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Representative Plays by American Dramatists: 1856-1911: by Montrose J. Moses
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Representative Plays by American Dramatists
Edited, with an Introduction to Each Play
By MONTROSE J. MOSES
Illustrated with Portraits, and
Original Playbills
To BRANDER MATTHEWS
Friend of the American Theatre
To whom all Critics of the Theatre are beholden.
Bibliographies.
Rip Van Winkle: A Legend of the Catskills. A
Comparative Arrangement with the Kerr Version.
By Charles Burke. 1850
Francesca da Rimini. By George Henry Boker. 1855
Love in '76. An Incident of the Revolution. By Oliver Bell Bunce. 1857
Paul Kauvar; or, Anarchy. By Steele Mackaye. 1887
Shenandoah. By Bronson Howard. 1888
In Mizzoura. By Augustus Thomas. 1893
The Moth and the Flame. By Clyde Fitch. 1898
The New York Idea. By Langdon Mitchett. 1906
The Easiest Way. By Eugene Walter. 1909
The Return of Peter Grimm. By David Belasco. 1911
The Authors and Their Plays.
The present volume of "Representative Plays by American Dramatists"
includes many hitherto unpublished manuscripts. These are for the first
time made available in authoritative form to the student of the American
theatre. The Editor has tried consistently to adhere to his original
basis of selection: to offer only those texts not generally in
circulation and not used elsewhere in other anthologies. Exactions of
copyright have sometimes compelled him to depart from this rule. He has
been somewhat embarrassed, editorially, by the ungenerous haste with
which a few others have followed closely in his path, even to the point
of reproducing plays which were known to be scheduled for this
collection. For that reason there have been omitted Mr. William
Gillette's "Secret Service," available to readers in so many forms, and
Mr. Percy Mackaye's "The Scarecrow." No anthology of the present
historical scope, however, can disregard George Henry Boker's "Francesca
da Rimini" or Bronson Howard's "Shenandoah." In the instance of Mr.
Langdon Mitchell's "The New York Idea," it is possible to supersede all
previous issues of this refreshing comedy by offering a text which, as
to stage directions, has been completely revised by the author. Mr.
Mitchell wishes to have this regarded as the correct version, and has
himself prepared the "copy" of same. Because of the easy accessibility
of Dion Boucicault's "The Octoroon; or, Life in Louisiana," it was
thought best to omit this Irish-American playwright, whose jovial
prolixity enriched the American stage of the '60's and '70's. His
"London Assurance" is included in the present Editor's collection of
"Representative British Dramas: Victorian and Modern."
Of more historical significance than Joseph Jefferson's final version of
"Rip Van Winkle," are the two texts upon which Boucicault and Jefferson
based their play. It has been possible to offer the reader a comparative
arrangement of the John Kerr and Charles Burke dramatizations.
In the choice of Steele Mackaye's "Paul Kauvar; or, Anarchy" a period is
illustrated which might be described as transitional. Executors of the
Augustin Daly estate are not ready to allow any of Daly's original plays
or adaptations to be published. The consequence is "Paul Kauvar" must
stand representative of the eighteen-eighty fervour of Lester Wallack,
A.M. Palmer, and Daly, who were in the Mackaye tradition.
Oliver Bunce's "Love in '76" has been selected for the same reason that
one might select Clyde Fitch's Revolutionary or Civil War
pieces--because of its bloodless character; because it is one of the
rare parlour comedies of the period.
Of the new pieces, Fitch's "The Moth and the Flame" has remained
unpublished until now. It exemplifies many of his most sprightly
observational qualities. "The Truth" and "The Girl with the Green Eyes"
are more mature, but are no less Fitchean than this. Mr. David Belasco's
"The Return of Peter Grimm" is as effective in the reading as it was on
the stage under his triumphant management. Mr. Eugene Walter's "The
Easiest Way," at the last moment, was released from publication in the
_Drama League Series of Plays_; it still stands as America's most
cruelly realistic treatment of certain city conditions. In the choice of
Mr. Augustus Thomas's "In Mizzoura"--"The Witching Hour" having so often
been used in dramatic collections--the Editor believes he has
represented this playwright at a time when his dramas were most racy and
native.
This third volume, therefore, brings examples of the present American
stagecraft to date. Had his policy of selection not been exclusive, but
rather inclusive of plays easily accessible to the student, the Editor
might have reached out for Mr. George C. Hazelton's and Mr. Benrimo's
"The Yellow Jacket," Mr. Charles Kenyon's "Kindling," and Mr. A.E.
Thomas's "Her Husband's Wife." He might likewise have included William
Vaughn Moody's "The Great Divide." These are all representative plays by
American dramatists for some future anthologist, when present editions
become rare.
But here are offered plays that will enrich the American dramatic
library because of their rarity, and for that reason others have been
excluded, which are easily procurable in print.
Through the courteous co-operation of Dr. Fred W. Atkinson, Professor
Brander Matthews, officials of the New York Public Library, The Library
Society of Philadelphia, Mr. Robert Gould Shaw, Custodian of the
Dramatic Collection of Harvard College Library, and through the generous
response of the owners of copyrights and manuscripts, the present volume
is made possible. The Editor, through every phase of his work, has had
the unswerving encouragement and assistance of his wife.
MONTROSE J. MOSES.
New Hartford, Conn.
August, 1920.
BIBLIOGRAPHY OF GENERAL WORKS
A large bibliography of standard works on the American
Theatre was given in Volume I of the present collection. A
very few of the titles have been repeated here, with the additional
inclusion of books which will present the essential spirit of
modern American playwriting. Some of these works mentioned
contain further bibliographies, and these will enable the student
to go as far in the field as desired. There are still unblazed trails for
the research worker, but these trails are becoming fewer and
fewer, as interest in the study of American Drama as a social
and artistic force progresses.
ATKINSON, F.W. American Plays. Private Catalogue. Brooklyn, N.Y.
BAKER, GEORGE PIERCE. Dramatic Technique. Boston: Houghton. 1919.
BURTON, RICHARD. The New American Drama. New York: Crowell. 1913.
CHANDLER, FRANK W. Aspects of Modern Drama. New York: Macmillan.
CHENEY, SHELDON. The Art Theatre. New York: Knopf. 1917.
CHENEY, SHELDON. The New Movement in the Theatre. New York: Kennerley.
CHENEY, SHELDON. The Out-of-door Theatre. New York: Kennerley. 1918.
CRAWFORD, MARY C. The Romance of the American Theatre. Boston:
Little, Brown. 1913.
DALY, JOSEPH FRANCIS. Life of Augustin Daly. New York: Macmillan.
DICKINSON, THOMAS H. The Case of the American Drama. Boston: Houghton.
DICKINSON, THOMAS H. Chief Contemporary Dramatists. Boston: Houghton.
HAMILTON, CLAYTON. Problems of the Playwright. New York: Holt. 1917.
HAMILTON, CLAYTON. Studies in Stagecraft. New York: Holt. 1914.
HAMILTON, CLAYTON. The Theory of the Theatre. New York: Holt. 1910.
HENDERSON, ARCHIBALD. The Changing Drama. New York: Holt. 1914.
HORNBLOW, ARTHUR. A History of the Theatre in America. 2 vols.
Philadelphia: Lippincott. 1919. (The files of the _Theatre Magazine_
are invaluable as a record of current stage events. Mr. Hornblow has
been the editor of this magazine for many years, from its beginning.)
HUTTON, LAURENCE. Curiosities of the American Stage. New York: Harper.
IRELAND, JOSEPH N. Records of the New York Stage from 1750-1860. 2
vols. 1866.
KROWS, ARTHUR E. Play Production in America. New York: Holt. 1916.
MACKAY, CONSTANCE D. The Little Theatre in the United States. New York:
Holt. 1917. (See also Thomas H. Dickinson's book on the same subject.)
MACKAYE, PERCY. The Civic Theatre. New York: Kennerley. 1912.
MACKAYE, PERCY. The Playhouse and the Play. New York: Macmillan. 1909.
MODERWELL, HIRAM K. The Theatre of To-day. New York: Lane. 1914.
MOSES, MONTROSE J. The American Dramatist. Boston: Little, Brown. 1917.
MOSES, MONTROSE J. Famous Actor-Families in America. New York:
Crowell. (o.p.)
MOSES, MONTROSE J. The Drama (1860-1918). See The Cambridge History
of American Literature. Volume III, Chapter XVIII. Also comprehensive
NATHAN, GEORGE JEAN. Another Book of the Theatre. New York: Huebsch.
NATHAN, GEORGE JEAN. The Popular Theatre. New York: Knopf. 1918.
PENCE, JAMES HARRY. The Magazine and the Drama. New York: Dunlap
Society. 1896.
PHELPS, WILLIAM LYON. The Twentieth Century Theatre. New York:
Macmillan. 1918.
POLLOCK, CHANNING. The Footlights Fore and Aft. Boston: Badger. 1911.
QUINN, A.H. Representative American Plays. New York: Century. 1917.
REED, PERLEY I. The Realistic Presentation of American Characters in
Native American Plays Prior to Eighteen Seventy. Ohio State University
Bulletin. Vol. 22, No. 26, May, 1918.
RODEN, ROBERT F. Later American Plays. New York: Dunlap Society. 1900.
ROLLAND, ROMAIN. The People's Theatre. New York: Holt. 1918.
(Giving the principles which are spreading and forming a democratic
conception of the theatre.)
RUHL, ARTHUR. Second Nights. New York: Scribner. 1914.
SHIPMAN, LOUIS E. The True Adventures of a Play. New York: Kennerley.
INDIVIDUAL BIBLIOGRAPHIES FOR PLAYS
[Transcriber's note: Em-dashes connecting items have been replaced
with new lines for readability.]
RIP VAN WINKLE
Dion Boucicault. "Dramatization of Rip Van Winkle." _Critic_ (New York),
No. 66, vol. 3, pp. 158-59, April 7, 1883.
Brown, T. Allston. "History of the New York Stage," 3 vols. New York:
Dodd, Mead. 1903.
H. C. Bunner. On Jefferson's Rip. See Matthews and Hutton: "Actors and
Actresses in Great Britain and the United States." 5 vols. 1886.
J.B. Clapp and E.F. Edgett. "Plays of the Present." New York: Dunlap
Society, 1902.
George William Curtis. On Jefferson's Rip. _Harper's Magazine_, March,
L. Clarke Davis. "Among the Comedians." _Atlantic Monthly_, 19:750-61,
L. Clarke Davis. "At and After the Play." _Lippincott_, July, 1879.
Durang. "History of the Philadelphia Stage." Published in the
Philadelphia _Dispatch.
The Galaxy_, February, 1868. On Hackett's Rip.
_Harper's Magazine_, 67:617. The Legend of Rip Van Winkle.
Laurence Hutton. "Curiosities of the American Stage." New York: Harper,
Laurence Hutton. "Plays and Players." New York: Hurd & Houghton. 1875.
Joseph Jefferson. "Autobiography." New York: Century. 1890.
Jefferson's version of "Rip." New York: Dodd, Mead. 1895.
Jefferson, Intimate Recollections of (by Eugenie Paul Jefferson). New
York: Dodd, Mead. 1909.
Jefferson's Rip is detailed in the following magazines:
_Ev. Sat_., 10: 152, 162.
_Radical_ (S. Johnson), 6: 133.
_Nation_ (A. G. Sedgwick), 9: 247.
_Atlantic Monthly_ (L. C. Davis), 19: 750.
_Appleton_, 19: 146.
_Scribner_, 1:216, December, 1870.
_Harper_, 42: 614, April, 1871.
_Atlantic Monthly_, 52:695.
"The Original of Rip Van Winkle." _Lon. M_., 5:229.
N. M. Ludlow. "Dramatic Life as I Found It." St. Louis: G. I. Jones &
Co. 1880.
Brander Matthews. On Jefferson's Rip. _Scribner_. July, 1879.
Brander Matthews. "These Many Years." New York: Scribner. 1917.
Henry Morley. Journal of a London Playgoer. September 23, 1886.
Montrose J. Moses. "Famous Actor-Families in America." Chapters and
Bibliographies under Hackett, Jefferson, Boucicault. New York: Crowell.
1906. (o.p.)
H.P. Phelps. "Players of a Century." Albany, 1880.
Sol. F. Smith. "Theatrical Management in the West and South for Thirty
Years." New York: Harper. 1868.
J. B. Thompson, D.D. "The Genesis of the Rip Van Winkle Legend." _Old
Ulster_. Kingston, N.Y. 1914. Vol. 10: 13-26.
Eugene Tompkins and Quincy Kilby. "History of the Boston Theatre."
Boston: Houghton Mifflin. 1908.
J. Rankin Towse. On Jefferson's Rip. _Century_, January, 1884.
J. Rankin Towse. "Sixty Years of the Theatre." New York: Funk &
Wagnalls. 1916.
J.H. Wainwright. Rip Van Winkle. Libretto. Lacy Acting Edition. Vol. 39.
Walsh (T.). Dion Boucicault The Career of. New York: Dunlap Society,
F.C. Wemyss. "Twenty-six Years of the Life of an Actor and Manager." New
York: Burgess, Stringer & Co. 1847. On Hackett's Rip.
Francis Wilson. "Joseph Jefferson: Reminiscences of a Fellow Player."
New York: Scribner. 1906.
William Winter. "The Life of David Belasco." 2 vols. New York: Moffat,
Yard & Co. 1918.
William Winter. The Jeffersons. Boston: J.R. Osgood & Co. 1881. (See
also the Macmillan Life of Jefferson, by Winter. 1894.)
William Winter. "Other Days." New York: Moffat, Yard. 1908.
William Winter. "The Wallet of Time." 2 vols. New York: Moffat, Yard.
1913. (Besides the Rip references, see also J.T. Raymond and living's
"Wolfert's Roost.")
GEORGE HENRY BOKER
General references for Boker, see Allibone, Lamb's Biographical
Dictionary, Appleton's Cyclopedia of American Biography, National
Cyclopedia of American Biography, Warner's Library of the World's Best
Literature.
Lawrence Barrett, A Professional Sketch of. By Elwyn A. Barren. Chicago:
Knight & Leonard Co. 1889. (For a review of Barrett's opening in
"Francesca," Philadelphia, see telegraphic report in the New York
_Tribune_, September 15, 1882, p. 15.)
Alfred Bates. Drama. Vol. XX. p. 70.
Biographical Encyclopedia of Pennsylvanians of the Nineteenth Century.
Philadelphia: Galaxy Publishing Co. 1874. p. 370.
Magazine references to Boker: _Atlantic Monthly_, 65: 427, March, 1890.
_Book Buyer_, 1900, 2147. _Critic_, January 11, 1890; April 12, 1890;
1898, 33: 240. _Harper's Monthly_, 1882, 4: 633. _Harper's Weekly_,
1871, 15: 1173; 1890, 34: 32. _Sewanee Review_ (J.W. Krutch), October,
1917, 25: 457-68.
Biographic du tres honorable Georges H. Boker. Ministre des Etats Unis
Amerique aupres de la Sublime Porte. _L'Orient Illustre Journal
Hebdomadaire_, Constantinople, 22 Aug., 1874.
Reception tendered by the Members of the Union League of Philadelphia to
George H. Boker, Minister of the United States to Turkey, Friday
Evening, December 22, 1871. Philadelphia: 1872.
Cambridge History of American Literature. New York: Putnam. 1917. 1:494.
Century Association: Bryant Festival. 1865. 19.
J. B. Clapp and E. F. Edgett. "Plays of the Present." New York: Dunlap
E. L. Davenport. A Biography, by E. F. Edgett. New York: Dunlap Society.
1901. (A complete bibliography of Davenport is in Moses' "Famous
Actor-Families in America.")
Duyckinck, E. A. and G. L. "Cyclopedia of American Literature."
Philadelphia: William Rutter & Co. 1877. 2 vols. 2:710.
Knickerbocker Gallery. 1855. p. 59.
Charles Godfrey Leland. A Biography. By Elizabeth Robins Pennell. 2
vols. Boston: Houghton Mifflin.
Charles Godfrey Leland. Memoirs. 2 vols. London: Heinemann. 1893.
Charles Godfrey Leland. Reminiscences of George H. Boker. _The
American_, 1890, March 1. 19:392-94.
Charles Godfrey Leland. _Sartain's Magazine_, 1851, 8:369-78.
George Parsons Lathrop. George H. Boker. Authors at Home. xxvii.
_Critic_. n.s. vol. 9, April 14, 1888.
Morris. "Makers of Philadelphia." p. 78.
Oberholtzer. "Literary History of Philadelphia." Quinn, A. H. "The
Dramas of George Henry Boker." _Pub. of Modern Language Association of
America_. Vol. 32, no. 2, n.s., Vol. XXV, June, 1917, pp. 233-66.
T. Buchanan Read, A Memoir of. Philadelphia, 1889.
Augustus C. Rogers. "Sketches of Our Representatives Abroad."
Henry Simpson. "Lives of Eminent Philadelphians." Philadelphia: William
Brotherhead. 1859. Charles S. Boker. By Joseph R. Chandler. (With
portrait.) pp. 93-107.
Edmund Clarence Stedman. Life and Letters of. Edited by Laura Stedman
and George M. Gould. New York: Moffat, Yard. 1910. 2 vols.
Edmund Clarence Stedman. "Poets of America." Boston: Houghton. 1892.
Edmund Clarence Stedman. "An American Anthology." Boston: Houghton.
E. C. Stedman and Ella M. Hutchinson. "A Library of American
Literature." New York: C. L. Webster & Co. 1889. 8:111-18.
Richard Henry Stoddard. "Recollections Personal and Literary." Edited by
Ripley Hitchcock. Introduction by Edmund Clarence Stedman. New York:
Barnes. 1903.
Richard Henry Stoddard. Recollections of George Henry Boker.
_Lippincott_, June, 1890, 45:856-67.
Bayard Taylor, Life and Letters of. Edited by Marie Hansen-Taylor and
Horace E. Scudder. 2 vols. Boston: Houghton. 1885.
W. P. Trent. "William Gilmore Simms." Boston: Houghton. 1892.
OLIVER BELL BUNCE
Appleton's Cyclopedia of American Biography.
Appleton's Annual Cyclopedia. 1890.
T. Allston Brown. "History of the New York Stage." New York: Dodd, Mead.
1903. 3 vols.
Articles about Bunce in the magazines: _Critic_, May 24, 1890; 16:262.
_Literary World_ (Boston), 21:192.
Articles by Bunce:
"The Players." _Appleton's Journal_, April 3, 1869.
"Some of Our Actors." _The Galaxy_. 5:165.
"Ellen Tree." See Editor's Table, _Appleton's Journal_, October, 1880.
For notices of "Love in '76" see the advertisement in the New York
_Tribune_, February 28, 1857, and see also the New York _Herald_, March
W. P. Eaton. "The American Stage of To-day." Boston: Small, Maynard.
1908. pp. 259-69. "Where is Our Drama of '76?"
Laurence Hutton. "Curiosities of the American Stage." New York: Harper.
Lamb. Biographical Dictionary of the United States.
STEELE MACKAYE
Percy Mackaye. "Steele Mackaye, Dynamic Artist of the American Theatre."
_The Drama_, November, 1911, pp. 138-61; February, 1912, pp. 153-73.
(Notices of Mackaye's "Paul Kauvar" in the New York _Tribune_ for
December 25, 1887, and other New York papers for the same date. Mr.
Percy Mackaye has in preparation a Life of his father.)
Montrose J. Moses. "The American Dramatist." Boston: Little, Brown.
1917. Chapter VIII.
William Winter. "Life of David Belasco." New York: Moffat, Yard. 1918. 2
vols. Consult indexes.
BRONSON HOWARD
William Archer, "English Dramatists of To-day." London: Sampson Low,
Marston, Searle, & Rivington. 1882. Chapter on Howard.
Johnson Briscoe. "The Pioneer American Dramatist." _Green Book_,
11:749-56. May, 1914.
Barrett H. Clark. "The British and American Drama of To-day." New York:
Holt 1915. Howard, with bibliography, pp. 219-27.
Eleanor Eustace. "Drama in War Time." _Green Book Album_. 4:776-85.
James L. Ford. "The Banker's Daughter." _Munsey_, 34:122, 199.
Daniel Frohman and I. Marcosson. Charles Frohman, A Biography. Manager
and Man. New York: Harper. 1916. Chapter VI.
Daniel Frohman. "Memories of a Manager." New York: Doubleday, Page.
Articles by Bronson Howard: "The American Drama." _Sunday Magazine_,
October 7, 1906, reproduced in this volume.
"The Autobiography of a Play." With an Introduction by Augustus Thomas.
_Dramatic Museum of Columbia University_. New York, 1914. Papers on
Play-making. II. Series I. (This is also reprinted in the Memorial
Volume mentioned below.) "The Literary Value of Mediocrity." (In the
Memorial Volume, see Howard's address: "Trash on the Stage and the Lost
Dramatists of America." p. 115.)
"In Memoriam:" Addresses delivered at the Memorial Meeting, Sunday,
October 18,1908, at the Lyceum Theatre, New York. New York, 1910.
"Dry Ink." _Dramatic Mirror_. Christmas, 1896. 37:939.
"Schools for the Stage." _Century_, 61:28-37.
_Bookman_, 10:195 ("The Work of Bronson Howard").
_Century Magazine_, 3-465 ("The Plays of Bronson Howard").
Hamilton Wright Mabie. "American Plays Old and New." _Outlook_. December
28, 1912. pp. 945-55.
Brander Matthews. Bronson Howard. _North American Review_. 1908,
188:504-13. (This essay is also in "Gateways to Literature.") New York:
Scribner. 1912. pp. 279-96.
Clara Morris. "Life on the Stage." (See chapter on "Saratoga"), New
York: McClure, Phillips. 1902.
1917. Chapter V.
(A notice of "Shenandoah" is in the New York _Tribune_, September 10,
T. Edgar Pemberton. "Sir Charles Wyndham." London, 1904.
J. Rankin Towse. Bronson Howard. _Book Buyer_, March, 1898. 16:113-17.
Yard. 1918. Consult Indexes for references to Howard.
AUGUSTUS THOMAS
Holt. 1915. Thomas, with bibliography.
1917. Chapter IX.
Walter P. Eaton. "At the New Theatre and Others." Boston: Small,
Maynard. 1910. "Mr. Thomas's New Birth." ("The Harvest Moon.") pp.
109-16.
Walter P. Eaton. "Plays and Players." Cincinnati: Stewart & Kidd. 1916.
"As Augustus Thomas Thinks." pp. 25-33.
Walter P. Eaton. "The American Stage of To-day." Boston: Small, Maynard.
1908. "The Witching Hour."
Frederick M. Smith. "Mr. Augustus Thomas and Some of His Works."
