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Hamlet – January 2012
Jan20 by sheilajtheatre
Directed by Ian Rickson
Venue: Young Vic
Date: Wednesday 18th January 2012
We were taken on another of the Young Vic's 'journeys' on the way in today. I presume this was to get us in the right frame of mind to fully appreciate the production's design concept. Well, it got me in the mood alright, a foul mood. I don't like being made to go on these long treks regardless. At least there weren't any steps this time, and thankfully it wasn't raining while we waited outside, but this kind of thing just isn't for me. This particular trip took us round the theatre, in by a back door, past assorted installations which related to the lunatic asylum concept – signs on doors about treatment schedules, a window looking into the gymnasium with the fencing apparatus, etc. – and various members of the cast sat, stood or moved purposefully along corridors looking like hospital staff. We finally emerged through an office onto the stage itself. While this makes a welcome change from the RSC's 'look, don't walk' stage policy, it didn't add anything to my understanding or enjoyment of the play. We were lucky to see the play today mind you; as we were walking along one bit of corridor I wondered what was behind a wooden drop-down panel. I opened the clasps – it wasn't locked – and saw a lot of electrical stuff in there. I don't know if it was part of the installation or a genuine part of the theatre's electrics, and I didn't tamper with anything, but still….
The set was mostly open at the start, with the seats on three sides. The office at the back had a desk, probably two or three chairs, some lockers and another keypad door off to the right as you look at it from the seats. There was glass from floor to ceiling between the office and the rest of the stage, with glass double doors in the middle. The back wall looked like a school gym, with a basketball hoop on the left, and we learned very quickly that there were two electronic doors that covered the whole of the glassed area, eventually – they moved very slowly. The central flooring looked like carpet tiles, and there was a coffin sitting on planks above a hole towards the front of the stage, with a well worn (leather?) overcoat and a dagger lying on top of it. I tested the weight of the dagger- pretty heavy.
They didn't add much furniture during the performance, just the chairs and small wheeled medical tables which could store files, medicines, that sort of thing. They did remove a large chunk of the stage at one point – more on that story later – and they also used the upper left balcony for one scene; again, I'll record that when I get to it. Overall the impression was of institutional drab, with some high tech bits but mostly old style, stuff that would fit into a 60s production, say. Entrances were limited to the office doors, either side at the back and a passage through the middle of the seats at the front, and characters often came and sat on the stairs at each front corner.
The performance started with Hamlet alone on stage, looking at the coffin, and obviously going through an emotional experience. I did wonder if he was going to go into 'To be, or not to be' at this point – now that would be an interesting choice – but he didn't. He did snatch the coat and dagger off the coffin and held them tightly, breathing in the smell for some time. Then he took them away and some of the asylum staff came on and lowered the coffin into the hole, replacing the floor afterwards.
Perhaps now would be a good time to mention the costumes. The asylum staff wore green uniforms with orange markings, the chap whom I assume was in charge wore a suit, Polonius wore a strange grey coat over shirt, trousers and a sort of waistcoat/gilet, and Gertrude wore an off-white dress with a flared skirt, knee-length, and over it she wore a kind of lacy pinafore – this disappeared at some point. Hamlet wore a kind of tweedy suit, changing to institutional drab after the abortive trip to England. Laertes was a natty dresser, with a tweedy green suit and brown boots, while Ophelia wore a simple frock in pale colours, until her stint as Osric when she wore riding breeches, shirt and cravat. Other characters wore relatively modern dress – the player king wore a camel overcoat – and Rosencrantz and Guildenstern both wore severe grey outfits. I noticed when they arrived that they were given trainers to put on instead of their own shoes, and when Reynaldo was talking with Polonius about his trip to France, he also changed out of his hospital uniform into civvies. Horatio also wore a dark suit, possibly black. I'll describe the Mousetrap costumes when I get there.
The opening scene proper used an almost full blackout and torches to create suspense, which worked reasonably well. The electronic doors had been closed, so there was a sense of security procedures in operation, and the ghost's appearance was heralded by a flashing red light and some sound effects – it reminded me of the effects used in Jekyll to indicate the change of personality. The ghost itself was mainly a silhouette, with someone wearing the coat and casting a big shadow. The dialogue for this scene may have been cut, as a chunk of it relates to Fortinbras who was minimally involved today, but to be honest I don't remember much of the dialogue from this scene at all. Perhaps it was cut, perhaps it was the delivery, perhaps I was still sulking from the enforced tour of the premises – we may never know. I did wonder who was wearing the overcoat, as the cast list didn't include a ghost, but I didn't have to wonder for long.
At the start of the next scene, Hamlet turned up on stage with a suitcase and a bag, carrying a piece of paper. At first I thought he might have been a new arrival at the clinic, looking to get in for some treatment following the death of his father. There was no one else around at first, so he took one of the chairs and put it a bit away from the doors, with his bags beside it. As he waited, quite fidgety and impatient, others started to arrive. Gertrude and Polonius started putting out more chairs, including the two black ones with arms. Someone – it may have been Polonius – brought on a trolley table, which went between the two black chairs, and the other characters began to turn up as if for a therapy session. Hamlet held Ophelia's hands for a few moments before she moved on to embrace Laertes, and Gertrude and Polonius had a little competition over who got to sit in the other black chair – the more central one was clearly for Claudius.
Still fidgety, Hamlet had to endure a very truncated speech from Claudius, with no ambassadors and scarcely any mention of Fortinbras. When he moved forward to ask for leave to go, he was clearly frustrated when Claudius turned to Laertes next. Finally it was his turn, but his request was turned down, and I think Claudius tore up his papers – he'd already torn up the ones relating to Fortinbras when he said 'so much for him'.
I didn't get a great deal from this scene other than Hamlet's eagerness to leave, but at least they rattled through it at a good clip. The next scene brought Horatio on to broach the subject of the ghost's appearance, and this was good and brisk too; no 'season your admiration for a while', this Horatio got down to business very abruptly. The end of this scene used a staging choice that I've not seen before, and which they repeated at least once more; Horatio was about to leave, but was called back when Hamlet addressed his next words to her – "My father's spirit in arms!" The rest of that short speech was also spoken to her, and she ended up leaving with Hamlet instead of before him. It was different, and it worked, although as I don't feel they made much of Horatio's character in this production, never mind the fact that they'd cast a woman in the role, it was rather wasted.
I don't remember exactly when it happened, but it may have been during this extra bit with Horatio that Gertrude was seen behind them, looking for pills in the office. It's clear that she's a junkie and that Claudius is supplying her with pills, and their kissing in the office before they head off for some privacy was pretty unpleasant, suggesting that Claudius was manipulating her through her addiction. Hamlet saw them, and his disgust was obvious.
The next scene was Laertes' leave-taking. He came on carrying a bag, and Ophelia folded a shirt for him. When Polonius arrived he was carrying a box, such as fancy dresses are presented in, and gave it to Ophelia. But it wasn't for her – this was a parting gift for Laertes. When telling him to wear good but not gaudy clothes, Polonius opened the box (Ophelia had left it on a chair) and took out a jumper, which he brought over to hold against Laertes' chest. It was an embarrassingly bad gift, very nerdy, and we laughed a lot at this all too recognisable family situation.
For once, Polonius was quite cuddly with his children, holding Ophelia's hands, embracing her and Laertes, and seemed genuinely concerned for their welfare. He gave Laertes a wodge of money, as usual, and tried to do it discretely without Ophelia seeing (as if). His worry about Hamlet's vows of love being false came across clearly, and seemed to be his main motivation for telling her to avoid him in future.
With Laertes gone, I think the security doors were closed for the next platform scene, but it was difficult to tell as most of the scene was played in darkness. The opening section had some of the staff going through the office at the back, clearly having a party, and going out through the side door, leading to the lines about the king taking his rouse. Then there was a complete blackout. At least the lines that were left came across clearly, and then the lights started flickering, the electrical sounds came on, and with some light coming back we could see the ghost. Hamlet, dressed in his father's coat, seemed to be possessed with his father's spirit (or insane of course) and spoke the ghost's lines in a deeper, richer voice. His audience was Horatio and Marcellus, both too stunned to speak, understandably. It also meant we didn't get Hamlet's own responses to the ghost apart from one line – I forget which one – and a lot of the later lines were cut as well as they would have been inappropriate. The ghost didn't speak during the swearing bit, so wasn't mentioned, and the whole effect was to have the ghost as completely internal to Hamlet's mind, a product of his grief and jealousy and the strongest emphasis on the psychological aspects of the play that I've seen.
After they left, Polonius and Reynaldo turned up, although if you didn't know the play you wouldn't have known it was Reynaldo; Polonius's memory loss extended to that character's name, and he glossed over it by carrying on. The only charge which Polonius suggested that Reynaldo put on Laertes was drabbing, and there was another moment of memory loss before the scripted one. Polonius looked like he really had forgotten the line at this point, and repeated himself to try and get back into it, which he eventually did. I suspect this was a genuine lapse, but given the nature of this scene, I can't be totally sure. After Reynaldo's departure, Ophelia came on to give the account of Hamlet's apparent madness, and again Polonius was more emotionally involved in his daughter's life than most other productions, really listening to her and being troubled by the mistake he'd made about Hamlet's motives.
When Rosencrantz and Guildenstern arrived, they were shown into the main room and were soon joined by the king and queen for their little chat; this was when they changed shoes. Rosencrantz was easily distinguished from Guildenstern this time, being played by a woman. They still went with Claudius getting the names wrong and Gertrude correcting him; in this production, and given the controlling nature of this Claudius and drug-addled performance of Gertrude, I think it might have worked better if Claudius had got it right, and then had to cover for Gertrude's mistake – I'd certainly be interested to see that tried some time.
Forget the ambassadors; next we were straight into Polonius and Ophelia's entrance and the long-winded exposition on time, brevity, madness and the rest. Despite his relatively caring manner so far, Polonius was quite callous in this scene, making Ophelia read out the letter from Hamlet herself. He interrupted to complain about the word 'beautified', and snatched the paper away from her when she started talking about bosoms! He searched through the letters to find something more suitable, and gave her what looked like a postcard to continue reading. There were some cuts, and for once Polonius didn't recommend execution as a fitting consequence if he's wrong about the cause of Hamlet's madness; I assume they took a line or two from another version of the play – haven't had time to check it out.
When Polonius confronted Hamlet after the king and queen left, he took out a recording device – he'd shown it to all of us earlier during Claudius's first speech, so we could see what it was and also the red recording light – and his asides were spoken into the machine as if he was evaluating Hamlet's condition, a nice touch given this context.
Rosencrantz and Guildenstern were next up, arriving as Polonius left, and during this scene I started to get the impression that Rosencrantz had a serious crush on Hamlet. The 'man delights not me' interchange was more pointed because Rosencrantz was a woman, and I started to wonder about Hamlet. Apart from Ophelia, here are two other women – Horatio and Rosencrantz – who appear to be close friends of his; what is this man up to? Is he a serial heart-breaker? Is he just completely unaware of his effect on women? I watched closely through the rest of the play and couldn't make up my mind about this.
The players were definitely in a touring production – only three of them this time. Hamlet was OK at delivering the lines, needing a bit of support from the actors to remember it all, and then the player king took over. This wasn't the strongest delivery I've heard; he was sitting down for most of it, and did the speech pretty briskly, but it worked OK. Hamlet didn't ask for The Murder Of Gonzago, and therefore couldn't ask to insert any extra lines this time, leaving me wondering how the play would be staged. Hamlet's soliloquy was OK, nothing memorable, and then the king and queen came on again to hear R&G's report. At one point I remember Claudius giving Gertrude a credit card so she could go off and do some shopping; she left very happy, and it may have been this scene where it happened.
I did wonder if Polonius and Claudius would hide behind the hospital screen in the corner, but they closed the security doors halfway and lurked in the office instead, with Claudius poking his head out from behind the security door at least once to see what was going on. We also lost Claudius's admission of guilt in this scene, which again gave the impression that he may not have done the murder after all, and that it may just be Hamlet's delusion that we're dealing with.
Ophelia was sitting on the steps near us during 'to be or not to be'; it was an OK speech with nothing significant to report. Hamlet was already showing his disgust at women but things got really nasty after Ophelia's hesitation about where her father was. Hamlet didn't leave the stage at the usual point, so Ophelia's lines about 'a noble mind' were spoken in his presence, but he did leave before Polonius and Claudius came back on. Their final lines seemed to be severely cut, and soon they were preparing for the play.
There was no dialogue for the play at all. With Claudius and Gertrude sitting in the black chairs, Hamlet used a megaphone to introduce events. He and the actors did a short procession playing pipes, and then one of the actors put a blindfold on Gertrude as she was dancing with Hamlet. She then danced with the player king, without necessarily knowing who it was. Then a devil-figure crept behind the chair that Claudius was sitting on and leapt up, joining in the action. He took over from the player king, and as he and Gertrude swivelled together to a Roy Orbison number, he gave her an apple – she correctly guessed what it was – and a necklace strung with pill bottles, which she recognised and ruefully acknowledged. By this time the player king was lying down on the far side of the stage, and the devil character came over to this side of the stage to get his vacuum hose pumped up for action. When Gertrude realised what it was, or what it represented, she wasn't happy, and I think she left the action at that point. Meanwhile devil-man was lengthening his hose considerably, and it eventually became a snake which coiled its way over to the sleeping king to bite him in the ear. Things became very confused at this point, with Hamlet yelling some of the lines through the megaphone which made them hard to hear, and Claudius stalking off and calling for light in a remarkably reasonable voice. I don't remember what everyone else got up to, I just had the impression of a load of people running around. Only Hamlet was left on the stage as I remember, and then they took the interval.
The restart was at the same point, with Horatio and then R&G talking with Hamlet. To be honest, I hadn't noticed a lot of reactions to the play, and those I had seen were pretty muted, given the chaos around them. Fortunately with all the cutting we were soon through this bit. When Rosencrantz pointed out 'My lord, you once did love me', her anguish was very evident, and from Hamlet's reaction I got the impression that he hadn't known or had forgotten how she felt and was embarrassed and uncomfortable to be around her distress.
With Hamlet off to visit his mother, Claudius returned with R&G and sent them to prepare for the journey to England. Polonius passed through on his way to Gertrude's closet, and then Claudius was finally left alone to reveal to us (or not) the level of his guilt. Would they cut this as well, or would we finally know the truth?
This scene took place in the office at the back. Claudius went in and closed the doors, and then treated us to as hammy a display of temper as I've seen on stage. He flung some papers off the desk, threw over one of the lockers and then stood in some 'I'm suffering' poses for a while, finally sinking onto his chair and putting his head in his hands – totally unbelievable. We did get some of the lines via the loudspeakers though. Hamlet came on during this part and spotted Claudius. He fiddled with some switches in a cabinet to the right of the office doors, and suddenly we could hear Claudius talking in the office. Not the full speech, but enough. Hamlet's choice to leave him till a more suitable opportunity made sense at this point, and I found myself thinking about the contrast between the scientific emphasis on psychology and the spiritual references in the play, mostly made by Hamlet in this version. He was starting to come across as a religious obsessive, whose delusions made his choice not to kill Claudius appear rational to him. His disgust with the effect women had on men now came into focus as another aspect of this obsession, a puritanical streak which has been known to lead some people to become serial killers. I wasn't sure if the production as a whole supported this interpretation, but it was an interesting angle to pursue.
Fortunately, the loudspeakers were still on after Hamlet left, so we could hear Claudius's final lines of this scene. Then we were in Gertrude's chamber, which strangely enough also seemed to be in this central hall. Polonius hid behind the hospital screen – three curtained sections on wheels – and was soon despatched. He must have been in a strange position behind the curtain, judging by the location of his stab wound, in the ear. Hamlet took on the ghost persona again briefly, after some more flickering from the lights; I think we just got a line or two about looking to Gertrude. The total lack of any other spiritual manifestation really put the emphasis on Hamlet's madness in this scene; otherwise there's nothing much to report.
After Claudius had learned of Hamlet's slaughter of Polonius, we saw Hamlet drag the body onto the stage, looking for a place to hide it. He went over to the left-hand side of the stage and tested the floor tiles. Finding what he wanted, he pulled up a few tiles and the drainage cover under them – pause to mime a bad smell – and then lugged the body over to put it in the hole; I got the impression it had dropped some way down, so god knows how R&G were going to get it back again. He put the cover and the floor tiles back just in time before R&G came on stage. Rosencrantz seemed a bit huffy now, as I recall, but at least she'd stopped crying.
The next scene started with Claudius on the phone to some unspecified person talking about how tricky the situation was. Then Hamlet was brought on by two guards and put in a chair with wheels. As he was being strapped in, they did some of the usual dialogue between Hamlet and Claudius, and then Claudius gave him a tablet with some water to wash it down, followed by an injection – this man really takes no chances. However Steve spotted that Hamlet spat out the pill after he'd been left alone. Bizarrely enough, the attendants simply wheeled Hamlet over to the back of the stage on the right, where he's conveniently placed, yet again, to turn on the loudspeaker and hear the end of Claudius's phone call, which turned out to be with 'England'. So Hamlet doesn't need to read R&G's commission to know what the king's planning. Then he was wheeled back to the left side of the stage while one of the attendants fussed about with a blanket to put over him. As he was doing this, the TV in the office was showing something in black and white; when Hamlet asked the attendant what it was – the attendant had been looking at it himself – we got the very basic information about Fortinbras.
The next scene, scene V, covers Ophelia's madness and Laertes' return from France. I had been praying for a release from the boredom for some time, and finally I had a reprieve – I snoozed. So nothing to report for this bit, although the reprieve was short-lived, as even these scenes were cut to the quick (according to Steve who remained relatively alert throughout). Horatio received the letter from Hamlet in a room on the upper left-hand side of the stage, and read it out. I kept wanting her to have difficulty reading Hamlet's writing – don't know why, maybe I was just desperate for something to entertain me. They left immediately to take the other letters to the king, and shortly afterwards, after Claudius and Laertes had been discussing their plot centre stage, the messenger duly arrived at the office doors. As he gave the letters to the king, Horatio stood in the doorway observing what was happening, until the messenger was dismissed and she left as well.
The plotting continued without much of interest, and then Gertrude arrived to inform them of Ophelia's death. The speech was delivered well enough, but it was the hem of Gertrude's dress that I noticed – it was stained brown, as if she'd been with Ophelia at the time and tried to save her, but couldn't. That little touch was one of the most moving things in this production for me, firing my imagination into overdrive as I pictured Gertrude's despairing attempts to rescue the drowning girl. Or perhaps she got there too late, and stained her dress when she waded into the water to hold the dead body. Whatever, it was a touching moment.
For the burial scene a large square section of the stage floor was lifted up. Hamlet came on stage, I think after the four corners had been attached to the wires, and stood looking at the area of ground revealed by this manoeuvre. It was a pretty noisy process, and they added music or sound effects, so there was no dialogue during this bit – very wise. Horatio joined him at this point, with the floor out of the way, and with the gravedigger taking his place, Hamlet started discussing death and bones. Within the sandpit was a shallow trench with two piles of sand on either side and some white bones gleaming in the bottom. A blue box stood by the head of the grave to take these bones, and was gradually filled by the gravedigger, though he put one of the skulls to one side. As Hamlet recited the possibilities for each skull, the gravedigger inspected it, often scraping off some muck, before adding it to the box. It was slow and tedious, I'm sorry to say, until Hamlet actually struck up a conversation with the man. The standard humour went down pretty well, and then came the burial.
With such a small cast, there were never going to be many mourners, but I was still surprised to see only Claudius, Gertrude and Laertes turn up. The priest's arrival was interesting; from the side of the sand pit, under the stage, a figure emerged as if from another grave. It was Polonius, still with the bloody gash on the side of his head but now wearing a crucifix and carrying a Bible as well. Hamlet was stunned to see him, putting his hand to his ear, an action which was mirrored by this new arrival. Suddenly, he snapped into being the priest, and looked at Hamlet strangely, while Hamlet was still clearly disturbed by this 'apparition'. I've no idea what was meant by this, so I can't say if it was effective or not, but it did use the necessary doubling in a thought-provoking way.
The burial itself was OK, though Gertrude only had some bits of a flower from her buttonhole to throw on the grave. Some of the sand was thrown on Ophelia, carefully avoiding her face, before Laertes told them to stop. The fight between Hamlet and Laertes was fine, and for once I felt that Hamlet wasn't so much trying to best Laertes's love for his sister as claim his own love to be the equal of it.
When the characters all left the stage, I wondered what they would do with the pit – nothing, was the answer. They left it as it was, with Ophelia's body still lying there. Hamlet and Horatio came on at the back, and Hamlet brought Horatio up to speed with the grim fate of Rosencrantz and Guildenstern. Then things got a little spooky again. For Osric's entrance, the dead body in the grave rose up and dusted herself off, to reveal that she was now in riding breeches and a shirt with a ruffled collar. Hamlet was transfixed again, and found it difficult to talk to this person, while Osric was remarkably calm – being dead seems to do that to people.
With the match agreed, some of the staff came on and started raking the sand to level it out. I thought this might mean they would have the fencing match in the pit, but it was not to be; they did it at the back, although the pit came in very handy by the end for all the dead bodies. The table with poisoned wine (no 'union' that I saw) was at the front of the pit, the rack of swords was at the back of the stage, and the fencing was done behind the pit. Laertes ended up in the pit when the enraged Hamlet chased and killed him, Gertrude collapsed towards the back of the stage, and Claudius ended up in the pit, don't remember exactly how, although Hamlet not only stuck him with the sword but forced him to drink the remaining wine. The cups were cheap plastic – I mean, really! Hamlet died in Horatio's arms down in the sandpit, and then Fortinbras turned up.
His men were dressed in black, and all wore black fencing masks. They opened out a large black plastic sheet to cover the pit over entirely, with Horatio walking out of the pit just ahead of it. They put Gertrude's body in the pit, removing a corner of the sheet and then replacing it. They'd finished the lines by now, so this all seemed a bit ho-hum. It was worth it, though, as Fortinbras himself came to stand behind the pit for the final climactic moment of the play. As he stood there, he took off his mask, and it was….. Hamlet! At least, I assume it was Hamlet. It was Michael Sheen, of course, and perhaps he was Hamlet, perhaps Fortinbras was Hamlet's half-brother, perhaps this was another ghost risen from the dead…… The staging didn't make anything clear, but it was a dramatic moment, and a good finish to the performance.
Despite all these interesting choices, I wasn't that taken with this production. I find the emphasis on the reality 'experience' doesn't support the imaginative aspects of theatrical performance. In fact, I'm increasingly aware of how important the imagination is to theatre of all kinds, and I'm less impressed when productions seem intent on blocking it at every turn.
The psychological emphasis in this production was the main choice that I liked, but after thinking about it, and especially through writing these notes, I realised that they didn't go as far as they could have. How about cutting Claudius's guilt out altogether? The plot to kill Hamlet would then be a consequence of Hamlet's madness rather than outright villainy on the part of Claudius. It's an intriguing idea, but I don't feel this production quite had the balls to go that far. Instead I felt they were doing the old striptease routine – setting up some question marks to provoke discussion amongst the audience, without realising that we actually discuss these plays quite a lot already, and what we want to see is the cast and director figuring out some answers – much more likely to provoke discussion, I find. Anyway, I'm glad I've seen this, and that it's brought out some different staging choices to enrich my experience and understanding of the play. I'm also glad I don't have to sit through it again, as the bits between the concept set pieces – e.g. ghost scene, burial scene – were very pedestrian.
The central performance by Michael Sheen was very good, and if the production had supported it more I would have been very happy. Despite the quality of the cast, however, the rest of the characters seemed two-dimensional compared to Hamlet, and that naturally affected my overall experience. Steve would have rated this slightly higher – 5 star – but otherwise we agreed that it was not as good as we'd hoped. I'm even considering ignoring future Young Vic productions, as I no longer seem to be part of their target audience; I'm confident I won't be missed.
Our final conclusion is that this production was too much of a mish-mash. They tried to combine the realism of the asylum setting with an impressionistic version of the play, which left us feeling dissatisfied with the whole. For example, we weren't sure if the characters in the play were actually people in the asylum hierarchy or inmates who were doing a bit of drama therapy. If Hamlet was the 'ghost' in the platform scene with Horatio and Marcellus, was he also the 'ghost' they saw at the start? And if it was just his madness, why did the lights flicker?
We've seen productions which raise such questions before, but the best of them lead to greater awareness and understanding of both the play and the production. For example, the touring Coriolanus we saw many years ago in the Swan, with Greg Hicks in the lead role, used a Japanese setting and incorporated a geisha-like court reporter noisily typing when Coriolanus was being interrogated by the Romans about his actions. Despite some choices which were puzzling on the night, we realised after some time to consider that they were showing a cultural change from old-style nobility to modern western-style decadence. This enhanced our understanding, and left us with an even greater respect for the performance and the work that had gone into it. The more we consider this Hamlet, however, the less sense it makes, and the less interesting the questions it raises become. This is usually a sign that not enough work has been done, which is a shame, as some of the ideas were worth exploring more fully.
© 2012 Sheila Evans at ilovetheatre.me
This entry was posted in 4/10, Drama, Shakespeare, Theatre and tagged Hamlet, Ian Rickson, Shakespeare, Young Vic.
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As insured, licensed and bonded moving the company, Daytona Luxury Movers treats all the items with adequate care. Before we assign a team member to any move, we make sure that they are drug-tested, screened and provided training to make sure that our clients are more than happy once this process is finished. We have trucks that can carry any type of items and we also have all the required equipment including straps, dollies, stretch wrap and furniture pads. So, if you are looking for hassle-free and time-efficient local moving services or long distance moving services in Deltona, feel free to call us at any time.
You should not worry about moving your couch to or from the second floor – we are here to help you! As previously mentioned, we have the required resources to handle with your relocation regardless of the issues that may arise. Our Deltona movers are trained to carry every type of unique items into your new home or condominium. On top of that, you can relax even if you have some very heavy items like small safe or upright piano. It's not just the strength our men have – they will also do their best to keep these items safe. This is what makes us your best options when looking for local moving services in Deltona.
We don't move only in Deltona. We are here to help you move your stuff out of Florida and across the USA. As experienced and trained long-distance movers, your belongings are always the only items in our trucks. In addition, we have professional drivers that will drive your stuff directly to your new home. Daytona Luxury Movers doesn't reorganize items at any point of the trip and we can deliver all your items at your new home in a record time. Travel freely to your new home known that all your goods are safe.
Do you need help with packing? If you don't have time to pack your clothes, kitchen, bathroom or other items, our professional team that has been trained for activities like this will pack every room and secure the items in high-quality boxes. The fact is that modern people don't have time to pack all their things and honestly this is a complete waste of time when you can hire someone to do this for you.
Finally, if you need storage space for any reason, we can help you with this issue too. If you don't know which items you should donate and which one you should preserve or you are in a transition period, feel free to call us.
Daytona Luxury Movers is your one-stop shop when it comes to Deltona moving services.


