our building. So then it became the Cable Show and then the conversation, understanding that cable as cable was changing, so we needed to change the name too. But even this good handle, it's helped us also to find what the show was, why people needed to come to it.
Stoddard: It seemed for many years as though this industry was kind of a culture of trade shows. You rattled off a few trade show names probably compromising maybe 30 to 50% of the actual number of trade shows that occurred every year. Can you talk a little bit about that culture and why it was important to the way the business operated?
York: Because it was growing so fast and communications and managements and understanding the product, showcasing the product, getting a customer service staff to understand what they were selling, training field people how to do everything from stringing cable to connecting the boxes to troubleshooting to answering questions. Everything was growing so -- every year something changed and I think the need for education, for demonstration, for just communicating and convening and being together as a community -- cable was different. It was not broadcast. Broadcast was all over and it was more commonplace, but this little industry that became this ginormous industry just needed the warmth and fuzziness of bonding with each other a lot more than just one time.
Stoddard: And I would say that in addition to the sheer amount of effort you put into creating great educational content for the show, it seemed in a lot of ways like one big party, (laughter) and I don't say that in the pejorative, but one big networking event. Is that how it felt as you were staging it, as people came in from all over the country, many people who went to this series of trade shows over and over again.
York: It's the nature, again, of our industry and the fact that everybody really likes each other. The need for the parties, the need for fun, the need for letting down your hair in the evenings. It is a culture of great music. Our whole industry loves music.
Stoddard: Can you recall some of the great musical acts that were staged in the show?
York: When I first started I think Sammy Davis Jr. was my first big performance at the NCTA show, followed by Paul Anka the next year, and then over the years Willie Nelson, Aretha Franklin, Janet -- was Janet Jackson one year?
Stoddard: Yeah.
York: I mean the names. I've promised the Cable Center I would try and collect from people's memories and from yours, since you attended most of them, the names of the great performances over the years. Because it was just spectacular. I mean our networks hosted the best and they were willing to bring them out.
Stoddard: There was, particularly during the first half of your tenure, a lot of involvement by the big premium networks in staging parties. What do you remember from some of those?
York: The first one in 1982 was CBS cable. We'll never forget that one. My first year, not understanding really what everything was about, and there's a ginormous party in the desert.
Stoddard: In Las Vegas?
York: In Las Vegas in the middle of the desert CBS created an oasis and a whole campground, tents, they brought in camels, they had open fire pits grilling meats, they put in water features and they had a whole marketplace, a Mideastern marketplace in the desert. It was about an hour drive by bus out there so we were pretty far out and it ran very, very long. And Rob tells me that some people got left out there when the last buses left.
Stoddard: That's the lore. That's what I hear. They may still be there to this day decades later.
York: Waiting for someone to come get them.
Stoddard: That's right. And that was for an arts and entertainment network essentially that CBS had launched and was trying to gain carriage for. So that was important. So CBS. What other premium networks were really involved in staging parties?
York: HBO.
Stoddard: Because, as I talk to people over the years, as I said, a lot of great content, immense general sessions, but people really are riveted by those party memories.
York: The first years the big party was Jerrold. They did a big event every year even though it was all technical, technological, everybody went. They did a beautiful -- took over huge suites and did a great event.
Stoddard: Do you remember who was running Jerrold at that time? Sorry, I'm springing that on you. I just can't recall who that might have been.
York: It could be Hal Krisbergh.
Stoddard: Of course, Hal Krisbergh. Yeah, sure.
York: And then going from there HBO was breaking news with parties, CNN was doing parties. And as networks launched they did big parties. Then in the late '80s, '90s Viacom's headline parties. Viacom really put all their effort in. They brought in the best. That was where Aretha Franklin performed. It was always terribly VIP, but everybody just would give anything to get a ticket to go. And those were legend. Those were totally legend.
Stoddard: You know, they were legend and it makes me look back at kind of the track of attendance at the shows over the years. By my count during your 35 years we had as many, say, as 8,000 people attend at one end of the spectrum and more than 30,000 people on the other end of the spectrum. What do you recall of that cycle and what really drove attendance over the years?