_Sewanee Review_. April, 1907. XV:192-98.
1913. "The Plays of Augustus Thomas." 2:529-57.
Mr. Thomas wrote the introduction to Bronson Howard's "Autobiography of
a Play." See also his Introductions to the edition of his plays issued
by Messrs. Samuel French. A political article, "The Claims of the
Candidates," lauding W. J. Bryan, was written by Mr. Thomas, and
published in the _North American Review_, June, 1908, 187:801-6.
CLYDE FITCH
Archie Bell. "The Clyde Fitch I Knew." New York: Broadway Publishing Co.
Bibliography of Clyde Fitch. "Modern Drama and Opera." Vol. II. Boston:
The Boston Book Co. 1915. pp. 60-65.
(Notices of "The Moth and the Flame" are in the New York _Times_, April
12, 1898 and April 17, 1898. E. A. Dithmar.)
Martin Birnbaum. Critical Appreciation. _Independent_, 67:123-31.
Holt. 1915. Fitch, with bibliography.
Walter P. Eaton. "At the New Theatre." Boston: Small, Maynard. 1910.
"The Case of Clyde Fitch." pp. 258-83. This was also published in
_Scribner's_, 46:490-97.
Norman Hapgood. "The Stage in America. 1897-1900." New York: The
Macmillan Co. 1901. (References to Fitch, Howard, and Thomas.)
1917. Chapter X and bibliography.
Clement Scott. "Drama of Yesterday and To-day." New York: The Macmillan
Co. 1899. 2 vols.
L.C. Strang. "Plays and Players of the Last Quarter Century."
For the "Beau Brummell" dispute, both sides, see the biographies of
Richard Mansfield, by Paul Wilstach and William Winter. A Memorial
Edition of "The Plays of Clyde Fitch," edited by Montrose J. Moses and
Virginia Gerson, 4 vols., has been issued by Little, Brown & Co. Boston.
LANGDON MITCHELL
William Archer. "The New York Idea." London _Tribune_, May 27, 1907.
Society. 1902. (Reference to "Becky Sharp.")
Macmillan Co. 1901.
Joyce Kilmer. Langdon Mitchell, interview with. New York _Times_,
William Winter. "The Wallet of Time." New York: Moffat, Yard. 1913. 2
vols. "The Acting of Mrs. Fiske."
EUGENE WALTER
Holt. 1915. With bibliography.
Denig, L. "Vicissitudes of a Playwright." _Theatre_, 21:235, May, 1915.
"The Easiest Way" (Excerpts). _Current Literature_, 51:73-81.
"The Easiest Way." _Dramatist_, 4:379, July, 1913.
Maynard. 1910. pp. 93-98.
Walter P. Eaton. "The American Stage of To-day." ("Paid in Full.")
Boston: Small, Maynard. 1908. pp. 45-57.
Walter P. Eaton. "Plays of Eugene Walter." _American Magazine_,
November, 1910, 71:121-23.
Ada Patterson. Interview with Eugene Walter. _Theatre_, October, 1908.
8:272-76.
Peirce, Francis Lament. "Eugene Walter: An American Dramatic Realist."
_Drama_, February, 1916. Vol. 6.
Eugene Walter. Sketch of. _Green Book Album_, January, 1911, 5:186-87.
Yard. 1918. References in the Indexes to "The Easiest Way," "Just a
Wife."
1913. 2:374; 479-88.
For contemporary criticism on Walter consult the Dramatic Index, and the
Indexes of the New York _Tribune_ and _Times_.
DAVID BELASCO
Such articles by Mr. Belasco as "The Business of Theatrical Management,"
Philadelphia _Saturday Evening Post_, June 7, 1919, may be found by
consulting the Dramatic Index. They are more or less amplified
expressions of opinion which were dwelt upon in his extended
Reminiscences, written for _Hearst's Magazine_, beginning March, 1914.
Constant references to Mr. Belasco are to be found in Winter's "Wallet
of Time." But the monumental "Life of David Belasco," 2 vols., by
Winter, will give all the biographical data necessary for the student to
have. It is issued by Moffat, Yard, New York, 1918. Consult likewise
Montrose J. Moses' "The American Dramatist." Chapter VII. Boston:
Little, Brown. 1917. See also Walter P. Eaton's "Plays and Players."
Cincinnati: Stewart & Kidd. 1916. "Warfield in the Spirit World," pp.
17-24. "Belasco and Hypnotism" (Locke's "The Case of Becky"), pp. 59-65.
THE AUTHORS AND THEIR PLAYS
The details are given specifically in the Introduction to the
play, where the different dramatizations are discussed.
Born, Philadelphia, Pa., October 6, 1823. Died, Philadelphia, January 2,
1890. Author of the following plays, with their dates of first
production, or when written: "Calaynos" (London: Sadler's Wells Theatre,
May 10, 1849) (Philadelphia: Walnut Street Theatre, January 20, 1850);
"Anne Boleyn" (1850); "The Betrothal" (Philadelphia: Walnut Street
Theatre, September 25, 1850) (New York: Broadway Theatre, November 18,
1850); "All the World a Mask" (Philadelphia: Walnut Street Theatre,
April 21, 1851); "The Podesta's Daughter" (1852); "The Widow's Marriage"
(1852); "Leonor de Guzman" (Philadelphia: Walnut Street Theatre, October
3, 1853) (New York: Broadway Theatre, April 24, 1853); "Francesca da
Rimini" (New York: Broadway Theatre, September 26, 1855); "The Bankrupt"
(MS. 1853); "Koenigsmark" (1857, 1869); "Nydia" (1885); "Glaucus" (1886),
based on Bulwer-Lytton.
The details are given specifically in the Introduction to "Love
in '76".
Born, Buffalo, New York, June 6, 1842. Died, Timpas, Colorado, on board
train, February 25, 1894. Author of the following plays, with their
dates of first production: "Monaldi" (New York: St. James Theatre,
January 8, 1872), in collaboration with Francis Durivage; "Marriage,"
adapted from the French of Feuillet (New York: St. James Theatre,
February 12, 1872); "A Radical Fool," written in London (1873-1874);
"Arkwright's Wife," in collaboration with Tom Taylor (Leeds, England:
Theatre Royal, July 7, 1873); "Silas Marner," a dramatization of George
Eliot's novel, written in London (1873); "Jealousy," with Charles Reade,
written in London (1873-1874); "Rose Michel," based on a French play, in
its turn based on Victor Hugo (New York: Union Square Theatre, November
23, 1875); "Queen and Woman," in collaboration with J. V. Pritchard
(Brooklyn, N. Y.: Theatre, February 14, 1876); "Twins," in collaboration
with A. C. Wheeler (New York: Wallack's Theatre, April 12, 1876); "Won
at Last" (New York: Wallack's Theatre, December 10, 1877); "Through the
Dark" (New York: Fifth Avenue Theatre, March 10, 1879); "An Iron Will"
(Providence, R. I., Low's Opera House, October 27, 1879); "Hazel Kirke"
(New York: Madison Square Theatre, February 4, 1880); "A Fool's Errand,"
dramatization from a novel by Judge Tourgee (Philadelphia: Arch Street
Theatre, October 26, 1881); "Dakolar," based on Georges Ohnet's "Le
Maitre de Forges" (New York: Lyceum Theatre, April 6, 1885); "In Spite
of All," founded on Sardou (New York: Lyceum Theatre, September 15,
1885); "Rienzi," based on Bulwer-Lytton's novel (Washington: Albaugh's
Opera House, December 13, 1886; New York production, Niblo's Garden, May
2, 1887); "The Drama of Civilization," a pageant (New York: Madison
Square Garden, November 27, 1887); "Anarchy" (Buffalo, N. Y.: Academy of
Music, May 30, 1887); "Paul Kauvar; or, Anarchy" (New York: Standard
Theatre, December 24, 1887); "A Noble Rogue" (Chicago: Opera House, July
3, 1888); "An Arrant Knave" (Chicago: Opera House, September 30, 1889);
"Colonel Tom" (Boston: Tremont Theatre, January 20, 1890); "Money Mad"
(New York: Standard Theatre, April 7, 1890); "Cousin Larry," written in
1891; "The World Finder," a spectatorio (Chicago; Spectatorium, 1893,
World's Fair).
Born, Detroit, Michigan, October 7, 1842. Died, Avon-by-the-Sea, New
Jersey, August 4, 1908. Author of the following plays, with their dates
of first production: "Fantine" (Detroit, Mich., 1864); "Saratoga" (New
York: Fifth Avenue Theatre, December 21, 1870); "Diamonds" (New York:
Fifth Avenue Theatre, September 26, 1872); "Moorcroft; or, The Double
Wedding" (New York: Fifth Avenue Theatre, October 17, 1874); "Lilian's
Last Love" (Chicago: Hooley's Theatre, September 4, 1877); "Hurricanes"
(Chicago: Hooley's Theatre, May 27, 1878); "Old Love Letters" (New York:
Park Theatre, August 31, 1878); "The Banker's Daughter," being a
revision of "Lilian's Last Love" (New York: Union Square Theatre,
September 30, 1878); "Wives," being an adaptation from Moliere (New
York: Daly's Theatre, October 18, 1879); "Fun in the Green-room" (New
York: Booth's Theatre, April 10, 1882); "The Young Mrs. Winthrop" (New
York: Madison Square Theatre, October 9, 1882); "One of Our Girls" (New
York: Lyceum Theatre, November 10, 1885); "Met by Chance" (New York:
Lyceum Theatre, January 11, 1887); "The Henrietta" (New York: Union
Square Theatre, September 26, 1887); "Baron Rudolph," first named
"Rudolph von Hallenstein" (New York: Fourteenth Street Theatre, October
25, 1887); "Shenandoah" (New York: Star Theatre, September 9, 1889);
"Aristocracy" (New York: Palmer's Theatre, November 14, 1892); "Peter
Stuyvesant," in collaboration with Brander Matthews (New York: Wallack's
Theatre, October 2, 1899). Plays that have never been acted are: "Knave
& Queen," in collaboration with Sir Charles Young, and "Kate," issued,
1906, in book form by Harper & Brothers.
Born, St. Louis, Mo., January 8,1859. Author of the following plays,
with their dates of first production: "Editha's Burglar," with Mrs. F.
H. Burnett (St. Louis: Pope's Theatre, July 1, 1884); "The Burglar"
(Boston: Park Theatre, June, 1888); "A Man of the World" (New York:
Madison Square Theatre, October 30, 1889); "Afterthoughts" (New York:
Madison Square Theatre, November 24, 1890); "Reckless Temple" (New York:
Standard Theatre, October 27, 1890); "Alabama" (New York: Madison Square
Theatre, April 1, 1891); "Colonel Carter of Cartersville," from the
novel by F. Hopkinson Smith (New York: Palmer's Theatre, March 22,1892);
"Holly-Tree Inn" (New York: Union Square Theatre, April 11, 1892); "In
Mizzoura" (Chicago: Hooley's Theatre, August, 1893); "New Blood" (New
York: Palmer's Theatre, September 19, 1894; previously in Chicago); "The
Man Upstairs" (New York: Hoyt's Theatre, April 9, 1895); "The Capitol"
(New York: Standard Theatre, September 9, 1895); "That Overcoat" (1898);
"The Hoosier Doctor" (New York: Fourteenth Street Theatre, April 18,
1898); "The Meddler" (New York: Wallack's Theatre, September 1, 1898);
"Arizona" (Chicago: Grand Opera House, June 12, 1899); "Oliver
Goldsmith" (New York: Fifth Avenue Theatre, March 19, 1900); "On the
Quiet" (New York: Hoyt's Theatre, February 11, 1901); "Colorado" (New
York: Palmer's Theatre, January 12, 1902); "Soldiers of Fortune," from
the novel by Richard Harding Davis (New York: Savoy Theatre, March 17,
1902); "The Earl of Pawtucket" (New York: Madison Square Theatre,
February 5, 1903); "The Other Girl" (New York: Criterion Theatre,
December 23, 1903); "Mrs. Leffingwell's Boots" (New York: Savoy Theatre,
January 11, 1905); "The Education of Mr. Pipp," from pictures by Charles
Dana Gibson, (New York: Liberty Theatre, February 20, 1905); "Delancey"
(New York: Empire Theatre, September 4, 1905); "The Embassy Ball" (New
York: Daly's Theatre, March 5, 1906); "The Ranger" (New York: Wallack's
Theatre, September 2, 1907); "The Witching Hour" (New York: Hackett's
Theatre, November 18, 1907); "The Harvest Moon" (New York: Garrick
Theatre, October 18, 1909); "The Member from Ozark" (Detroit, Mich.,
Opera House, 1910); "As a Man Thinks" (New York: 39th Street Theatre,
March 13, 1911); "The Model" (New York: Harris Theatre, August 31,
1912); "Mere Man" (New York: Harris Theatre, November 25, 1912); "Indian
Summer" (New York: Criterion Theatre, October 27, 1913); "Rio Grande"
(New York: Empire Theatre, April 4, 1916); "The Copperhead" (Hartford,
Conn., January 22, 1918); "Palmy Days" (New York: The Playhouse, October
27, 1919); "Under the Bough," previously called "The Blue Devil" and
"Speak of the Devil" (Boston: Colonial Theatre, May 31, 1920). Other
plays credited to Mr. Thomas are: "A Leaf from the Woods," one act (St.
Louis: Pope's Theatre, 1883); "A New Year's Call," one act (St. Louis:
Pope's Theatre, 1883); "A Night's Frolic" (New York: Herald Square
Theatre, 1888); "A Proper Impropriety," one act (New York: Union Square
Theatre, 1889); "Alone" (St. Louis: Pickwick Theatre, 1881); "Chimmie
Fadden," from the book of E. W. Townsend (New York: Palmer's Theatre,
1881); "Combustion" (St. Louis: Pope's Theatre, 1883); "For Money" (New
York: Star Theatre, 1890); "Love Will Find the Way," written for
amateurs; "The Big Rise" (St. Louis: Pope's Theatre, 1881); "The Dress
Suit," written for amateurs only; "The Jucklins" (on the road, 1896);
"The Music Box," written for amateurs only.
Born, Elmira, New York, May 2, 1865. Died at Chalons-sur-Marne,
September 4, 1909. Author of the following plays, with their dates of
first production: "Beau Brummell" (New York: Madison Square Theatre, May
17, 1890); "Frederic Lemaitre" (New York: Daly's Theatre, December 1,
1890); "Betty's Finish" (Boston Museum, December 29, 1890); "Pamela's
Prodigy" (London: Royal Court Theatre, October 21, 1891); "A Modern
Match" (New York: Union Square Theatre, March 14, 1892. Later played by
the Kendalsas "Marriage"); "The Masked Ball," from the French of Bisson
(New York: Palmer's Theatre, October 3, 1892); "The Harvest," afterwards
used in "The Moth and the Flame" (Theatre of Arts and Letters, New York:
Fifth Avenue Theatre, January 26, 1893); "April Weather" (Chicago: Opera
House, May 29, 1893); "A Shattered Idol," from the French of Balzac,
"Old Goriot" (St. Paul, Minn.: Globe Theatre, July 31, 1893); "The
Social Swim," adapted from the French of Sardou (New York: Harlem Opera
House, September 22, 1893); "An American Duchess," from the French of
Lavadan (New York: Lyceum Theatre, November 20, 1893); "Mrs. Grundy,
Jun.," from the French, (1894); "Gossip," from the French of Claretie,
in collaboration with Leo Ditrichstein (New York: Palmer's Theatre,
March 11, 1895); "His Grace de Grammont" (Brooklyn: Park Theatre,
September 11, 1895); "Mistress Betty" (New York: Garrick Theatre,
October 15, 1895); "Bohemia," from the French (New York: Empire Theatre,
March 9, 1896); "The Liar," from the French of Bisson (New York: Hoyt's
Theatre, September 2, 1896); "A Superfluous Husband," adapted from the
German, with Leo Ditrichstein (New York: Miner's Fifth Avenue Theatre,
January 4, 1897); "The Moth and the Flame" (New York: Lyceum Theatre,
April 11, 1898); "The Head of the Family," adapted from the German, with
Leo Ditrichstein (New York: Knickerbocker Theatre, December 6, 1898);
"Nathan Hale" (New York: Knickerbocker Theatre, January 2, 1899, having
been given in Chicago the previous January); "Barbara Frietchie" (New
York: Criterion Theatre, October 24, 1899); "The Cowboy and the Lady"
(New York: Knickerbocker Theatre, December 25, 1899); "Sapho," from the
French of Daudet (New York: Wallack's Theatre, February 16, 1900); "The
Climbers" (New York: Bijou Theatre, January 21, 1901); "Lovers' Lane"
(New York: Manhattan Theatre, February 6, 1901); "Captain Jinks of the
Horse Marines" (New York: Garrick Theatre, February 4, 1901); "The Last
of the Dandies" (London, October 24, 1901); "The Way of the World" (New
York: Hammerstein's Victoria, November 4, 1901); "The Girl and the
Judge" (New York: Lyceum Theatre, December 4, 1901); "The Stubbornness
of Geraldine" (New York: Garrick Theatre, November 3, 1902); "The Girl
with the Green Eyes" (New York: Savoy Theatre, December 25, 1902); "The
Bird in the Cage" (New York: Bijou Theatre, January 12, 1903); "Her Own
Way" (New York: Garrick Theatre, September 28, 1903); "Algy" (Chicago:
Garrick Theatre, October 4, 1903); "Major Andre" (New York: Savoy
Theatre, November 11, 1903); "Glad of It" (New York: Savoy Theatre,
December 28, 1903); "The Frisky Mrs. Johnson" (New York: Garrick
Theatre, May 16, 1904); "The Coronet of a Duchess" (New York: Garrick
Theatre, September 21, 1904); "Granny" (New York: Lyceum Theatre,
October 24, 1904); "Cousin Billy," adapted from the French (New York:
Criterion Theatre, January 2, 1905); "The Woman in the Case" (New York:
Herald Square Theatre, January 30, 1905); "Her Great Match" (New York:
Criterion Theatre, September 4, 1905); "Wolfville," a dramatization of a
novel by Alfred Henry Lewis, the play in collaboration with Willis
Steell, (Philadelphia, October 20, 1905); "The Toast of the Town," a
re-writing of "Mistress Betty" (New York: Daly's Theatre, November 27,
1905); "Toddles," from the French (New York: Garrick Theatre, March 16,
1906); "The House of Mirth," a dramatization of Mrs. Edith Wharton's
novel (New York: Savoy Theatre, October 22, 1906); "The Girl Who Has
Everything" (New York: Liberty Theatre, December 4, 1906); "The Truth"
(New York: Criterion Theatre, January 7, 1907; London: Comedy Theatre,
April 6, 1907); "The Straight Road" (New York: Astor Theatre, January 7,
1907); "Her Sister," in collaboration with Cosmo Gordon-Lennox (New
York: Hudson Theatre, December 24, 1907); "Toddles" (New York: Garrick
Theatre, March 16, 1908); "Girls" (New York: Daly's Theatre, March 23,
1908); "The Blue Mouse," adapted from the German (New York: Lyric
Theatre, November 30, 1908); "The Bachelor" (New York: Maxine Elliott
Theatre, March 15, 1909); "A Happy Marriage" (New York: Garrick Theatre,
April 12, 1909); "The City" (New York: Lyric Theatre, December 22,
Born, Philadelphia, February 17, 1862. The details are given
specifically in the Introduction to the play.
Born, Cleveland, Ohio, November 27, 1874. Author of the following plays,
with their dates of production: "Sergeant James" (Boston Theatre, 1901;
later called "Boots and Saddles," 1909); "The Undertow" (New York:
Harlem Opera House, April 22, 1907); "Paid in Full" (New York: Astor
Theatre, February 25, 1908); "The Wolf" (New York: Bijou Theatre, April
18, 1908); "The Easiest Way" (New York: Belasco Theatre, January 19,
1908); "Just a Wife" (New York: Belasco Theatre, January 31, 1909); "The
Trail of the Lonesome Pine," being a dramatization of John Fox's novel
(New York: New Amsterdam Theatre, January 29, 1912); "Fine Feathers"
(New York: Astor Theatre, January 7, 1913); "The Knife" (New York: Bijou
Theatre, April 12, 1917); "The Heritage," called also "The Assassin"
(New York: The Playhouse, January 14, 1917); "Nancy Lee" (New York:
Hudson Theatre, April 19, 1918); "The Challenge" (Season of 1919-1920).
Born, San Francisco, Cal., July 25, 1853. A complete chronology of Mr.
Belasco's plays is to be found in the Winter biography. Here are only
listed those plays written after his arrival in New York. The list does
not include the plays presented by him merely in the capacity as
manager. "May Blossom" (New York: Madison Square Theatre, April 12,
1884); "Valerie," from Sardou (New York: Wallack's Theatre, February 15,
1886); "Baron Rudolph," with Bronson Howard (New York: Fourteenth Street
Theatre, October 24, 1887); "The Wife," with Henry DeMille (New York:
Lyceum Theatre, November I, 1887); "Lord Chumley," with Henry DeMille
(New York: Lyceum Theatre, August 21, 1888); "The Charity Ball," with
Henry DeMille (New York: Lyceum Theatre, November 19, 1889); "Men and
Women," with Henry DeMille (New York: Proctor's 23rd Street Theatre,
October 21, 1890); "Miss Helyett," from the French (New York: Star
Theatre, November 3, 1891); "The Girl I Left Behind Me," with Franklyn
Fyles (New York: Empire Theatre, January 25, 1893); "The Younger Son,"
from the German (New York: Empire Theatre, October 24, 1893); "The Heart
of Maryland" (New York: Herald Square Theatre, October 22, 1895);
"Zaza," from the French of Berton and Simon (New York: Garrick Theatre,
January 8, 1899); "Naughty Anthony" (New York: Herald Square Theatre,
January 8, 1900); "Madame Butterfly," from the novel by John Luther Long
(New York: Herald Square Theatre, March 5, 1900); "Du Barry" (New York:
Criterion Theatre, December 25, 1901); "The Darling of the Gods" (New
York: Belasco Theatre, now the Republic, December 3, 1902); "Sweet Kitty
Bellairs," from a novel by the Edgertons (New York: Belasco Theatre, now
the Republic, December 8, 1903); "Adrea," with John Luther Long (Belasco
Theatre, New York, now the Republic, January 11, 1905); "The Girl of the
Golden West" (New York: Belasco Theatre, now the Republic, November 14,
1905); "The Rose of the Rancho," with Richard Walton Tully (New York:
Belasco Theatre, now the Republic, November 27, 1906); "A Grand Army
Man," in collaboration (New York: Stuyvesant Theatre, now the Belasco,
October 16, 1907); "The Lily," from the French of Wolff and Leroux (New
York: Stuyvesant Theatre, now the Belasco, December 23, 1909); "The
Return of Peter Grimm" (New York: Belasco Theatre, January 2, 1911);
"The Secret," from the French of Henry Bernstein (New York: Belasco
Theatre, December 23, 1913); "Van Der Decken" (Wilmington, Del.: The
Playhouse, December 12, 1915.) This list represents only a small part of
Mr. Belasco's activities.