Have a Summer Award and wondering what to do next?
To receive financial assistance for Summer Sessions, you must be registered at least half-time. See below for specific enrollment levels. No financial aid can be disbursed until your enrollment reaches at least half-time.
The Office of the Bursar blocks all student accounts with outstanding balances. These blocks prevent registration for future terms. The Bursar will not process any unblock requests for the Summer 2018 term and registration blocks will only be removed by the Bursar once all outstanding balances are paid in full.
The Financial Aid Office no longer requires a separate summer financial aid application. FAO will evaluate the aid eligibility for all students enrolled half-time in summer courses. You will receive an email with further information on your summer financial aid eligibility beginning in April.
Undergraduate and Graduate students who will be enrolled for summer and will graduate at the end of the summer session or the end of the fall semester, should contact the FAO office for more information about aid options.
To receive federal financial assistance for Summer Sessions, you must register for at least six semester hours (half-time status). The credits may be taken in any one session or may be divided between sessions. If financial assistance is awarded based on your enrollment in both Summer Sessions and you drop the second session course AND your enrollment then becomes less than half time, financial aid disbursed previously may be adjusted for all sessions.
Under the Consolidated Appropriations Act of 2017, you may be eligible to receive Federal Pell Grant. Click here for more information.
Log onto StudentLoans.gov using the parent borrower's FSA ID and password.
Once logged in, choose the Apply for a PLUS Loan link. Be sure to select the correct aid year, summer is a trailer so summer 2018 would be part of the 2017-2018 aid year. This will start the credit check process for all borrowers and will direct new borrowers to complete a Master Promissory Note (MPN).
To receive federal assistance for Summer Sessions, you must be enrolled at least half-time. For students enrolled in quarter programs, half-time status in summer is defined as three credit hours; for semester programs, it is two credit hours. The credits may be taken in one session or may be divided between sessions.
The academic year maximum for a graduate student is a $20,500 Federal Stafford Loan.
You must log onto StudentLoans.gov using FSA ID and password.
Once logged in, click on Apply for a PLUS Loan Link. Be sure to select the correct aid year, summer is a trailer so summer 2018 would be part of the 2017-2018 aid year. This will start the credit check process for all borrowers and will direct new borrowers to complete a Master Promissory Note (MPN).
Students who transfer into a degree program at Loyola and received financial assistance during the Fall and/or Spring term at another school should contact the FAO as soon as possible for specific instructions. Students should not assume receipt of the same financial assistance as was received at the previous school.
All employees, employee dependents and employee spouses who are undergraduate, degree-seeking students must complete a 2017-2018 FAFSA to receive tuition benefits for any Summer Session. Employees who are in graduate school on at least a half-time basis are also required to complete a FAFSA. Employees should contact Human Resources for more information.
Students who are eligible for Veterans Administration benefits who have not been enrolled at Loyola during the 2017-2018 academic year should contact Loyola's veterans' advisor at vetfinaid@luc.edu after registration. Students who received veteran benefits in 2017-2018 click here to have your enrollment reported to the Veterans Administration after registering for summer courses. All changes in enrollment must be properly reported to the veterans' advisor in the FAO. Note: The Illinois Veterans Grant cannot be used at private schools, such as Loyola.
Federal regulations allow a student to receive financial assistance only from the school from which he/she will receive a degree. A visiting student who attends Loyola for Summer Sessions only must arrange for a consortium agreement between the student's school and Loyola. This agreement allows the home school to award summer financial assistance, even though the student is enrolled at Loyola. Inquiries regarding consortium agreements should be directed to abroadfinaid@luc.edu.
Please note: Some schools do not allow participation in consortium agreements; your home school will determine your eligibility for a consortium agreement.