York: When I started the attendance was just about 10,000, just under 10. And the year 2000 we hit the apex. Steady growth from the '80s to 2000. In 2000 we hit the over 300,000 square footage and over 30,000 people and that was the crescendo. It was the crescendo of the networks; it was the launch of broadband. That was the first year -- second. No, it was three or four years into broadband and the whole broadband millennium that came right after that.
Stoddard: And going back to the height of attendance, 2000, a lot of people refer to that as the internet bubble year because of all of the high-tech companies that were looking to fight their way into cable and they saw the show as an opportunity to do that.
York: Yeah. And be there and be part of it.
Stoddard: So when I think of the show in my head you can almost classify the decades into certain movements. I want to talk about those in a minute, but you said something to me in advance of this interview that you felt as though in a way the show and the industry were almost mirrors of each other, right? The show both followed and led the industry as developments were underway. Can you talk a little bit more about that?
York: Yes, very much that. The '80s when programming was -- new networks were coming on four, five a year. The show reflected that.
Stoddard: It was a bazaar of networks, right, for networks in that era?
York: It was a bazaar of networks.
Stoddard: Do you have any recollection of some of the amazing booths over the years? And there were large booths staffed by scores of people.
York: Scores of people and everything inside. Giveaways galore. Tchotchkes, oh my God. We should do a feature on cable show tchotchkes.
Stoddard: I understand there are a ton of them stored here in the basement of the Cable Center. Did you know that?
York: No, I did not know that.
Stoddard: There's a cable tchotchke collection right here at the Cable Center.
York: Just wonderful tchotchkes. I mean people would bring empty suitcases just to take stuff home.
Stoddard: I had friends who would go to shows, get tchotchkes, bring them home and use them as Christmas presents, for instance. Why not?
York: I know, I know. But it was wonderful. I mean really the networks were very generous, very open, so much willing to be part of the show, the fabric of the show, the vibe of the show, the buzz. It was wonderful.
Stoddard: I still salivate for HBO cookies.
York: I know. HBO's famous HBO cookies.
Stoddard: So the '80s did seem to feel really very much about network and content expansion.
York: Yeah, '80s and '90s.
Stoddard: Yet in the '90s the show, as the industry, started to give way to the broadband era, right? Because it was in the mid-'90s when our companies began to roll out broadband. And maybe it was subtle in those days, but it felt as though there was a subtle move more into technology and into infrastructure. Was that by design or did it just, again, reflect what was going on?
York: No, it reflected the industry. And looking at one apocryphal year was '96 when we did the high-speed demonstration for Al Gore and stayed up all night trying to demonstrate -- get it all wired.
Stoddard: Al Gore, then vice president of the United States?
York: Vice president of the United States. And I know from there, because I had his itinerary, he was headed to the Buddhist monastery. I never went to the Buddhist monastery, but maybe he derailed and detoured. Since I knew on paper he was headed there it was funny, but he came, he saw it; he was very -- it was fun having him there. It was great.
Stoddard: Over the years I recall some stunning technical demonstrations, particularly during general sessions. And I think a lot of the preparation for those was done totally out of the eyesight probably of 99% of the people who attended, yet I imagine you were sweating bullets backstage getting ready for those. What was it like backstage as you were trying to prepare for those demonstrations?
York: Totally intense. Because they had to be perfect and when someone like Al Gore came back there we only had 15 minutes to show him everything. And many others like that. But actually that was the intensity, the amount of work, the investment, sheer financial investment in getting it done made us start to initiate and at this point evolve to what we started to call the industry exhibits. So in the mid '90s we did a couple and then starting in the late '90s through the 2000s to today, every year NCTA has hosted, built, invited companies to participate in an industry exhibit that was the next wave coming down the line.
Stoddard: So when you say industry exhibit you're talking about an exhibit that would be on a par with other corporate exhibits on the floor?
York: On the exhibit floor.
Stoddard: But which NCTA packaged, put together, funded, and you solicited the participation of many industry companies.
York: Yes.
Stoddard: So it was shoulder to shoulder with all the --
York: And this was really born out of what we were doing backstage and realizing we should never just keep it under pillows.
Stoddard: And so what were some of the themes of those exhibits over the years?