New Delhi: Hospitality firm OYO on Thursday said after 12 months of operations in China, the company has emerged as one of the top five hotel chains in the country.
File image of Oyo Rooms CEO and founder Ritesh Agarwal.
The company, currently, has over 1,80,000 franchised and leased rooms and more than 4,000 hotels under various formats in China, OYO said in a statement.
"During our last round of funding, we had committed approx $600 million to the China market, of which $300 million will be used for renovation and infrastructure investments," OYO Hotels founder & group CEO Ritesh Agarwal said.
This additional investment will help OYO drive the next wave of growth in China, which is already ahead of India, that too in a much shorter span, he added.
With this in mind, OYO has built a strong local team of over 5,500 employees in China, the statement said.
The company has also launched six OYO Skill Institutes in Shenzhen, Xi'an, Suzhou, with more in the pipeline to fuel the hospitality ecosystem, it added.
China was the third overseas market for OYO Hotels, after successful ventures in Malaysia and Nepal.
OYO currently has over 12,000 franchised or leased hotels and over 3,000 homes as a part its chain.


CARRABASSETT VALLEY, ME – For the sixth consecutive year, more than 100 of the nation's top junior golfers have gathered at the Sugarloaf Golf Club to compete in the 2018 American Junior Golf Association (AJGA) Coca-Cola Junior Championship,August 6-9. Among this year's field of athletes are six players from Maine, including 2018 Maine Amateur runner-up, Cole Anderson of Camden.
Seventeen-year-old Anderson, now a senior at Camden Hill Regional High School in Boothbay, is no rookie when it comes to the Sugarloaf Golf Club or AJGA Coca-Cola Championship, having won this event in 2017.
The AJGA Coca-Cola Junior Championship is a 54-hole stroke play event, spanning four days with three rounds of competitive play. The tournament field is comprised of more than 125 male and female competitors ages 12-18, hailing from 24 different states and 10 countries.
Also representing Maine in this year's tournament will be Anthony Burnham of Scarborough, Tom Higgins of South Portland, Caleb Manuel of Topsham, Jeremy Baker of Portland, and Austin Legge of Cape Elizabeth.
The Championship will run for four days, during which time the course will be closed to the public. A practice round will be held on Monday, August 6, with the first, second, and final rounds taking place on August 7, 8, and 9, respectively. The tournament field will be cut to a minimum of 50% following the second round.
For additional information on the Coca-Cola Junior Championship, please visit https://www.ajga.org/ microsite/index.asp?tn=2018098 .
About Sugarloaf – Located in Carrabassett Valley, ME, Sugarloaf is largest ski area in the East, and is home to the only lift-serviced above treeline skiing and riding in the East, as well as the number one golf course in Maine, according to Golf Digest. Sugarloaf is a member of the Boyne Resorts family of resorts and attractions.
Follow: www.sugarloaf.com, www.facebook.com/sugarloaf, and http://twitter.com/ sugarloafmaine.