We had a student in our SEO training class last month who came back with some interesting questions after the second day of training. Mostly, these questions revolved around a discussion that she had with her husband (an international business owner) and how some SEO tactics were designed to fool Google into get a website higher ranking and more business.
We explained that while there were definitely some sneaky ways to try and please Google, their algorithms were constantly being updated in order to counter these tactics. Google wants to offer their users the fastest, most reliable and powerful web search service and they can only do this by staying one step ahead of manipulative code, content and backlinks.
If you really want your website to thrive and survive online, Google's Webmaster Guidelines should be your first and most reliable guide – your go-to manual. These guidelines are constantly updated and just recently, Google announced two updates to their guides that gave more clarity on the damaging effects of using sneaky redirects.
Have you ever clicked on a link in Google search results only to be taken to a different page? Or perhaps you have entered a URL on your mobile phone only to be redirected to a page full of spammy ads? Google's revised guidelines state that situations where desktop computer users are sent to a normal page but mobile users are redirected to a spam domain, is strictly against their guidelines.
The second Google guidelines update relates to hacked sites and the black hat techniques that are still being used to this day.
Hackers are now looking to use innocent sites as a way to redirect users to a spammy or harmful page. Using malicious code which they 'inject' into your website's code, they are able to manipulate Google search results so that users are redirected to their damaging page rather than your home page. However, when users enter the URL directly into their browser they are taken directly to the right site.
An SEO consultant has many hats to wear. There's the content management hat, the social media hat, the metrics hat and the pay per click hat. But it's the white hat that we wear the most – the hat that ensures that everything we do is going to produce the best results for our clients and help them to avoid devastating Google penalties.
Not so long ago, it was not too hard to 'trick' Google. Google was a young company full of enthusiasm and they were facing an ocean of content farms, spammy links and bad web design. They had their work cut out for them and there were so many websites built using black and grey hat tactics. Fortunately for Google and for the rest of the world, they had some creative and mathematical geniuses at the helm that would eventually revolutionize the way we search and get found…forever.
Don't be tempted to use black or grey hat SEO short cuts that could damage your website, your business and your reputation. Attend our SEO Training classes or call us at 214-550-4310 to schedule a complimentary 20-minute introductory phone meeting.