York: In '94 broadband home. We built a huge house, master bedroom with the spa tub that had an HDTV built into the tub and a little rubber ducky bouncing along. A children's bedroom tech tiled, a little doghouse where we had AIBO, Sony's first robotic dog. Cute little puppy. Of course a great room in the living room with all surround sound and wonderful televisions. And then the big point, the piece de resistance, was the back deck and you opened out from the great room into this deck which was the general sessions stage. And the audience was theoretically on the lawn of this beautiful home so we had green carpets and white chairs and all of the general sessions were staged there. The best was of course Billy Tauzin. He was the keynote speaker that year.
Stoddard: Louisiana Congressman.
York: And head of the energy/commerce committee. Camera picked him up as he was coming in through the front door and walking through. And the first thing of course he does is go to the kitchen and ferrets around in the fridge and then he comes out with something that some poor worker left and brings it out on the general session stage. And of course he throws his arms up in typical Cajun fashion and he says, "Welcome to New Orleans." It was just wonderful.
So in '94 broadband home, '99 HD pavilion.
Stoddard: It was probably in many cases many people's first time seeing high definition displays.
York: Yeah. And Michael Powell actually cut the ribbon, at that time FCC chairman. Cut the ribbon that launched HD for Comcast in Chicago. And then over the years --
Stoddard: So let's stick with that for a minute. In '99 Michael Powell who as we speak during the course of this interview is currently the president and CEO of NCTA, the Internet and Television Association, yet there's an apocryphal story, I believe, to that show as well that involved Michael Powell. Can you tell that story about the acrobatics on stage?
York: Yeah, this is the year before, a few years before HD Pavilion. This was his first year as chairman of the FCC and he was doing a keynote speech. We had warmup acts before each general session in those days. We had these young children in Chicago doing tumbling, somersaulting, gymnastics, the school team. So that warmed up the audience. Then Joe Collins was chairman of the NCTA.
Stoddard: Joe Collins of Time Warner.
York: Yeah, Time Warner Cable then. And he walked on to introduce Michael Powell and I'm standing on the wings there making sure everything is all right and the next thing I startle because I think Michael has fallen down, but he literally from backstage somersaulted onto the stage. And Joe and I, our faces must have been priceless because we didn't know what to think. We didn't know he was planning to do that. But he said he was inspired, he had done gymnastics as a child and inspired by the children of Chicago he somersaulted on the stage.
Stoddard: Yet he also tells that story and will say, "Honestly, I didn't know whether I'd be able to get up off the floor" because he suffered a very serious broken back injury during his military career and I believe this is the first time he had attempted a somersault under those conditions.
York: Yes, never practiced before.
Stoddard: That's been captured to videotape somewhere, if I'm not mistaken.
York: Yes, it is.
Stoddard: So '99, the HD pavilion and Michael's involvement. Many, many industry pavilions in subsequent years. What else comes to mind that you think really struck a chord?
York: Fast forwarding a little bit to Washington, DC, when we did broadband nation in 2009, I think. We created a whole nation. This is to show Congress the spread of broadband through the United States from the waving fields of amber to a cityscape to a school to a doctor's office. It was huge; it was wonderful. The Secretary of Commerce came and cut the ribbon for that. It really went to the heart that this was completely nationwide and these are the companies that are doing it. And then escalating from there --
Stoddard: And if I'm not mistaken there were hundreds of members of Congress that year that came and actually privately walked through that exhibit and had a hands-on opportunity to see a lot of it.
York: And that's true. And then four years later when we escalated it to the observatory and showed the whole history of cable --
Stoddard: Under a dome?
York: Yeah. What are those domes called?
Stoddard: Geophysical, astrophysical? Yeah, we'll figure it out. Geodesic dome, right.
York: Yes. And that was another very, very groundbreaking exhibit for educating public policy officials about the history, the breadth and the future direction of our industry.
Stoddard: What kind of strain did that put on you and the team to produce those?
York: Oh, massive. It was like producing two shows in one. It just became its own animal, started early, very early. Intense technical and technological wiring and equipment like you would never believe and lots of underpinnings. A lot of underpinnings.
Stoddard: Sure. So in addition to all of that, which was great show and tell, your team was staging some immense general sessions that featured some kind of celebrity business leaders over the years. What are some of your recollections about some of the more interesting and famous people that appeared during those sessions and that really had an impact on us?