text:
Devon band reforms following death of its 26-year-old founder
Anita Merritt
Sign up for our Torbay newsletter and you'll never miss a big story again
Following the tragic loss of her younger sister, Lynette Earnshaw has reformed their band in her memory.
Jay Earnshaw Hudson sadly took her own life on February 26, at Berry Head in Brixham near to where she lived.
The bubbly and caring 26-year-old loved singing and was initially in a band called Square Zero.
Shortly before her untimely death she set up a new band with Lynette.
The band was called JYN City from an amalgamation of Jay and Lynette's names - and now the rest of the band are back performing locally again.
Jay Earnshaw Hudson with her father Roger Earnshaw
Jay passed away a month after JYN City's first and only gig.
Jay, who had a history of depression, died after making a telephone call to police reporting what turned out to be her own death.
Lynette recalled: "Jay had always been a fantastic singer and we had been singing together our whole lives.
"She set up a new band called JYN City Trio with me and a couple others, because she knew how much we all wanted to do it; she was so kind and giving like that.
"Jay and I shared vocals with Toby Hughes on guitar, and Paul Griffiths, our percussionist joined us at Christmas last year after returning home from travelling just in time for our first gig on New Year's Day.
JYN City performing following Jay's death
CCTV released in hunt for Plymouth suspect
Lynette said: "We were all absolutely heartbroken and devastated, and for a while the band obviously came to a halt.
"We got together for a one-off practice to record a song that Jay had told Toby, in a passing comment, she wanted playing at her funeral one day. We did an acoustic version of Raise Your Glass by P!nk and played the song at her funeral.
"Some time later we had to deal with canceling bookings we had in the calendar, and the future of the band was unclear.
"Some more time passed and we decided to meet up and see how we got on.
"We decided to keep the band going in Jay's honour as she set it up and worked so hard, and every time we perform we will always sing one song that will be dedicated to Jay."
The now three-piece acoustic band, based in Paignton, covers a range of genres and styles from Elvis through to Mumford and Sons.
JYN City when it had four members
Lynette said: "When Jay told our father Roger Earnshaw we had started a band he was so pleased.
"He had always told us to do something with our voices and, having previously been in bands when he was younger as a bassist, he was really keen for us to do it.
"His and our step mum Jan Earnshaw's business, Protech Systems Ltd, sponsored us and helped us buy some of our equipment to get us started."
Boys aged just 13 arrested over shocking attack on man with special needs in Plymouth
Lynette continued: "I had only ever once sang in front of people and had Jay by my side supporting me and calming me down from the nerves. I wasn't sure I could take on the lead vocals without Jay.
"We practiced and found that for the brief moment the reality of what had happened wasn't real, and we were able to focus on something fun and productive.
"Us doing this has helped all of us heal a little, but that's not to say by any means we are 'cured'. Instead we are using the band as Jay's legacy and every gig we do is in her honour. She worked too hard setting us up for us to just give it up."
The band's first gig as a trio was back in April at The York in Torquay where they were supported by many friends and family.
Jay Earnshaw Hudson with her family
Among the songs they sung was Ain't it Fun by Paramore, which was her favourite song to sing in the band.
Lynette said: "When we sang it our family and friends knew what the song meant to us and cried most the way through it which was really touching.
Convicted voyeur took photos of girls on the Torquay big wheel
"We having now been going for four months and are working with lots of venues."
Next year the band plan to do a charity gig in Jay's memory to raise money and awareness of mental health.
For more details of forthcoming gigs click here