Blender is built for speed, and its design heavily emphasizes working as quickly and efficiently as possible for extended periods of time. On more than one occasion, I've found myself working in Blender for 10–15 hours straight. Although, admittedly, part of this has to do with my own minor lunacy, the fact that I'm able to be that productive for that long is a testament to Blender's design. This chapter gets you started in taking full advantage of that power. This chapter covers the meat and potatoes of interacting with three-dimensional (3D) space in Blender, such as moving objects and editing polygons. If you've worked in other 3D programs, chances are good that a number of Blender concepts will seem particularly alien to you. To quote Yoda, "You must unlearn what you have learned" in your journey to become a Blender Jedi. If you've never worked in 3D, you probably have an advantage over a trained professional who's used to a different workflow. Hooray for starting fresh!


Writing an essay on current affairs is always challenging. If you are not a news junkie, you might find it bit of a problem to frame an essay. More importantly, you may not find the perfect topic to write on. What should you do if you cannot find a suitable topic to write your paper on? Well, here is a list of twelve unusual topics from which you may choose one.
Recent polls have shown that most Americans think that the biggest problem in the country is high unemployment? Do real facts and figures support their opinion?
Do parents need to be held responsible for the social media posts of their children?
Should big companies need to engage in corporate social responsibility projects, including environment-friendly ventures?
Does the college electoral system still hold relevance?
Are the zoos and sanctuaries important for conservation of wildlife?
What are the most eco-friendly ways of producing electricity?
Is it the government's responsibility to provide low-premium health insurance to all and sundry?
Does the current drinking age in most states need any change?
Is it right for the general citizens to access information on the private lives and whereabouts of politicians?
Is water rationing important during droughts?
Should the military draft be reinstated?
Are the current measures to prevent campus bullying enough?
Though the above list might give you a fair idea of how and what topics should be chosen for writing a current affairs paper, you need to understand that the internet is brimming with hundreds of news articles and you need to keep yourself updated. You may subscribe to the online editions of top newspapers to get your daily dose of news feed. Whatever you do, it is important for you to stay abreast of the changes in the political, healthcare, science and other fields. In other words, you may get topics aplenty if you just use the web to your advantage.
However, you need to watch your grammar and spelling while writing a paper. More importantly, you need to understand that using correct facts and figures is also highly important for writing a good paper on any current topic. Therefore, research is imperative and you should try all means to find as much information as you can. Pay a couple of visits to the library and read newspapers and visit news portals almost every day to write a killer paper.


text:
Company Wants You To Help Rebuild The Rockaways By Playing A Video Game
Virtual Fun Helps Real People June 6, 2013 at 9:18 am
Filed Under:Alex Silverman, Rockaways, Superstorm Sandy
Tom Webster of Mother New York (credit: Alex Silverman / WCBS 880)Tom Webster of Mother New York (credit: Alex Silverman / WCBS 880)
NEW YORK (CBSNewYork) – The Rockaways were particularly hard hit by superstorm Sandy, but you can help them rebuild in a rather unusual way.
Tom Webster is a partner at the ad agency Mother New York.
"Several people here were displaced and lost their houses and I was one of them," he told WCBS 880's Alex Silverman.
The company put them up and many went to the Rockaways to volunteer.
"We could have just sent busloads of people out every weekend," he said.
But Webster wanted to make use of what they do best.
"Coming up with creative ideas and implementing the ideas," he said.
What they came up with is Repair the Rockaways, a game that looks and feels like Farmville. Your donation gives you bricks to re-build homes.
LINK: Play The Game
"Generally you write the check or you do the credit card and that's it, it's gone," he said.
But the characters you meet in the game are are real people the money will help. They speak to you in the game.
Webster said donors will get e-mail updates on what exactly they've done.
"So that you can actually see where your money has got to," he said. "The idea is that we're going to go back every month and film either these people or new people.
You May Also Be Interested In These Stories
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redpajama_set_name: RedPajamaCommonCrawl