York: The general sessions were always the headline story. We were lucky enough from very early in to have a lot of networks cover them, some of them live depending on the speaker, a lot of them taped and then re-broadcast.
Stoddard: C-SPAN every year.
York: C-SPAN every year. CNN with clips on the evening news. MSNBC doing footage right from the floor. CNBC, big way on the floor because so many industry leaders were there. Over the years all of the big conglomerate media companies, Barbigha, Rupert Murdoch --
Stoddard: Cisco's chairman, John Chambers.
York: John Chambers. Paul Otellini from Intel. Even in the new space Jerry Yang came, Larry Page one year.
Stoddard: Paul Allen.
York: Paul Allen several times.
Stoddard: And Steve Ballmer.
York: Bill Gates twice.
Stoddard: Paul Allen once brought a boat to the show. What can you remember about that?
York: He brought his big motor yacht, Octopus.
Stoddard: How many hundreds of feet? It was massive.
York: It was huge. We were in New Orleans, he pulled up in the berth right by the convention center and we had this VIP party aboard.
Stoddard: So Paul Allen, former Microsoft, one of the Microsoft founders and a very active investor at then Charter Communications, right?
York: Fabulous.
Stoddard: And talk a little bit about the vessel and what everybody did on board.
York: It had a helicopter. It had a private submarine. I think it was five stories, four, five stories. We were all on one -- well, we were spread out over several decks, but this one deck had a full swimming pool. You could do laps in it. Wonderful food. He was a very gracious host and in fact, he went into the music room as the party wound down and pulled out his guitar and people who stayed had a private one to one concert with Paul Allen. But actually Paul Allen actually did a concert for all of the show. We did battle of the bands.
Stoddard: Since you brought it up let's talk about that. There's so much to talk about during the 35 years of the show. Never enough time. But battle of the bands. Battle of the bands fit into a segment that I think of as a strong commitment to public affairs, particularly over a period of several years post Katrina in New Orleans. But first of all let's talk about -- so you and Mark Bell worked together to stage battle of the bands.
York: Let me step back into why we even went down this path. The show was scheduled in New Orleans in 2006 --
Stoddard: And Katrina had hit in September of '05.
York: Yes. And we were actually in the planning meeting with Dave when Katrina hit. Gerry Laybourne and Tom Rutledge were the convention co-chairs and I was sitting there with them and Kyle McSlarrow, then NCTA's president, and in Gerry's office she had the TV on and we were watching what was happening in New Orleans and then we all --
Stoddard: And this was Gerry's office in New York City.
York: The four of us realized we could never -- if the effect was going to be what we were seeing on TV there was no way we were going to do the show there. In three, four weeks we realized we could not do the show there so we quickly moved the 2006 show to Atlanta and committed to New Orleans that we would come back. They could take us in 2008 and when we came back as a show and as an industry -- this is from the highest levels of the board -- the commitment to New Orleans was there because so many of the board members grew up at conventions in New Orleans and it was a city everybody loved being in. They said we should give back. We shouldn't just do a show there. We shouldn't just come, have fun ourselves, and learn a lot and walk away. It's time to give back. So we did a huge Cable Cares program. I'm thinking three playgrounds, two schools?
Stoddard: Many of them in the ward of the -- was it Ward 9 in the city that had been under so much water?
York: Some networks helped us put together semis full of supplies for schoolchildren and school rooms were decked out with computers, high speed, the whole nine yards. And then the big fundraiser was battle of the bands.
Stoddard: So what the concept, the idea behind battle of the bands?
York: Again, this comes back to the underlying love of music in our industry. It is the fiber that I think so far every generation our industry has connected with. And they thought there would be nothing better than to have -- there were so many informal bands already in our member companies. Charter had a band, Arris had a band, C-SPAN staff participated in bands, Jupiter.
Stoddard: Cox had an amazing band from San Diego, if I'm not mistaken.
York: I mean eight, nine bands. And then of course Paul Allen was most famous. Well, actually Jimmy Dolan would probably be the most famous or equally famous.
Stoddard: So Jimmy Dolan of the Dolan family running Cablevision Systems and front man for JD and the Straight Shot right and still to this day making records and performing at coliseums around the country. So all those people performed in a charitable concert?