redpajama_set_name: RedPajamaCommonCrawl


text:
USA: EggSolutions Inc. – Canada's new leader in egg processing
ETOBICOKE, OT, June 11 /CNW/ - Two of North America's leaders in the egg processing industry have partnered to form EggSolutions Inc., a state-of-the-art egg processing facility officially launched today. This joint venture combines the expertise and reputation of Canada's Global Egg Corporation, a leading further processed egg supplier, with the innovation of U.S.-based Sunny Fresh Foods, a technologically advanced egg processor and winner of several national quality awards.
ETOBICOKE, OT, June 11 /CNW/ – Two of North America's leaders in the egg processing industry have partnered to form EggSolutions Inc., a state-of-the-art egg processing facility officially launched today.
This joint venture combines the expertise and reputation of Canada's Global Egg Corporation, a leading further processed egg supplier, with the innovation of U.S.-based Sunny Fresh Foods, a technologically advanced egg processor and winner of several national quality awards.
"By launching EggSolutions for the Canadian food service industry, we are bringing the highest quality, safest and most versatile egg products to the marketplace," said Aaron Kwinter, President of EggSolutions Inc.
The high-tech facility will serve food manufacturers and foodservice companies with EggSolutions Extended Shelf Life (ESL) refrigerated egg products, fully cooked egg entrees including omelets and egg patties, diced eggs and pre-cooked scrambled eggs.
Located in Etobicoke, Ontario, Global Egg is one of Canada's premium egg breaking and egg further processing companies, and supplies many of the country's leading food manufacturers and major food distributors.
Based in Monticello, Minnesota, Sunny Fresh is the second largest value-added egg further processor in the United States. Sunny Fresh has facilities in Monticello, Panora and Mason City, Iowa and Lake Odessa, Michigan, and is a wholly owned subsidiary of Cargill, Incorporated. Cargill is an international marketer, processor and distributor of agricultural, food, financial and industrial products with 85,000 employees in over 60 countries.
Top Growth Opportunities: Bakery & Cereals in Canada
Morning Goods (Bakery and Cereals) Market in Canada - Outlook to 2024; Market Size, Growth and Forecast Analytics (updated with COVID-19 Impact)
Morning Goods (Bakery & Cereals) Market in Canada - Outlook to 2023: Market Size, Growth and Forecast Analytics