text:
Very Little Bad Vibes: An Interview With Cult Comedic Hero Tim Heidecker
text by Oliver Maxwell Kupper
Most people know Tim Heidecker from his brilliant Adult Swim series 'Tim & Eric's Awesome Show, Great Job!' and 'Tim & Eric's Bedtime Stories.' While it's easy to use colorful adjectives to describe his brand of humor, it's even harder to define it. Whatever it is, he's developed a massive cult following. He's an everyman that blends a sort of slobbish machismo with the mind of a stoner philosopher, but there is also something sinister about his wit and irreverent spin on, well, everything. Like every great comedian, Heidecker doesn't identify himself as one. His role in Rick Alverson's 2012 film The Comedy proves Heidecker is a brilliant, natural actor with an ability to show a haunting, dispossessed vulnerability that encapsulates a very distinct ennui and disillusionment belonging to the comedown between youth and middle age. As he gets wiser, Heidecker exudes a certain suburban boredom – a boredom that he makes seem exciting in his new album In Glendale. It's a true ode to the singer songwriters, like Warren Zevon, Harry Nilsson, and Randy Newman, who wrote about their surroundings and life with a beautiful banality. Because it's Harry Nilsson or Zevon or Newman, it works, and just like that, Heidecker can pull it off too. I got a chance to chat with Heidecker about comedy, music, getting stabbed in the back and dream projects that haven't materialized yet.
OLIVER KUPPER: The new album is great, by the way. I really enjoyed it.
TIM HEIDECKER: Thank you. That's a good place to start.
KUPPER: Yeah, compliments are a good place to start. This is your first somewhat earnest album, right?
HEIDECKER: Uh huh, whatever that means.
KUPPER: What's it like writing songs versus writing comedy? Is there a different wavelength you need to be on?
HEIDECKER: I don't know. Songwriting is a little more meditative. Obviously, it involves an instrument usually - singing, playing guitar, playing piano, noodling around, finding phrases and subject matter. It's something that I've done for years as a hobby or a way of clearing my brain of other stuff. It can be spontaneous; you can be sitting in a car with other friends and start singing something catchy. Comedy is generally driven by a project. What are the ultimate goals of this? It involves a lot more people, a lot more collaboration. I'm very productive when I'm in collaboration with comedy. I don't sit around and dream up amazing ideas all day long. It generally involves getting lunch or going on a road trip. It's doing something where there's a conversation with a buddy – Eric, Gregg [Turkington], or Doug [Lussenhop]. Someone I'm close with. Music is more singular.
KUPPER: Were you craving that singular, cathartic experience?
HEIDECKER: Not really. With this record, I had always written lots of music. Certain songs would end up in a folder on my computer. Like, I don't really know what this is. It might not be appropriate for comedy. It's not really funny; it's sort of sincere. I was reluctant to share that publicly. But once the first couple of songs on the record starting coming out of me, I thought, there's a theme here that kind of works. It might be nice to put a record out without it being couched in a joke or a character.
KUPPER: How did you team up with [Jonathan] Rado from Foxygen?
HEIDECKER: Through Chris Swanson, who runs Secretly Canadian. I had known him for a while. Those guys financed the movie that I was in, The Comedy. We were friendly. He was a big fan of our work. He knew I was doing music, and he nudged me to take a stab at making records in a more current or straightforward way. He was curious to see what I could do if I did something outside of parody, if I could be a pop music guy that was doing interesting stuff. Rado and I connected on very similar interests in music - 70s singer/songwriter stuff. I love talking about the process, how those guys got the sounds they got, and getting back to that straightforward songwriting. He just wanted to help and be involved.
KUPPER: He's super talented. That band is really great. Who were some of the singer/songwriters at the top of that list that you would talk about?
HEIDECKER: For me, it's Randy Newman, Warren Zevon, Harry Nilsson - the greats, the big ones. I've been really enjoying them for the past several years now.
KUPPER: I'm obsessed with Harry Nilsson. When you decided to go in and make this album, did you feel like you had enough songs? Did you throw yourself in the studio and see what you could come up with? Half and half?
HEIDECKER: The process by which this record was made may be interesting, maybe not. Half the songs were written in a period of a month or so. The other half were songs I had written over the years; they didn't fit into any one category. I had my little home recording studio. I would try to build up the track. You know, not just me and the guitar, but drums, bass. It's a fun way to work, to build tracks, and getting it to sound good, but never that good. I'm not that good at it. I made a demo version of the album at home. It was in the order of all the songs, with a couple extras. I took this home demo to Rado and his garage, and we started making the songs from scratch at his place. He's such a great piano player and drummer. We recorded on tape, and we had four or five demos out of that. But they were still demos; they weren't what we both wanted, which was really clean studio, major-label-sounding recordings. So we took those demos, and I gave them to my band that I play with live - City City. They learned the demos, and then we went into a real recording studio. In the course of a week, we laid everything down. Very quickly, because we knew all the sounds and what we wanted to sound like. We wanted the level of professionalism and the clean sheen that those 70s records had.
KUPPER: You work with a lot of musicians. It's like a ten-piece band, right?
HEIDECKER: Yeah, there's a ten-piece band that I put together. It's mostly that band, City City, and a little horn section. It's a little bit extravagant; there's two background singers, two electric guitar players. I could probably shave that down if I needed to. But right now, everyone just gels. They all came in and brought their own talents to the record. I'm very grateful.
KUPPER: Do you think the audience for your music is different from your comedy audience? Your comedy following is big. Will the same people come out for your music, do you think?
HEIDECKER: For right now, a large percentage of my fans will find me through comedy. With this record, we're trying to present it to the largest group of people possible. I think some people who are coming on board either didn't know or didn't care for my work, but they like the music. It's not intended just for the fans; it's intended for people who like the music. I get a lot of, "Oh, this Tim Heidecker record is actually pretty good." They're surprised. Some fans who have been following me a little closer aren't surprised because they know that I am a big music lover and music maker. That early music might be sillier, but it has the same core qualities.
"I don't necessarily identify myself as a "comedian." I do comedy, I do standup and sketch comedy. I make all kinds of stuff. But I don't concern myself with what to call it or how I should be perceived...I think it's unfortunate that we expect people to stay in their lanes."
KUPPER: It's interesting. Not a lot of comedians can bounce between these different mediums and be taken seriously. Especially when it comes to acting. Your role in The Comedy was a really serious role. There are certain actors, like Robin Williams, whose acting is so good that you don't necessarily think of them as a comedian anymore. Do you ever think about the implications of being too serious?
HEIDECKER: It's a thing that's put on us by journalists and certain people that have perceptions of what people are supposed to do. It doesn't affect my decision making when I decide to do something or not. I generally try to do something based on the desire to do it, whether or not I think it will have quality and be successful. I don't necessarily identify myself as a "comedian." I do comedy, I do standup and sketch comedy. I make all kinds of stuff. But I don't concern myself with what to call it or how I should be perceived. If anything, it's more interesting to have different facets and abilities. I think it's unfortunate that we expect people to stay in their lanes. Actors, musicians, directors, whatever - most of us started out just wanting to make stuff, to do something creative. There was more of a push towards doing comedy, for me. But I still have interest in lots of stuff. As long as there's a market for it, I want to pursue those things. I also understand that there is context. There's a challenge when someone who is usually a country singer comes out with a rap album. It's going to be hard. But some people can do it really well. I admire Steve Martin. He can be silly, very serious and intellectual, he can play music and go on tour. I just hope that you can place this record of mine in the context of my larger body of work and say, "This guy has ideas. He has an interest in expressing himself in different ways."
KUPPER: There's a lot of freedom in that. If you see yourself as an artist and not specifically in one lane, you can do anything, even if there's not a market for it.
HEIDECKER: I want to have that reputation, that you don't know exactly what to expect when I present something. It should, theoretically make you more interested in what I'm doing next.
KUPPER: You still maintain the cult comedian aura. Is that something that you try to hold onto, or is it a natural progression of you as an artist?
HEIDECKER: It's all just been fun, playing with identity and the media, trying to create work that leaps the dimensions of television or linear video. It's been more fun, for On Cinema, to let those characters have a life outside the show. This record, though, is really straight. There's really not an angle for me to be anybody but myself. If there's something stupid, like something from the Tim and Eric Show, the work speaks for itself. Let's just party.
KUPPER: Do you feel like you get a lot of stupid questions? Do you like doing interviews?
HEIDECKER: It depends. It's interesting to see the spectrum of people who are interested. Our publicist works very hard to get as much press as we can. My attitude has always been, do as much as you can. You never know when someone is going to read something out of the blue, and it turns into their favorite thing. But there are so many young people doing this who don't seem interested. Like, I had a kid come to the Decker screening, and he ran out of questions for me in, like, a minute. I don't know if this is the best career choice for you if you can't think of any questions. He's like, "Yeah, my editor wanted me to talk about Trump." He asked me three questions about Trump, and then he got tongue-tied.
KUPPER: They want clickbait.
HEIDECKER: Yeah. But generally, if there's someone like you, someone thoughtful and interesting, I think it's pretty harmless. It helps me figure out what the hell I'm doing. You can make stuff, but you don't really analyze it too much until you start talking to someone about it.
KUPPER: It's interesting how that works. That's why real criticism is important, too. People are too focused on clickbait, and they don't think that the most interesting thing is to analyze the work and talk to the artist to find answers.
HEIDECKER: I think some criticism tends to be very quick, not thoughtful, not researched. The negative criticism I've gotten has usually come without a frame of reference to me or my work. It's a very easy, "This is just Dad rock." I'm insecure with that person, who doesn't know the context. It's safer and quicker to go with a buzzword that they just heard.
KUPPER: You're premiering Decker next week?
HEIDECKER: Yes, Friday the 17th.
KUPPER: And you're working with Gregg Turkington again, which is great. What's that experience been like?
HEIDECKER: Gregg and I have known each other for about 10 years now. I was such a huge Hamburger fan. I roped him into doing our show. Our wives get together. We've got kids who are the same age. We just share a lot of common interests. Once we started doing this On Cinema thing, it seemed like we found this endless well of material that we could keep feeding and growing and developing. We established these two characters that are so fun to write for and behave as. It keeps entertaining us, this world. And it keeps getting bigger, because we keep adding fuel to it. Also, he's just a nice guy. I'm so grateful to do this. On the TV show, we were able to elevate things a little bit. We were doing it as a full time thing. It was one of the most stress-free, joyful experiences. Everyone doing it loves it. It's an easy thing to make. It's so shitty. It's not like you're doing tons of takes and waiting for the perfect light. There are very little bad vibes in that environment. At my age, you want to be around that kind of energy as much as possible.
KUPPER: Especially in collaborations.
HEIDECKER: Yeah.
KUPPER: It's been ten years since you had that famous interaction with your neighbor [where he stabbed you in the back]. Do you still think about that, or is it ancient history at this point?
HEIDECKER: Strangely, I've been thinking about it lately. Not to pat myself on the back (and not to be ironic), when that kid did that to me, I didn't want to press charges. It felt like such a futile thing to do. He was 19 or 20 years old. He was on some insane drug. If he was going to go to jail for a significant amount of time, he would end up way worse. He'd be a bigger problem to the world. He ought to be given another shot. Those with white privilege are treated with more leniency, and that's not fair, but it shouldn't be, "Let's throw this kid in a dark cell for the rest of his life." It should be, how can we give disadvantaged kids better opportunities? We need to look at the prison system as not the answer to our problems. It's a heavy thing. When you're actually faced with the choice to punish somebody, it's a hard thing to do. If you know anything, the prison system is designed to fail. It doesn't make any sense.
KUPPER: You have to rehabilitate.
KUPPER: Do you have any dream projects that haven't materialized yet?
HEIDECKER: We're kind of doing it all. The more of an audience you have, the easier it is to do all these things. That's the challenge, to get the word out, to get people to tune in. The futility of that is I know I don't have a lot of power there. It either connects with a larger group of people, or it doesn't. To answer your question, the next record I want to do, we want to bring in some of the guys that actually played on those old records who are still around. People like Jim Keltner, those guys who are still doing sessions and available. I would love to go in with Murderer's Row and the people who made that, just to do it, because you can. I think that adds a whole other level.
KUPPER: I look forward to that, for sure.
[helicopter-like sound]
HEIDECKER: Cool. My helicopter is here, so I guess I got to go.
Tim Heidecker's new album, In Glendale, is out now on Rado Records. Text and interview by Oliver Maxwell Kupper. Photographs by Cara Robbins. Follow Autre on Instagram: @AUTREMAGAZINE
In Music, Film Tags tim heidecker, tim and eric, comedy, music, warren zevon, harry nilsson, randy newman, new music, gregg turkington, doug lussenhop, the comedy, adult swim, stoned philosopher, 70s music, standup, sketch comedy, drama, tv, film, super, featured