York: Yeah, in a big fundraiser. A lot of people donated magnificent things for the blind auction -- silent auction. And we raised a little over $100,000, $125,000, which we gave to the city of New Orleans. And then so we continued battle of the -- everybody loved it so much and everybody had so much fun with it. So in '09 we repeated it in Washington, DC. That was the year in DC. And again raised money for schools in DC. And then in '10 we did it in Los Angeles in Nokia Theater and Time Warner Cable -- under the auspices of Time Warner Cable and they gave the money to their charity, A Place Called Home, for underprivileged children for a safe place between school and going home. So it was wonderful, but again, the work to put on a battle for the companies and the bands themselves, NCTA of course built the stage, donated the back line and all the personnel and all of the wiring, lights, sound. It was very expensive. It was an expensive concert to stage, but it was a lot of fun.
Stoddard: And of course you know that for all the years that followed when we didn't do it the bands would always come back and say, "When are we going to do battle of the bands again?"
York: Yes, and several of them, like Time Warner Cable's Cowbell, performed just in nightclubs somewhere and one of the vendors would host them. More Cowbell.
Stoddard: That's right. That's great. And there were some amazing events during the history of the show that I personally recall that I wanted to ask you about, but things that seemed to come out of the blue. You mentioned an appearance by Al Gore as Vice President of the United States, but Al Gore, programming company president, showed up once to --
York: That's right, with Joel --
Stoddard: Joel Hyatt, right, sure. To launch a --
York: Held a press conference.
Stoddard: To launch a channel, Current TV, I think, is what they were launching. How about the Michael Jackson year? What do you remember about that?
York: We did not anticipate him coming.
Stoddard: That was Chicago, is that right?
York: Chicago. And we did not -- his brother had launched a network --
Stoddard: Jermaine. It was an African-American family network based in Atlanta.
York: Yes, and I can't remember the name of the network now. It was day two of the show. We did not anticipate anything. They did not tell us Michael was coming. And then we got a security call saying, "We need the security gate and in an hour and a half we're bringing Mr. Jackson." Not just an easy task to do because we had to clear out trucks and vans that were parked in the dock, and the buzz, it was amazing buzz just took over the floor when he walked on the floor.
Stoddard: Entourage of 20 or 30 people.
York: Huge, huge entourage. And the media, they flocked out of -- sucked everybody out of every session out of every floor. Just packed watching Michael Jackson. He was only there for 30 minutes, 45 minutes? And then same thing happened when Oprah came to the chairman's reception. Again, she was scheduled to speak for day three. We didn't anticipate her coming to the chairman's reception. Get the phone call, "Ms. Winfrey is coming."
Stoddard: So that year, if I'm not mistaken, you had in a general session Oprah and the second lady of the United States, Jill Biden, at the same time. That was probably maybe the most extensive backstage operation you've had?
York: Huge.
Stoddard: What can you recall about it?
York: We had two separate dressing rooms, two separate security clearance areas. Then I had to have a [inaudible] for all my other speakers so it was just like a village back there of facilities to host -- and they were on the same day sequencing each other. But the fun one was when Oprah came for chairman's reception because she walked in and, again, I swear the room just tilted because everybody just came to that and there was just like this wave of people following her. It was fun. It was lots of fun.
Stoddard: Sadly, we don't have much time left in this discussion, but you and I are our colleagues here at The Cable Center have talked about perhaps an opportunity going forward to collect all of this incredible historic data and archive it, and perhaps at some point in time make it available for people to see so that they too can recall what the shows were like. I'd love very much to spend the next few minutes still talking more about the shows because I know how central they were to your work at NCTA, but I think it wouldn't be fair if we overlooked some of the other work that you did during an amazing career at NCTA. And one of the things, going back several decades, was a project that many of our gen X and millennial counterparts probably know nothing about and that was a project called the Cable ACE Awards. And you worked with Char Beales very closely on that, former head of CTAM, former NCTA executive. Tell us a little bit about the ACEs and how they came together and what your recollections were about those.
York: It did start under Char when she was NCTA's VP for programming. The Emmys were so skewed to broadcast and the cable programming was very good. HBO was strong then, Showtime had the Garry Shandling Show, seminal --
Stoddard: This is in the mid '80s.