text:
Burke and Hare murders
William Burke and William Hare, pictured at Burke's trial
The execution of William Burke in the Lawnmarket, Edinburgh, 28 January 1829; from a contemporary broadsheet.
The Burke and Hare murders (or West Port murders) were serial murders in Edinburgh, Scotland, from November 1827 to 31 October 1828.
The murders were done by Irish immigrants William Burke and William Hare. They sold the corpses of their 17 victims to Dr Robert Knox. Knox was a Fellow of the Royal Society, and the Conservator of the Museum of Comparative Anatomy in Edinburgh. He was a teacher of human anatomy to Edinburgh medical students, so needed bodies for his students to dissect.
The murderer's accomplices included Burke's mistress, Helen McDougal, and Hare's wife, Margaret Laird.[1] From their method of killing their victims has come the word "burking", meaning to purposefully smother and, more generally, to quietly suppress.[2][3]
The Resurrectionists[change | change source]
From 1826 to 1840 Knox ran Barclay's anatomy school in Surgeon's Square, Edinburgh. He was the most popular lecturer on anatomy in Scotland, but his class were always short of bodies to dissect.
Before the Anatomy Act of 1832 widened the supply, the only legal supply of corpses for anatomical purposes in the UK were those condemned to death and dissection by the courts. This led to a shortage of legitimate subjects for dissection. The shortage became more serious as the need to train medical students grew, and the number of executions fell.
In his school Knox ran up against the problem from the start, since – after 1815 – the Royal Colleges had increased the study of anatomy in the medical curriculum. If he taught according to what was known as 'French method' the ratio would have had to approach one corpse per pupil. As a consequence, body-snatching became so common that it was not unusual for relatives and friends of someone who had just died to watch over the body before and after burial, to stop it being taken.
In November 1827 William Hare began a new career when an indebted lodger died on him by chance. He was paid £7.10/- (seven pounds & ten shillings) for delivering the body to Knox. Now Burke and his accomplice Hare set about murdering tramps and drunks on a regular basis. After 16 more transactions, in what became known as the West Port Murders, on 2 November 1828 Burke and Hare were caught. The whole city were convulsed with horror, fed by ballads, broadsides and newspapers, at the terrible deeds of Burke & Hare.[4] Hare turned King's evidence, and Burke was hanged, dissected and displayed.
Burke's the butcher, Hare's the thief,
Knox, the boy who buys the beef!
Knox was not prosecuted, which outraged many in Edinburgh. His house was attacked by a mob, and windows were broken. A committee of the Royal Society of Edinburgh cleared him of blame, but there was no forgetting his part in the case, and many were wary of him.[5]
Discovery and trial[change | change source]
The last victim was Marjory Campbell Docherty. Burke lured her into the lodging house by claiming that his mother was also a Docherty. He had to wait to kill her because the lodgers James and Ann Gray were present. The Grays left for the night and neighbours heard the sounds of a struggle.
The next day Ann Gray, who had returned, became suspicious when Burke would not let her approach a bed where she had left her stockings. When the Grays were left alone in the house, they checked the bed and found Docherty's body under it. On their way to alert the police, they ran into McDougal who tried to bribe them with an offer of £10 a week. They refused.
Burke and Hare had removed the body from the house before the police arrived. However, under questioning, Burke claimed that Docherty had left at 7:00 a.m., while McDougal claimed that she had left in the evening. The police arrested them. An anonymous tip-off led them to Knox's classroom where they found Docherty's body, which James Gray identified. William and Margaret Hare were arrested soon there after. The murder spree had lasted twelve months.
↑ "William Burke & William Hare".
↑ "Definition at dictionary.com".
↑ "Definition at Merriam Webster".
↑ "The Resurrectionists". The Resurrectionists. New York Academy of Medicine. Retrieved 2008-04-27.
↑ Rosner, Lisa 2009. The Anatomy Murders: being the true and spectacular history of Edinburgh's notorious Burke and Hare and of the man of science who abetted them in the commission of their most heinous crimes. University of Pennsylvania Press. ISBN 978-0-8122-4191-4
Retrieved from "https://simple.wikipedia.org/w/index.php?title=Burke_and_Hare_murders&oldid=6535466"
1820s in the United Kingdom
British criminals
Murder in Scotland
19th century in Scotland


text:
power-play-0
Power Play (MM)
Word Count: 163,215
Ryan Talonovich is the star of his college hockey team, until an accident during practice leaves him confined to a wheelchair. The doctors say he'll walk again but a new season is already underway and he's been replaced on the team, which leaves him feeling alone and betrayed. What's the use of fighting to get back on the ice now?
Then he meets Dante Espinosa, a short track skater on the city's speed skating club. Though he has to work overtime to afford his sport, Dante is hell on ice, and dreams of making the cut on the U.S. Olympic Speedskating Team.
Their love of the ice brings them together, but too many obstacles stand in their way: Ryan's struggle with therapy. The memory of Dante's first boyfriend. Lack of funding to the event, Dante's harassing boss, a skating friend in love with him, and Wil Dietrich, who will do anything to win.
Cover Art by Written Ink Designs
Book Cove Reviews:
"J.M. Snyder delivers a tear spilling, heart wrenching tale of love and inspiration; you will be totally amazed by the hero's in this story, they let nothing stand in their way of their goals."
Chewing the Bone Reviews:
"[This] well-defined plot and engaging characters pulled me quickly into the world of amateur speed skating, and then held me captive with some rousing romance. Snyder writes a gratifying story I will enjoy reading time and time again."
"A story about life, love and the hardships that everyone has to overcome ... combines love, laughter, along with serious issues to make a phenomenal story. This is one book that you will not want to miss."
"I felt intimately a part of Dante and Ryan's relationship as it unfolded across the pages. Power Play is uplifting and beautiful, although, I wanted more at the end. I wasn't done reading about Dante and Ryan! Power Play is another example of why J.M. Snyder is one of the best authors of gay romance."
Rainbow Reviews: 5 out of 5.
"A phenomenal story about two very different men who can look beyond outer appearances to the beauty that lies inside each of them."
Review by Elisa Rolle:
"The story is very well written and compelling. Dante's trouble to find the money for simple things but also for the month's rent, his daydreams of glory. Ryan's struggle with the therapy, his bad attitude, very right considering his situation, his relationship with his mother. Oh yes, his mother... cause we are speaking of a nineteen years old guy, not a man, and mothers are still a very present costant in a guy's life. And Ryan's mother is a wonderful character, not the perfect mother of fantasy, but a real mother, bothering but loving."
Ryan's mother raps on the door quickly, then calls out before she gets an answer. "Ryan? Your friend's here."
From the other side of the door, Dante hears the unmistakable sound of rubber wheels over a hardwood floor, and then the door eases open. Ryan grins up at him, opens the door wider. "Hey you," he says. As Dante steps around Mrs. Talonovich into the room, Ryan gives his mother a quick look. "Thanks, Mom." She starts to say something but he closes the door on her. Rolling his eyes, he tells Dante, "She'll sit in here all day if I let her."
Dante laughs and looks around. The room is obviously a den, complete with a fireplace along one wall, though the grate's closed and the hearth screened off. A hospital bed by the door fills most of the room and when Ryan nods at it, Dante sits on the edge of the mattress, dropping his bag at his feet. Long vertical blinds cover a sliding door to fall behind a desk complete with a computer and a vase of dying flowers. "From the team," Ryan explains when he sees Dante's raised eyebrows. "My mom won't let me throw them away."
"They bought you flowers?" Dante asks. With a dramatic sigh Ryan nods, and Dante has to laugh again. The awkward discomfort he felt out in the hallway is gone -- Ryan wears tattered jeans and an old sweatshirt, sneakers as worn as Dante's own, and it's warm in this room, well lit, the blinds pulled back to look out on a brick patio and covered swimming pool. Ryan's chair is close enough that Dante could reach out and take his friend's hand, if he wanted to. "So does that mean I have to buy you flowers for doing my site, too?"
He likes the blush that climbs up Ryan's neck and colors his face to the roots of his hair. "Oh God, no," Ryan says, ducking his head into one hand to hide his burning cheeks. "Dante --"
"I'm just teasing," Dante tells him. He swats at Ryan's knee playfully, which makes his friend giggle. "What kind do you like? Roses?" Ryan doesn't answer, too mortified to reply. Rubbing his friend's knee, Dante says softly, "I'm kidding, Ryan. You don't have to answer. Are you always so easily embarrassed?"
Ryan's voice is thick when he responds, "I didn't think so." Dante wonders if it's him doing this to the boy, making him bumbling and cute. He likes the blush and the way Ryan can't quite meet his eyes, the way his fingers pick at the threads along the hem of his sweatshirt. He likes the faint smile that tugs at the corners of Ryan's mouth as his hand rests on his friend's leg. If it's me, he thinks, give me a sign so we can get past this touch and go stage, please.
Dante watches Ryan carefully. When he removes his hand from his friend's knee, he imagines he sees a slight frown, gone in an instant, and was that enough of an indication? Does that mean he likes the touch? Dante's never been great at relationships but when someone's interested in him, they're usually overt about it, like Josey at the skate club who follows him around with puppy-dog eyes, or Bobby with his not-so-subtle requests to hook up. Even Jared was easy -- "Do you like guys?" he asked, and when Dante shrugged, nodded, Jared nodded back. "Me too." And that was it.
Ryan turns his chair around with an easy grace that belies the bulky metal frame. "You'll have to sit on the bed," he says, wheeling over to the desk where the computer is already turned on. "My mom doesn't think I need any other chairs cluttering up the room."
"It's okay," Dante says. He rolls onto his stomach and stretches across the foot of the bed so he can see the computer screen. Ryan slides his chair into the space beneath the desk, close enough that Dante can trace the tread on the chair's tire with one finger. "Have you done a lot to the site yet?" Before Ryan can reply, he smiles and adds, "Did I tell you how much you rock for doing this for me?"
Ryan laughs. "I told you it's not a problem," he murmurs, but the blush is back, thin and pink and unbearably cute. Dante wonders if his cheeks are hot right now -- he imagines pressing his hands to Ryan's skin, feeling the flushed flesh beneath his fingers, cooling it with kisses. As Dante watches, Ryan opens a web browser and the sound of a modem dialing up fills the quiet room. "I worked on it a bit last night but that's it," he says as they wait for the computer to connect. "I got a few pictures up that I really like but I don't have any of your stats or anything." When a page starts to load in the browser, Ryan adds, "I got the idea for the layout from another sports site. I was up all night looking at athlete pages."
Dante's impressed. What he knows of the Internet he can count on one hand, stuff he learned in high school because his senior year he was required to take a computer literacy class to graduate. He thought it was cool, but it meant nothing to him really -- it wouldn't help pay his skate fees or the rent, it wouldn't put food on the table, it wasn't something necessary. He doesn't even have a computer at home -- what good was it to him outside of school?
But a thrill races through him as his own image stares back from Ryan's computer screen, a great shot really, him leaning against the railing at the rink, the ice lit behind him, his hair falling gently to frame his face. He has a faint smile and even from here he can see the smoldering look in his eyes, the come hither look that was meant for Ryan -- is the boy blind? Can he not see that, the way Dante looks at him? Every picture should be like that, every shot he was staring through the camera, willing Ryan to see something more in the lens than just a friend. What else does he have to do to clue Ryan into the fact that he likes him?
"Wow." Dante crawls across the bed to sit up on the edge by the computer so he can get a closer look. Almost unconsciously, he leans on the arm of Ryan's chair, leans close to the screen, until he can see his own goofy grin reflected back at him over the picture. "You did this last night?" When Ryan nods, Dante laughs. "It's awesome."
His name across the top, Dante Espinosa. Beneath that, The Hottest Thing on the Ice!, a tagline worthy of any major newspaper. Then his image, filling the main part of the page. A little write-up about him -- When he's on the ice, the crowd goes wild. With that mane of dark hair, those heartthrob eyes, he's more rock star than speedskater, but he can fill the stands and never disappoints. Dante Espinosa skates like the wind, whipping across the ice and leaving his opponents behind ... "You wrote that?" Dante asks. Ryan used the word heartthrob to describe him, Dante likes that.
"It's just something to fill up space," Ryan says softly. Dante turns to smile at him and suddenly he's all too aware of how close they really are right this moment, mere inches apart -- he can feel Ryan's breath on his neck, and his hair casts a shadow across his friend's face where it falls to block the light from the computer screen. I could kiss you now, Dante thinks, studying Ryan's mouth. What would you do if I did that? Push me away, kiss me back? Ryan's tongue licks out between his lips, wetting them, and Dante tells himself he's going to do it, he has to. He's never been this shy before. Ryan's eyes slip closed -- see? Dante thinks, leaning closer. His hand covers Ryan's on the arm of the wheelchair. He wants you to.
A knock on the door stops him, and then Mrs. Talonovich's bubbly voice calls out, "Ryan, dear? I have milk and donuts for you boys. Open up."
Conflict of Interest (MM)
Saving Grace (MFMMM)
VR Palace (MM)
Stepping Up to the Plate (MM)
Blood Lust (MMM)
Joyee Flynn, Stormy Glenn
My Boss Is a Grumpy Werewolf and I Think He Wants to Marry Me! (MM)
Jane Wallace-Knight