Homeless and addicted - More on Beth, who lost her job due to an unexpected pregnancy and began using drugs. This is the story of her journey through homelessness and rehab.
More on Beth, who lost her job due to an unexpected pregnancy and began using drugs. This is the story of her journey through homelessness and rehab.


text:
Rudolf Wegscheider (18 de octubre de 1859 - 8 de enero de 1935) fue un químico austríaco de origen suabo del Banato.
Wegscheider estudió química y fue el fundador de la Escuela de Química de Austria. Impartió lecciones en la Universidad de Viena, y desde 1902 a 1931 fue Jefe del Departamento. También dirigió la asociación de Químicos Austriacos desde 1904 a 1929.
R. Wegscheider introdujo el Principio de Balance Detallado en la cinética química.

Referencias

Químicos de Austria
Premio Lieben
Miembros de la Academia de Ciencias de Baviera
Miembros de la Leopoldina
Nacidos en Zrenjanin
Fallecidos en Viena

redpajama_set_name: RedPajamaWikipedia


text:
Molina & Johnson är ett kollaborativt studioalbum av Jason Molina (Songs: Ohia, Magnolia Electric Co.) och Will Johnson (Centro-matic). Skivan utgavs 2009 på Secretly Canadian.

Låtlista
"Twenty Cycles to the Ground"
"All Falls Together"
"All Gone, All Gone"
"Almost Let You In"
"In the Avalon/Little Killer"
"Don't Take My Night from Me"
"Each Star Marks a Day"
"Lenore's Lullaby"
"The Lily and the Brakeman"
"Now, Divide"
"What You Reckon, What You Breathe"
"For as Long as It Will Matter"
"34 Blues"
"Wooden Heart"

Referenser

Externa länkar
Skivbolagets sida för Molina & Johnson

Album av Jason Molina
Musikalbum 2009
Album utgivna på Secretly Canadian


This collection includes books and personal papers of T.R. Bankhead. Bankhead served for over 60 years in the Northwest and was an ACC student in the early 1930s. The collection consists of books, Bibles, papers, notebooks, photographs, and Sunday school material.
Bankhead, Thomas R., "Thomas Raymond "T.R." Bankhead Papers, 1930s-2011" (2018). Center for Restoration Studies Archives, Manuscripts and Personal Papers Finding Aids. 524.


It is a sad reality of any publically-funded heath service that there is always more that could be done if only there were sufficient finances. This short video by Medical students at the University of Leicester, raises some of the different tensions facing those who need to make decisions about the allocation of resources.
Whose cells are they anyway?
In hundreds of research labs around the world, including within my own Department, scientists carry out experiments using a human cell line known as "HeLa". Most cells die after a defined period of time, but mutations within the HeLa cells have allowed them to continue dividing outside of these normal contraints, and as such they are said to be "immortal". The original tissue sample from which HeLa cells are derived was taken from the cancerous cervix of an African-American woman Henrietta Lacks (the name of the cell line being an abbreviation of her name).
The Immortal Life of Henrietta Lacks, a captivating account of the human story behind these amazing cells, has recently won many plaudits, including the prestigious Wellcome Trust Book Prize.
Private Practice: Acting ethically at the Wellness Center?
(Warning – contains plot spoilers!) Private Practice is a spin-off from Seattle hospital drama Grey's Anatomy in which Dr Addison Montgomery (Kate Walsh) moves from Seattle Grace to join the staff of the Ocean Wellness Center in Los Angeles.
I have to admit that I tired of Grey's Anatomy during Season 1 and although I was aware it has spawned another series I had no desire to watch. All this changed, however, following an excellent talk on the programme, given by Dublin Doctor Audrey Dillon at the 4th Postgraduate Bioethics Conference (Belfast, June 2009).
The writers of Private Practice, headed by Shonda Rhimes, have made a conscious decision to incorporate ethical issues into the storylines (see 'Private Practice' explores bioethics questions). This means, therefore, that the series may well throw up some interesting case studies as discussion starters.
At the time of writing, Living TV (UK) has just started transmission of Season 2 (see here for Episode guide). A Family Thing, the first programme of the series, was aired on 25th June 2009 (TRILT code 00FC042B). True to promise, it contained two subplots featuring ethical dilemmas.
Saviour siblings – a donor by design?
In the first (starting 7 minutes in), Molly and Eric Madison present at the clinic demanding that the staff deliver their baby daughter that day, despite the fact that she is only 27 weeks gestation. The girl, it transpires, has been conceived following Pre-implantation Genetic Diagnosis, to be a 'saviour sibling' for her older brother, Jason. The boy has leukaemia and has had his own bone marrow wiped out in preparation for a transplant from a donor who has now fallen unwell with pneumonia. He is therefore immunocompromised and urgently needs umbilical stem cells courtesy of the new child.
The most recent episode of Holby City is available to view of download on via the BBC iPlayer.
Following on from the recent BioethicsBytes post Holby City – "If you can't look after yourself, then why should we?" (published on January 21 2009; updated February 4th 2009), which concerned ethical issues in NHS resource allocation as highlighted by two episodes of the BBC1 drama Holby City, this update post covers events in more recent episodes of Holby City – including the denouement to the storyline, as depicted in Feet of Clay.
The storyline concerns the "zero tolerance" policy implemented by Head of Surgery, Dr Ric Griffin (Hugh Quarshie), who is refusing to authorise surgical procedures for patients whose lifestyle choices may have contributed to their illness. Previous posts have covered the instigation of this policy in the episode Just (first broadcast on BBC1 on January 20 2009, at 20.00; TRILT Identifier: 00D15A4E), and the events and debates this creates between the characters in Tough Love (first broadcast on BBC1 on February 3 2009, at 20.00; TRILT Identifier: 00D8E505). This post notes relevant events in the subsequent episodes Trust, Truth and Mercy, and Take Her Breath Away, and the closure of the storyline in Feet of Clay.
You are currently browsing the archives for the Clinical ethics category.


This week and next at Balkinization we are hosting a symposium on Michael Klarman's new book, The Framers' Coup: The Making of the United States Constitution (Oxford University Press 2016).
We have assembled a terrific group of commentators, including Jud Campbell (Richmond), James Fox (Stetson), Mark Graber (Maryland), Steve Griffin (Tulane), Calvin Johnson (Texas), Sanford Levinson (Texas), Laura Kalman (UC Santa Barbara), Christina Mulligan (Brooklyn), Ryan Williams (Boston College), and myself.
At the conclusion, Mike will respond to the commentators.