York: Seminal show to our content. Bill Maher was on cable. We were breaking ground all over, but there was no recognition of the programming. So Char together with Ralph Baruch, who was then the chairman of Viacom, put together the Cable ACE Awards, first just national, then Ted Turner got involved and realized it was a gem and if we were really going to look at recognition then, hell, it should be telecast. So he put his money where his mouth is. Ted always did that and he put it on Turner Broadcasting and gave us $1 million and it went on TBS. [Sofia?] did the national Cable ACE Awards. I managed, I think, the last three, which was fantastic. And then of course spinning from there we had the system ACE Awards or the local Cable ACE Awards for all the wonderful content that was doing at the local level by our cable operators. Simple things like covering high school football games, concerts, but such a part of the community, because local cable was such a huge part of our community and what made people like cable. But the national awards, it really was -- it became very big and it was very received. But at that point the Emmys started to say that should not be a separate show. I mean if we're going to recognize great content then it should all be in one show. So the deal was made and as you now know cable sweeps the Emmys. So they invited the fox into the henhouse and no more hens left. (laughter)
Stoddard: Which is sweet revenge and irony, isn't it?
York: I know.
Stoddard: Because I have some recollection that for some time the Cable ACE Awards were to some extent the butt of comedians' jokes, right?
Stoddard: But we're the last to laugh based on what's going on with the Emmys today. So that was a significant contribution to NCTA. The other thing that you helmed that is still paying dividends at the time of our conversation today was the relocation of NCTA's headquarters building in Washington, DC. So for many, many years there was a building at 1724 Massachusetts Avenue just off Dupont Circle. It was a great building. NCTA occupied it in and of itself. It had a nice theater that had been, as memory serves, built into it perhaps in the 1980s where you could do previews and screenings. Yet in around 2005 our colleague, Kyle McSlarrow, became president at CEO of NCTA and then there was a sea change that involved a relocation. Take us through that and what impact it had.
York: The sea change was Jack Abernathy and the infamous golf game in Scotland where he took members of Congress on this boondoggle and all of a sudden Congress found Jesus, and no members, under the ethics rules, were allowed to travel.
Stoddard: It's Jack Abramoff is who you're thinking of.
York: That's right, thank you. No, they were not allowed to travel. They couldn't --
Stoddard: So profound changes to the ethics regulations for Congress.
York: And all along the NCTA show would bring at a minimum 20, 30 and, as you know, some years over 200 members of Congress to the show to show them what we were doing. It was wonderful, it was very -- going way back even Barry Goldwater was a speaker, one of my first shows. First time I saw him speak he was mesmerizing. Then all the way through. We had to make a change. Since we couldn't take members to the show we had to bring the show to the members. We found this brand new building in Washington, three blocks from the Senate side. And I realized what we could do is take the ground floor and make it a microcosm of the exhibits and we would stage it like --
Stoddard: So this is about a block and a half from Union Station, about a 5-minute walk from the Senate chamber, or 10-minute walk from the Senate chamber of the US Capitol, but essentially relocated the trade association right to Capitol Hill.
York: Yes, and created a special exhibit on the ground floor to showcased the best of cable, and still does today. It's evolved. I mean the first year it was more like a house, it was more realistic. The playroom, living room, the kitchen, the interactive refrigerator. But today it's much more technology message driven. And we'll see this next iteration as we come into broadband and wireless, what we're going to do with that space. But it's ours, we live there, we can change it at will to, again, just have something available and something of which we are proud and something that tells the industry story.
Stoddard: And you oversaw the entire move though, right?
York: Yes, I did.
Stoddard: You were designing offices; you were deciding where executives went. It was quite an undertaking.
York: Yeah. It was fun though. It was unfortunately 2006 and Katrina and it was a bad year.
Stoddard: Sure. And of course we would encourage people still from around the industry to come and visit that facility if they haven't had the chance to do so.
York: And they do. It's used, as I understand, at least two times a week and the screenings, we have the 107-seat theater, a state of the art theater, and that's used quite a bit for screenings by our networks.
Stoddard: So another great chapter in the industry, you were involved in an extraordinary effort that was short-lived but that seemed to be seminal at the time, and I'm thinking of the Cable Connection going back to 2009. That involved many, many of our industry societies, professional societies, trade associations, and tried to bring all those groups together kind of in unanimity a couple of times during the course of the year. How did that initiative arise? What actually happened when all those groups came together? Tell us the story of the Cable Connection?