text:
MyNetworkTV (spesso abbreviata in MyNet, MyTV, MYN-TV, MNT o MNTV) è un network televisivo degli Stati Uniti di proprietà della Fox Broadcasting Company, una divisione della News Corporation. E', tra i sei maggiori canali statunitensi di lingua inglese, quello con i dati d'ascolto più bassi.

Il canale iniziò le trasmissioni il 5 settembre 2006 con una copertura iniziale del 96% del territorio nazionale.

MyNetworkTv è una canale fratello di FOX, ma opera autonomamente.

Da ottobre 2008 trasmette integralmente SmackDown!

Collegamenti esterni

Reti televisive di Fox Corporation
Fox Broadcasting Company

redpajama_set_name: RedPajamaWikipedia


text:
Success Gurus
Ambitious, challenging goals are clearly essential to achieve success. But how do you make sure that your aspirations are realistic? Everyone needs aspirations, goals to work toward and challenges to tackle.
It is when we think we have unlimited power to achieve anything we put our minds to, we may be in for disappointment.
Success gurus can be inspiring but they can also raise our hopes to an unrealistic level. By creating unachievable expectations, failure hits us all that much harder. Because we believed the success guru and convinced ourselves that success shouldn't be all that hard to achieve, we run the risk of blaming ourselves for not succeeding. We say to ourselves something like: "I must be especially stupid if I can't follow a simple formula for success." Such a major setback can put us further behind than we were before we listened to the success guru.
As a result, we're asking for trouble if we believe the success gurus who tell us we can have it all by just making up our minds.
Success gurus are really only right about themselves. Because they achieved great success easily, they think that everyone else should be able to repeat their achievements. The truth is that everyone can do some things that are difficult for others. Unfortunately, the things we're good at we regard as easy, so much so that we can't understand why others can't do them.
If you think of all the work, sports or personal activities that you really enjoy doing and are good at, you probably don't see the skills involved in doing them as real strengths because you see these things as simply too easy to do. They come naturally to you. Can't think of anything you are good at that others can't do? What about tying your shoes? Young children can't do that. What about finding your way somewhere new without getting lost, using a computer or doing a crossword puzzle? There are countless such things that are so easy for you to do that you can't understand why everyone can't do them with equal ease.
A relevant pop-psychology book from the 1980's is If I'm So Successful, Why Do I Feel Like A Fake, subtitled The Impostor Syndrome, by Judith Bardwick. The core message of this book is that some very successful people feel like fakes because they don't think they deserve their success and they live in fear of being found out. The real problem for them is that they feel that their success came too easily. Instead of recognizing their strengths, they feel like impostors.
We all share an important trait with success gurus and people who feel like imposters: anything we are good at seems so easy to do that we think others should have no trouble following our example. This is a myth, a biased self-perception. The truth is that people differ enormously on countless traits and abilities such as motivation, confidence, resilience, anxiety, self-discipline, talent, skill, intelligence, energy, attitude and optimism, to name only a few.
So, how can you hang onto your aspirations without setting yourself up for a great fall by living in a fantasy world where you think you should be able to do anything you put your mind to? There is no doubt that you won't achieve great things without pushing yourself and taking risks. But you should do a reality check from time to time. Ask your friends to help you make a list of the personal qualities and other conditions (i.e. finances) needed to achieve your dreams. Then ask them to rate you on a 10 point scale on each of the success criteria to see how realistic you're being. Make sure to thank your friends for the feedback they give you or they won't give you any more. If you think they're wrong, get some expert advice or at least some other opinions.
Success gurus who make it sound easy to get whatever you want are not deliberately deceiving you. They're simply making a mistake in thinking that what was easy for them should be easy for everyone. Their hype is seriously damaging to your chances for happiness because they're encouraging you to feel dissatisfied with your present state and to feel that you can change it with relative ease.
The key is to take the inspiration you get from reading, or listening to, success gurus and doing a reality check to ensure that your aspirations are realistic, not that you shouldn't take reasonable risks of course.
What does it take to be successful? What personal traits or habits will help you get there? See Achieving Success for a discussion of these questions.
Organizational culture endures like personality while climate is more like a brief mood. A culture is made up of NORMS governing...
Emotional intelligence is the ability to manage our emotions and those of others. The first step is to understand how our...
Servant Leader Traits
What traits distinguish servant leaders from other kinds of leaders? What is so special about a servant leader? And, do you...
What are the main sources of pressure at work for you? And how able are you to function effectively under such pressures?...
Empowerment means letting go of the authority to make certain decisions. This is good management practice but also about...
It's impossible to feel confident all the time. Even the greatest sports figures suffer from bouts of low self-confidence....
What is management? Management is like investment: its goal is to get the most out of resources, add the most value or get...
Training and development is often cut when costs are tight. Developing people needs to be seen as an investment, not a cost....


Softness isn't just a concept, it's a lifestyle. That's why we've searched high and low to bring you the most luxurious body care and bath products in the world. Whether you want to take a long, fragrant bath or need to soothe and soften your hands and feet, our range has something for you.Many women take especially good of their hands. Hands are always on display, which is why we offer a range of rich hand lotions and nail care products. The same holds true for our foot care selection, offering everything from buffers to soaks.Speaking of soaks, there are few things more comforting than hot water, whether in the form of a steaming cup of herbal tea or a full bathtub. Our bath products include herbal preparations, oils, and body lotions that can keep your skin soft and smooth long after you dry off.With brands like Jane Iredale, Rodial, and Oliv', you'll be able to find the perfect treat for yourself, or someone you care about. Take a few minutes to browse our bath and body products today.


Switch keyboard Input language via APIs.
This is a complete use of menu-related APIs.
The OpenFile function creates, opens, reopens, or deletes a file.
By using this program you can set any attribute to any file on your computer. This is programmed using API function.
Design simple circuits made of AND NOT and OR gates and test them. Zip file includes a circuit that adds two 4-bit binary numbers together. Uses a few GDI functions.
An easy way to add images to menus. Uses a single module. All drawing to VB PicturBox, so you can draw what you like. This sample just uses a PictureBox and ImageList to put images onto menus.