Adolescence is a time of transition for the teen as well as the other members of the family. The experience of adolescence varies for each individual and can change day to day, hour to hour. These years of life are characterized by physical and emotional changes. Values, morals, abstract thinking, increasing independence, and figuring out one's identity are just a few of the challenges of this stage in life. Parents or care-givers are often challenged by the role of parent-to-teen because so much of the child's behavior is unpredictable, or predictably difficult, depending on the many variables that contribute to the health or illness of a family.
I have always had a passion for working with adolescents and helping them separate from their families of origin in a manner that reduces strife, and improves communication and a new kind of closeness, while doing "damage control" by helping the teen make choices that are the least destructive to themselves and their families.
This is not always easy because many people wait too long to start therapy, hoping the behavior is a phase and will go away on its own. They continue to use strategies that fail, despite contrary evidence. Too often, parents are shocked and unprepared for the changes in their previously-cooperative latency age (7-11/12 child). Somehow, despite the conflicts in families with teens, it is hard to accept that YOUR teen could act in such an unkind, self centered, defensive and fault-finding manner. How this stage is negotiated by families is critically important as it lays a framework for later adult-child/parent relationships.
If you are interested in talking to me about working with your teen and/or your family, please call or email me for an initial consultation. I do a short assessment and answer questions you may have for the purpose of developing an initial treatment plan, whether with me or not, depending on the variables. I often refer people to reading material, websites, or community support organizations. This is because I have often found that a variety of interventions work more effectively than any one by itself. Please note the books below so you might get started right away on the issues at hand.
Please see the books I recommend on Adolescence here.


Images of wildlife, flowers, birds, reptiles, snowfall, landscapes, sunsets and different sceneries are often used as stock pictures. By the tip of the nineteenth century, art photographers used the platinum process to present a romantic vision of Native peoples—then understood to be a vanishing race"—whilst they struggled in opposition to disease, poverty, assimilationist insurance policies and dispossession of tribal lands.
Also discovered are pictures by Lewis Hickes Hine and Bruce Davidson documenting political occasions and altering occasions, and photo documentation of historical figures like Frederick Douglass, who eternally changed our understanding of democracy.
Wild & Valuable brings together treasures from a series of highway journeys travelled over 5 years by photographer Jesse Burke and his daughter Clover. It's true, however you have to imply it in a little bit extra critical means than I feel he meant it. It is the strongest because you're seeing essentially the most lasting—the truest—manner you can, assuming you consider that ultimately things do match.
They typically offered their photos by mounting them on papers that have been specially lined or coloured, like advantageous artwork drawings, and they generally showed them in specially designed frames. One photography historian claimed that "the earliest exponent of 'Fantastic Art' or composition images was John Edwin Mayall , "who exhibited daguerrotypes illustrating the Lord's Prayer in 1851".
Quantity 1 showcases the perfect of Campbell's portfolio, with photographs from the likes of Mert Alas and Marcus Piggott , Richard Avedon, Anton Corbijn, Patrick Demarchelier, Steven Meisel, Helmut Newton , Herb Ritts, Paolo Roversi, Mario Testino , Ellen von Unwerth , and Bruce Weber, and such unforgettable shoots as Peter Lindbergh 's joyful sequence of Naomi dancing as Josephine Baker on the beach in Deauville for Italian Vogue, or Jean-Paul Goude's beautiful composition of Naomi racing a cheetah for U.S. Harper's Bazaar.


Dr. Alexandra Drakaki, MD, PHD, is a primary investigator of several clinical trials at UCLA. She has achieved a number of successes in hematology and oncology, which have lead to significant breakthroughs and approval of novel drugs in the field. Fortunately, Dr. Drakaki made some time to answer a few questions for PHASE ONE.
Q: What is the best cancer prevention tip you have ever shared and/or received?
Cancer is the disease of our time. People used to die from infections and cardiovascular disease in theirs forties and fifties, but now they live longer so they have higher risk of developing cancer. If we knew how to prevent it, nobody would have had cancer; however we know a few "tips." Lifestyle intervention strategies that may help to decrease risk of several cancers include avoiding smoking, alcohol, and obesity. Good sleep, meditation, and exercise play an important role as well in decreasing cancer recurrences as proven by many clinical trials in certain types of cancer, like breast cancer. However, my favorite tip that I ever received is: "Laughing is the best cancer prevention strategy."
Q: Do you have a favorite patient survivor story?
There are many wonderful stories. One of my special ones, was Ms. X. I met her in July 2014. She was in her late forties at the time, a beautiful lady full of life. As soon as I introduced myself to her as her new oncologist, I then gave her the bad news that her cancer had recurred and it was going to be terminal. Our relationship went through waves as you can imagine. She refused to accept the news. Her only son had just graduated from high school - she had to be there for him. We looked through the few available studies at the time for her rare cancer and eventually I enrolled her in a Phase I clinical trial. Time went by and we bonded like family. Her widespread cancer melted away within the first few cycles and now we are getting ready for her son's graduation from college. She is going to be proud, but most importantly, she is going to be there, four years later...cancer free!
Q: Is there a problem with conventional cancer screenings for certain types of cancer?
In 2018, the simple answer is, "no." There is no problem with conventional screenings for certain types of cancer. Although, I would say the bigger issue is the lack of screening modalities for cancer. One of the first screening tests, that positively proved itself with life saving results for early detection, was the Papanikolaou test for cervical cancer, followed by mammograms for breast cancer, colonoscopies for colorectal cancer, PSA for prostate cancer (with a lot of debate about its use since it may identify "insignificant" cancers), and recently a CT of the chest for lung cancer screenings in high risk patients. Accordingly, and as you can see, the major problem in detecting cancer at an early stage is due to the lack of screening modalities for most cancer types. Although, there is hope that with the way research is progressing, we will be able to detect malignancies at an earlier stage through a simple urine, stool or blood test.


Just a few of my faves from a cold but really fun engagement shoot in London's Carnaby Street with Naomi & Adam, who celebrate their wedding in January 2013. We met up for an hour or so of freezing fun, including sneaking into shops, a quick coffee and a startling admission that Naomi shares my love of Stephen Sondheim's music - I knew we'd get on well! We then headed off to the hotel in Grosvenor Square where their ceremony and party will be next month to meet both set sof parents and chat through the details of what is going to be an amazing day - can't wait!


text:
package com.amazonaws.services.rds.model.transform;

import javax.annotation.Generated;

import com.amazonaws.SdkClientException;
import com.amazonaws.Request;
import com.amazonaws.DefaultRequest;
import com.amazonaws.http.HttpMethodName;
import com.amazonaws.services.rds.model.*;
import com.amazonaws.transform.Marshaller;
import com.amazonaws.util.StringUtils;

/**
 * AuthorizeDBSecurityGroupIngressRequest Marshaller
 */

@Generated("com.amazonaws:aws-java-sdk-code-generator")
public class AuthorizeDBSecurityGroupIngressRequestMarshaller implements
        Marshaller<Request<AuthorizeDBSecurityGroupIngressRequest>, AuthorizeDBSecurityGroupIngressRequest> {

    public Request<AuthorizeDBSecurityGroupIngressRequest> marshall(AuthorizeDBSecurityGroupIngressRequest authorizeDBSecurityGroupIngressRequest) {

        if (authorizeDBSecurityGroupIngressRequest == null) {
            throw new SdkClientException("Invalid argument passed to marshall(...)");
        }

        Request<AuthorizeDBSecurityGroupIngressRequest> request = new DefaultRequest<AuthorizeDBSecurityGroupIngressRequest>(
                authorizeDBSecurityGroupIngressRequest, "AmazonRDS");
        request.addParameter("Action", "AuthorizeDBSecurityGroupIngress");
        request.addParameter("Version", "2014-10-31");
        request.setHttpMethod(HttpMethodName.POST);

        if (authorizeDBSecurityGroupIngressRequest.getDBSecurityGroupName() != null) {
            request.addParameter("DBSecurityGroupName", StringUtils.fromString(authorizeDBSecurityGroupIngressRequest.getDBSecurityGroupName()));
        }

        if (authorizeDBSecurityGroupIngressRequest.getCIDRIP() != null) {
            request.addParameter("CIDRIP", StringUtils.fromString(authorizeDBSecurityGroupIngressRequest.getCIDRIP()));
        }

        if (authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupName() != null) {
            request.addParameter("EC2SecurityGroupName", StringUtils.fromString(authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupName()));
        }

        if (authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupId() != null) {
            request.addParameter("EC2SecurityGroupId", StringUtils.fromString(authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupId()));
        }

        if (authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupOwnerId() != null) {
            request.addParameter("EC2SecurityGroupOwnerId", StringUtils.fromString(authorizeDBSecurityGroupIngressRequest.getEC2SecurityGroupOwnerId()));
        }

        return request;
    }

}

redpajama_set_name: RedPajamaGithub


The proofs are in! Or at least the proofs from the second linoleum block. I finished up carving it a few days ago, and printed four proofs from it this afternoon. Looking ahead, the next step is to print block one on top of the new proofs. The dilemma with this is that I will have to conquer registration, which is the process of aligning block one with what has already been completed so that the two-color image lines up as intended. I am planning to try several different methods of alignment. The first is simply going at it by eye, but I'm worried that this won't be precise enough. Another option is to build a registration board, which will be much more repeatable. Moving into the next week, I hope to begin printing the final version of the linoleum print and maybe even have the opportunity to play with color.
This entry was posted in Visual and Performing Arts and tagged westtown school on November 8, 2015 by josephr475.
This is an awesome picture Joseph. Your work looks professional however, I am not surprised as we had wood-shop together last year. I am excited to see how this progresses. Good luck with conquering registration.
It has been really exciting to see your work progress this term. While I knew you were mechanically talented from so many years of Robotics with you, I had no idea you had such artistic talent. Really fantastic work!