York: Again, go back to the board and the story actually -- that story can't go out, right? The board making a decision that there were --
Stoddard: There are no secrets here, Barbara. You agreed to speak right up.
York: I know. They asked me to do a calendar of industry events because they realized as managers a lot of their staff were always away on something related to the industry. We were consolidating, massively consolidating, in the mid-2000s. So I did the calendar of industry events and found that after 50 weeks -- of 52 weeks 50 weeks had an industry event.
Stoddard: So virtually every week of the year had some kind of industry event.
York: Except for Christmas and New Year's. So the directive was to get all associations together and to consolidate the events to -- actually we started out with one week and that could not happen. And now it's two weeks a year. So Cable Connection '09, it took us two years to get going and the first one was Cable Connection '09 and it was here in Denver and we had the WICT Conference, the NAMIC Conference, the hall of fame dinner, the Kaitz dinner.
Stoddard: The only time the Kaitz dinner has not been in New York City, is that right?
York: No, actually it was always in Denver for the longest time. SCTE, every single event got put through this week and the second to last day it snowed in Denver.
Stoddard: This is October. There was a snowstorm here in Denver.
York: Major snowstorm. Airports closed, highways are covered with ice, and the NCTA board came to me and said, "OK, we can change our minds." (laughter) But we did it in 2010 and it still lives. The consolidation of events still lives, but trying to massively shoehorn everything into one just at that point was --
Stoddard: And I don't want to understate it. You had to own it, right? This became your project despite the fact that it was really a board directive. But I feel as though maybe it drove some massive collaboration among the groups that wasn't there before.
Stoddard: And does that still exist today?
York: Still exists today. We still meet, the partners all meet once or twice a year. We are now looking at it again, trying to think through. We think the events side might be all right, but some of the program side might stand a review. There's a review committee in place now looking at in this new industry that exists today and the industry that it's going to become very shortly, very, very shortly, what do the associations need to do and what service can they provide the industry?
Stoddard: What do you think this industry is going to become shortly? You just mentioned that in passing, but what do you envision as you look into -- sitting here in 2017 as you peer into the future of the industry what do you envision?
York: I think it really has always wanted to be the media and entertainment business. No definition on methodology of delivery. I think it becomes that. Everything, the technology blends. How you get what you want doesn't matter as long as you get what you want where you want it, how you want it, and what device. The lines start just really melting into one. And then what is the new horizon is some of the new big huge companies that sit on the fringe. Are they part of us? Do they become embedded in the fabric of this big industry soup?
Stoddard: So in closing I'd ask you to be reflective yet again. The chapter on the industry trade show is closed. An amazing run for 65 years. You were personally in charge for 35 of those, more than half of these shows over the years. As you reflect back on all that time and as you distill it what do you think it contributed to our industry? What was its major impact on the work of these colossal businesses over that period of time?
York: I would like it to be that there was one point in time, that one shining moment, where we all got together, we are family, we enjoyed each other, we learned a lot, we understood what we were doing more clearly and as a unit we could look going forward as to what we needed to do next. There's this lovely coalescing communications community feel. I think it really was a hallmark of cable as old industry and maybe it doesn't -- there's a new hallmark like that in the new industry. It won't be the show. It could be something else.
Stoddard: A different way to tell our story as --
York: And to bond. To bond as companies, as people, as friends, as great memoires and great times and a synchronicity of learning and joy.
Stoddard: Well, one shining moment and, Barbara York, you're the shining executive that made it all happen.
Stoddard: Barbara York, senior vice president industry affairs for NCTA, the Internet and Television Association. Thank you for sharing your life and your experiences with us today.