If you despise showering in icy water, make sure that you always keep your water heater in tip-top condition. The better maintained your water heater is, the less likely it will be to act up and disrupt your life. Water heater woes can lead to a handful of annoyances, notably freezing cold water, persistent leaking, water discoloration and conspicuous gas odors. If you're in Hermosa Beach, California, water heater issues don't have to get you down. Hammer Plumbing & Drain can come to your aid, after all. At Hammer Plumbing & Drain, we're experts in water heaters. Come to us for water heater repair Hermosa Beach residents can always believe in.
Never dismiss possible signs of water heater problems. If you notice loose bolts, insufficient hot water or noticeable crackling sounds, there's a big chance that something just isn't working right. As soon as you notice anything unusual with your water heater or water, call us for our reliable and attentive services. We offer repair, replacement and installation services. To get water heater installation Hermosa Beach residents have appreciated for a long time, simply call Hammer Plumbing & Drain.
Our plumbing company caters to water heaters of several different varieties. If you own a tankless water heater, we can provide you with diligent repair services. If you'd like to get a tankless water heater, we can install it for you. Some households favor these water heaters because they generally aren't as big, they decrease energy costs and provide unlimited H20. If these conveniences appeal to you, you can look to us for tankless water heater installation Hermosa Beach homes have depended on for generations.
At Hammer Plumbing & Drain, we can do it all. We know our stuff when it comes to sewers, drains, water mains and sprinklers. Get your home back to cozy comfort by calling our company for our unparalleled water heater services. Showers and baths are supposed to be relaxing. They're not supposed to be tests in tolerating freezing cold water. For the most in-depth Hermosa Beach water heater repair around, call the knowledgeable team at Hammer Plumbing & Drain today. We can also provide you with useful details on our payment plan, which spans 12 months and is 100 percent interest-free. We serve customers in all parts of the city, whether they're near Valley Park, the Hermosa Beach Pier, the Park Pacific Shopping Center or Saint Rocke.


text:
3rd Thursday of every month
The Coliseum / City Hall
Council Chambers
Sterling, IL 61081
Joe Strabala-Bright June 1, 2020 to June 30, 2023
Aurelio Gallardo June 30, 2018 to June 30, 2024
Albert (Skip) McCloud June 30, 2019 to June 30, 2025
Rene Morris July 1, 2017 to June 30, 2023
Carol Corwell November 1, 2021 to November 1, 2024
Jamie Schwingle June 1, 2017 to June 30, 2023
In order that adequate provisions be made for the preparation of a comprehensive City plan for the guidance, direction and control of the growth and development or redevelopment of the City and contiguous territory not more than 1.5 miles beyond the corporate limits and not included in any municipality, a Planning Commission is hereby created.
The Planning Commission shall consist of 7 voting members who shall reside within the City, or within territory contiguous to the City, and not more than 1.5 miles beyond the corporate limits of the City, and not included within the corporate limits of any other municipality, and who shall be appointed by the Mayor and confirmed by the City Council on the basis of the qualifications for duties as a member of the Planning Commission. The 7 members of the Planning Commission appointed by the Mayor and approved by the City Council shall serve terms of 3 years each. Vacancies shall be filled by appointments for unexpired terms only. Present members shall serve out their unexpired terms. All members of the Planning Commission shall serve without compensation.
Immediately following their appointment the members of the Planning Commission shall meet, organize, elect such officers as it may deem necessary, and adopt and later change or alter, rules and regulations of organization and procedure consistent with City ordinances and state laws. The Commission shall keep written records of its proceedings, which shall be open at all times to public inspection. The Commission shall also file an annual report with the City Council setting forth its transactions and recommendations.
Powers & Duties
The Planning Commission shall have the following powers and duties:
To prepare and recommend to the City Council a comprehensive plan for the present and future development or redevelopment of the City. Such plan may be adopted in whole or in separate geographical or functional parts, each of which, when adopted, shall be the official comprehensive plan, or part thereof, of the City. This plan may include reasonable requirements with reference to streets, alleys, public grounds and other improvements specified in this section. The plan, as recommended by the Planning Commission and as thereafter adopted in the City, may be made applicable, by the terms thereof, to land situated within the corporate limits and contiguous territory not more than 1.5 miles beyond the corporate limits and not included in any municipality. Such plan may be implemented by ordinances:
Establishing reasonable standards of design for subdivisions and for resubdivisions of unimproved land and of areas subject to redevelopment in respect to public improvements as defined in this section.
Establishing reasonable requirements governing the location, width, course and surfacing of public streets and highways, alleys, ways for public service facilities, curbs, gutters, sidewalks, streetlights, parks, playgrounds, schoolgrounds, size of lots to be used for residential purposes, stormwater drainage, water supply and distribution, sanitary sewers, and sewage collection and treatment.
May designate land suitable for annexation to the City and the recommended zoning classification for such land upon annexation.
To recommend changes, from time to time, in the official comprehensive plan.
To prepare and recommend to the corporate authorities, from time to time, plans for specific improvements in pursuance of the official comprehensive plan.
To give aid to the municipal officials charged with the direction of projects for improvements embraced within the official plan, to further the making of these projects, and, generally, to promote the realization of the official comprehensive plan.
To prepare and recommend to the City Council schemes for regulating or forbidding structures or activities which may hinder access to solar energy necessary for the proper functioning of solar energy systems, as defined in section 1.2 of the Comprehensive Solar Energy Act of 1977 (30 ILCS 725/1.2), or to recommend changes in such schemes.
To exercise such other powers germane to the powers granted by article 11 of the Illinois Municipal Code (65 ILCS 5/11-1-1 et seq.) as may be conferred by the corporate authorities.
Official Map
At any time, before or after the formal adoption of the official comprehensive plan by the City Council, an official map may be designated by ordinance, which map may consist of the whole area included within the official comprehensive plan, or one or more separate geographical or functional parts, and may include all or any part of the contiguous unincorporated area within 1.5 miles from the corporate limits of the City. All requirements for public hearing, filing of notice of adoption with the county recorder of deeds, and filing of the plan and ordinances, including the official map, with the City Clerk shall be complied with as provided for by law.
No map or plat of any subdivision or resubdivision presented for record affecting land within the corporate limits of the City or within contiguous territory which is not more than 1.5 miles beyond the corporate limits shall be entitled to record or shall be valid unless the subdivision shown thereon provides for standards of design, and standards governing streets, alleys, public ways, ways for public service facilities, streetlights, public grounds, size of lots to be used for residential purposes, stormwater and floodwater runoff channels and basins, water supply and distribution, sanitary sewers, and sewage collection and treatment in conformity with the applicable requirements of the ordinances, including the official map.
The City Clerk shall furnish the Planning Commission, for its consideration, a copy of all ordinances, plans and data relative to public improvements of any nature. The Planning Commission may report in relation thereto if it deems a report necessary or advisable, for the consideration of the City Council:
The Planning Commission may, with the approval of the Mayor or City Manager, employ a secretary or staff, or both, whose wages or salaries and other necessary expenses shall be provided for by the City Council from the public funds.
If the Planning Commission shall deem it advisable to secure technical advice or services, it may be done upon authority from the City Council and appropriations by the City Council therefor.
Approval of subdivision plats. The fee for application for approval of a subdivision or any portion thereof shall be $100 for up to 5 acres; over 5 acres, $100 plus $5 for each lot within the subdivision plus reimbursement costs for all required notices.
Zoning amendments. For any petition for amendment of the zoning chapter filed with the Planning Commission, the fee is $150 for each petition for amendment plus the cost of reimbursement for all required notices.
Appeals. For any petition to the Planning Commission for appeal from a decision of a City official requesting relief under the zoning chapter, the filing fee is $150 plus the cost of reimbursement for any required notices.
Building Code Board of Appeals
Fire Department Foreign Insurance Tax Board
Fire & Police Commission
Firefighters Pension Board
Hospital Board
Mural Commission
Municipal Band
Plumbing Board of Appeals
Police Pension Board
Property Maintenance Code Appeals Board
Sterling Industrial Development Commission
Stormwater & Erosion Control Appeals Board
TIF Joint Review Board
Tree Board


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Full Lineup Announced for the 2018 LA PRIDE FESTIVAL!
May 2, 2018 in CALENDAR, ENTERTAINMENT, NEWS, Uncategorized.
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text:
Open Season (2001)
Open Season re-release cover
The first Joe Pickett novel from #1 New York Times-bestselling author C.J. Box.
Joe Pickett is the new game warden in Twelve Sleep, Wyoming, a town where nearly everyone hunts and the game warden—especially one like Joe who won't take bribes or look the other way—is far from popular. When he finds a local hunting outfitter dead, splayed out on the woodpile behind his state-owned home, he takes it personally. There had to be a reason that the outfitter, with whom he's had run-ins before, chose his backyard, his woodpile to die in. Even after the "outfitter murders," as they have been dubbed by the local press after the discovery of the two more bodies, are solved, Joe continues to investigate, uneasy with the easy explanation offered by the local police.
As Joe digs deeper into the murders, he soon discovers that the outfitter brought more than death to his backdoor: he brought Joe an endangered species, thought to be extinct, which is now living in his woodpile. But if word of the existence of this endangered species gets out, it will destroy any chance of InterWest, a multi-national natural gas company, building an oil pipeline that would bring the company billions of dollars across Wyoming, through the mountains and forests of Twelve Sleep. The closer Joe comes to the truth behind the outfitter murders, the endangered species and InterWest, the closer he comes to losing everything he holds dear.
Listen to an Audiobook Excerpt of Open Season
Buy Open Season Today


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