END OF INTERVIEW
Oral History Search
Listings A - Z
A - Listings
Colleen Abdoulah
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Decker Anstrom
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Ba - Bi
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Ted Baum
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Alex Best
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Bj - Bz
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Roy E. Bliss
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Patricia Jo Boyers
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Martin Brophy
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Ann Carlsen
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Frank Cooper
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CTAM Chapters - The Early Years
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Mike LaJoie
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Pioneer Panel 1: History of The Cable TV Pioneers Part 1
R Listings
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SCTE Panel 2 - The Middle Years
SCTE Panel 3 - The Current Years and the Future
Stan Searle
Gail Sermersheim - Hauser
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Evan Shapiro 2014
George Shapiro
Milton Shapp
Jacob Shekel
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John Sie
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E. Stratford Smith 2000
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David Van Valkenburg
Carl Vogel
Priscilla Walker
John Walson
Albert Warren
Ruth Warren - 2000
Robert Weary
Steve Weed
Thomas Wheeler
Edward Whitney
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Skin Cancer is extremely common in Australia due not only to our outdoor lifestyle and hot climate but due also to the excessive amount of UV radiation that permeates our environment due to the ozone hole. Skin cancers such as basal cell carcinoma, squamous cell carcinoma and melanoma are the most common, melanoma being the most threatening of them. To ensure that all skin cancers are completely removed Dr Hodgkinson, a long standing proponent of Mohs Surgery, works closely with histopathologists to ensure at the time of excision that all cancer cells are removed prior to reconstruction.This can generally take place in one phase.
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text:
Siege by mob forces hard questions
By Lisa Mascaro - Associated Press
People shelter in the House gallery as protesters try to break into the House Chamber at the U.S. Capitol on Wednesday.
AP Photo |Andrew Harnik
WASHINGTON — One day later, the violent siege of the U.S. Capitol by President Donald Trump's supporters forced painful new questions across government — about his fitness to remain in office for two more weeks, the ability of the police to secure the complex and the future of the Republican Party in a post-Trump era.
The rampage prompted lawmakers to launch a congressional review of the U.S. Capitol Police's failure to stop the the breach and is forcing a broader reckoning over President Trump's tenure in office and what comes next for a tattered and torn nation.
House Speaker Nancy Pelosi said that any remaining day with the president in power could be "a horror show for America."
Pelosi and Senate Democratic leader Chuck Schumer called for invoking the 25th Amendment to the Constitution to force Trump from office before Biden is inaugurated on Jan. 20.
At least one Republican lawmaker joined them. The procedure allows for the vice president and a majority of the Cabinet to declare the president unfit for office. The vice president then becomes acting president.
Pelosi said if the president's Cabinet does not swiftly invoke the 25th Amendment, the House may proceed to impeach Trump.
The head of the U.S. Capitol Police Chief Steven Sund faced pressure from Congress to resign. The sergeants at arms of the House and Senate that oversee the police and security at the complex are also expected to be removed.
Sund defended his department's response to the storming of the Capitol, saying that officers had "acted valiantly when faced with thousands of individuals involved in violent riotous actions."
In his first public comment on the mayhem, Sund said in a statement that rioters "actively attacked" Capitol police and other law enforcement officers with metal pipes, discharged chemical irritants and "took up other weapons against our officers."
It was "unlike any I have ever experienced in my 30 years in law enforcement here in Washington, D.C.," said Sund, a former city police officer.
But Washington Mayor Muriel Bowser quickly called the police response "a failure."
The Republicans who led the effort to challenge the Electoral College tally for Biden exposed the extent of the divisions within the party, and the nation, after four years of Trump's presidency.
Those two GOP senators, Ted Cruz of Texas and Josh Hawley of Missouri, faced angry peers in the Senate.
Cruz in a statement defended his objection to the election results as "the right thing to do" as he tried unsuccessfully to have Congress launch an investigation.
In the House, Republican leaders Rep. Kevin McCarthy of California and Rep. Steve Scalise of Louisiana, joined in the effort to overturn Biden's win by objecting to the Electoral College results.
Despite Trump's repeated claims of voter fraud, election officials and his own former attorney general have said there were no problems on a scale that would change the outcome. All the states have certified their results as fair and accurate, by Republican and Democratic officials alike.
https://www.limaohio.com/wp-content/uploads/sites/54/2021/01/web1_duck-n-cover-1.jpgPeople shelter in the House gallery as protesters try to break into the House Chamber at the U.S. Capitol on Wednesday. AP Photo |Andrew Harnik
By Lisa Mascaro
Hi! A visitor to our site felt the following article might be of interest to you: Siege by mob forces hard questions. Here is a link to that story: http://www.limaohio.com/news/442715/siege-by-mob-forces-hard-questions


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