In recent years, wireless mesh networking has emerged as a rapidly growing (13.8% CAGR) and promising means to eliminate most connectivity issues, while providing added controls and functionality to network management. Mesh networking uses multiple access points (AP) that blanket an area in a signal, handing devices off to another AP when it can provide a better connection. In essence, a mesh network is a group of devices communicating and passing information from one device to another, in sequence, until the intended recipient is reached.
Earlier this year, the Wi-Fi Alliance introduced EasyMesh a common standard for mesh routers to interact with each other, regardless of manufacturer. Until this point, consumers were essentially locked into buying routers from a single brand to achieve a reliable mesh network experience.
Mesh routers — devices which allow you to integrate more than one router into a single, larger network for your home or office — previously only worked within a closed ecosystem. With the new standard, users can mix and match mesh routers to extend the WiFi in their homes or offices — provided they support EasyMesh. While new standards now exist, there are only a handful of manufacturers who have released EasyMesh routers and wide scale adoption will take some time.
Mesh wireless systems are all the rage these days, and for good reason. Mesh networking technology now enables us to enjoy high-speed WiFi coverage with no dead spots and, equally as important, simple setup and management. With the explosion in popularity of smart home devices and countless streaming media services like Hulu, Netflix, and Spotify, whole-house WiFi coverage has become a must. Apart from the most obvious consumer use cases, enterprises are increasingly moving to wireless networking and demanding the high performance provided by local area networks which is driven by the need for a consistent enterprise mobility experience.
Many of the latest wireless routers can provide strong coverage to most rooms of a typical medium-sized house, for example. However, larger buildings with dense walls, multiple floors, metal and concrete substructures, and other structural impediments may require additional components to bring WiFi to areas that the router signal can't reach. WiFi extenders do a good job of filling in dead zones, but typically provide only half the bandwidth available from the primary router. Access points offer more bandwidth than range extenders, but require a wired connection to the main router. And both solutions typically create a new network SSID that you have to log in to as you move from one area to another.
There are a lot of products calling themselves "mesh", and not all of them share the same features or capabilities. For our purposes, we define mesh as a system that uses multiple wireless access points positioned throughout a home or office location that broadcast the same wireless network name (SSID) and are all managed from one interface. This last bit is important because, in most cases, being managed from one interface means that all the devices are aware of each other and can work together to manage the WiFi throughout the location, without user intervention.
The mesh network control architecture can either be centralised or distributed. With a centralised control architecture, an AP controller is required to calculate and coordinate the mesh parameters for each AP. This architecture, however, limits the scalability of the mesh network to the capacity of the AP controller. Unfortunately, mesh networks have limitations, most notably in the loss of throughput and user capacity, which scales geometrically and increases latency linearly as the number of wireless hops increase. Accordingly, mesh networks are not suitable for high bandwidth or latency-sensitive applications.
Eliminates dark spots in the network and offers uniform signal throughout a building.
It's cheaper than regular networks with far less wiring and infrastructure costs involved in setting it up. A mesh network can be used to provide strong Internet access to an entire city for far less than what a regular wireless network would cost.
Mesh networks are great for when you're faced with obstructions and immovable objects that are likely to interfere with and weaken a signal.
Setting up extra access points, or nodes, is much easier. The nodes can communicate with all other nodes and you don't have to configure them to connect with a router.
If a node goes down either due to damage, loss of power, or another technical glitch, other nodes continue to work. The failure of a node doesn't create a hole in the network and instead the other nodes can normally compensate for the loss of one or two other nodes.
You can grow a network pretty easily, and shrink it down when needed. This means that if you suddenly decide to expand your office from one floor to two floors, meeting your network needs for a larger office is easier. Likewise, if you have to downsize and move to smaller premises, you can scale it down to size just as easily.
When it comes to intelligence, mesh WiFi network technology and devices will continue to advance. We've seen the introduction of a number of technologies recently. For example, Samsung launched a new mesh WiFi system with a built-in SmartThings Hub that automatically allocates bandwidth, mitigates interference, and delivers maximum WiFi capacity across a home. ASUS also launched their Lyra Trio mesh WiFi system comprising three powerful wireless routers with dual-band WiFi and 3×3 multiple-input multiple-output. The multiple-stream antenna design allows more simultaneous network traffic, enabling lag-free video streaming and gaming from every corner of a home.
It's clear that mesh networks offer many advantages over older topologies, including rapid deployment and robust infrastructure, or the ability to serve bandwidth to thousands of people in a coverage area. Given the flexibility and intelligence of mesh networks, deployment is an easy choice and there is a high probability that wireless network users are already connecting to a mesh network at home, work or play.


text:
Home » Samarkand – The Rich, Fertile City (Part I: Pre-Islamic Era)
HistoryHistory Travel
Samarkand – The Rich, Fertile City (Part I: Pre-Islamic Era)
by nousheenkhan October 6, 2019
by nousheenkhan October 6, 2019 0 comment
The Ambassador's Painting, found in the hall of the ruin of an aristocratic house in Afrasiab
By anonymous – Own work, Public Domain, https://commons.wikimedia.org/w/index.php?curid=21437830By
The city of Samarkand (in present day Uzbekistan) needs no introduction. The ancients called the area that is today Uzbekistan as Transoxiana i.e. Central Asia north of the river Oxus, the once great river known as Amu Darya. Samarkand is one of the oldest, continually inhabited cities in Central Asia and possibly the world as well. There are many versions of what is the meaning of 'Samarkand'. The name could be in Sogdian where Samar means 'Rock, Stone' and Kand means 'Fort or Town'. The historians and linguists point out that "Samarkand" originates from Turkish "Simiz kent", that means "Rich settlement". The medieval Chinese sources explain it as 'Rich city'. Samarkand could also have originated from Hebrew "Meru-kand" (Holy city).
Map of Transoxiana
https://depts.washington.edu/silkroad/maps/cities/transox_khurasan.html
There have been traces of human existence in Samarkand since the Palaeolithic era, however, the city of Samarkand was probably founded between 8th and 7th century BC. There is no direct evidence of this but it is a reasonable estimate. Due to its prominent location between China and Mediterranean, the city prospered from trade along the Silk route.
In the 5th century BC, Samarkand was part of the Achaemenid empire under Darius I. The Greeks called the area Sogdiana and united it with Bactria. Alexander conquered Samarkand in 329 BC. He reportedly said, "Everything I have heard about the beauty of Samarkand is true except it is even more beautiful; than I could have imagined." Soon afterwards he declared himself a God. Alexander's conquest played an important role in strengthening the East-West trade routes on the Silk Road and dissemination of Greek culture into Asia. The Hellenistic influences continued for long after Alexander's death.
The nomadic Turkic tribes that live in Central Asia today say that Alexander had two rams horns on the sides of his head and that is why he wore his hair long. Coins minted after his death show Alexander with horns. These "horns of Ammon" symbolize Alexander's claim that he was the son of the Egyptian god Ammon.
After Alexander's death, Samarkand passed into the Seleucid empire and then the Greco-Bactrian Kingdom. The Kushans played an instrumental role in developing a sophisticated irrigation system and thereby uplifting the social and economic status of the region. Unification of the agricultural land under one stable empire played a big role in this. There was a strengthening of trade relations with India, China and other Eastern countries. The crops produced during this region were very diversified-Millet, Barlet and Wheat; Apricots, Peaches, Plum, Grapes, melons; Poppy seeds; Lucerne and Sesame.
From the 1st to 3rd Century AD, handicraft production increased substantially such as ceramics, metal-working, iron-forging, weaving, jewellery-making, etc. Pottery was especially well developed at this time. The thin-sided goblets, bowls, cups and other types of ceramic products from the sites of Afrasiab are notable for their high quality. Craftsmen produced metalware and jewellery for women (bronze vessels, candlesticks, mirrors, bracelets, earrings, rings, etc.).
Weapons were also produced in large numbers- swords, daggers, spears, battle-axes, slings and bows-and-arrows. One weapon extensively used at this time was a special type of composite bow, pentagonal in shape, the parts fastened together with strips of bone or horn.
Samarkand was conquered by the Sassanians in 260 AD. In a previous blog, I have talked about the role of Sogdians in the Silk Trade (https://silkroadanecdotes.com/2018/12/09/sogdians-the-master-traders/). The 7th and 8th century conquest of Transoxiana by Arabs started a new chapter in the history of Samarkand.
https://en.unesco.org/silkroad/sites/silkroad/files/knowledge-bank-article/vol_II%20silk%20road_economy%20and%20social%20system%20in%20central%20asia%20in%20the%20kushan%20age.pdf -ECONOMY AND SOCIAL SYSTEM IN CENTRAL ASIA IN THE KUSHAN AGE*A. R. Mukhamedjanov
https://archive.asia.si.edu/explore/babur-gardens/memoir-03.php
https://en.unesco.org/silkroad/content/samarkand
The History of Central Asia-The Age of the Silk Roads, Volume Two, Christoph Baumer, I.B Tauris, 2014
Buddhism and the Silk Route
Samarkand – The Rich, Fertile City (Part II : Islamic Era)


Simulations of a key quantum algorithm reveal the time required for executing a sample computation and point to possible methods for optimization.
Quantum computers promise to accelerate some kinds of calculations in a remarkable manner. But as in present-day classical computing, hardware is only half the story: efficiency requires development of appropriate algorithms, such as the fast Fourier transform.
To apply a quantum computer to a broad class of problems, general-purpose algorithms are needed. One such method is the quantum adiabatic algorithm, in which the problem to be solved is coded into a Hamiltonian H. One prepares the quantum computer in the ground state of a reference Hamiltonian HR and then has it evolve under a time-dependent Hamiltonian H(t) that gradually switches from HR to H. If the evolution is slow enough ("adiabatic") the system ends up in the ground state of H, which contains information about the desired solution.


The whole interior of the home (2 floors) was redesigned with a new layout. A custom designed kitchen, powder and family rooms completed the main floor. A new staircase leads to multiple bedrooms upstairs and a second level addition above the garage. This addition includes a large master bedroom with vaulted ceiling and custom bathroom en suite.
The Wilson's came to us in 2008 with a set of drawings from another architect and with a budget in mind. Quickly we realized that the drawings and budget were not in sync with each other. The architect drew up another set of plans that was simpler and more cost-effective but still not in tune with the budget.
Artisan requested the opportunity to design the renovation based on the Wilson's vision for the home and their budget.
The design process went smoothly and moved quickly to permit applications. While they wrestled with moving or staying and renovating, the designs were revised to meet all the criteria for them to stay.
In the end, the entire home was remodeled with an open concept main level and a master suite was added to the second level. The Wilson's could not be more happy with their new home!


SAN JOSE and SUNNYVALE, Calif.-May 17, 2011-Cisco and NetApp (NASDAQ: NTAP) today announced that more than 150 customers have implemented joint data center solutions based on the FlexPod™ design architecture. Cisco and NetApp®'s FlexPod is a pretested architectural design guide that combines networking, computing and storage in a shared infrastructure, and supports multiple applications and workloads to help channel partners accelerate and simplify their customers' transition to the cloud. Last November, Cisco and NetApp introduced the first FlexPod solution with VMware, now available through 120 qualified channel partners worldwide. Today, Cisco and NetApp are announcing a new additional design guide for FlexPod that supports SAP applications in the cloud.
FlexPod is a design architecture with combined networking, computing, and storage infrastructure. The flexible, scalable shared infrastructure is pretested to help channel partners and customers lower deployment risk, increase data center efficiencies, and create a flexible information technology (IT) environment to build a private cloud.
FlexPod is built on the Cisco Unified Computing System™ server platform, Cisco Nexus switches, and NetApp unified storage systems running Data ONTAP®.
An open design management framework that integrates with existing third-party infrastructure management solutions from vendors including SAP and VMware.
Today, Cisco and NetApp released new design guides that use the FlexPod design architecture in support of SAP applications.
The design consists of SAP solution-based landscapes validated on the FlexPod shared IT infrastructure that help customers minimize application downtime to accelerate the deployment of SAP solutions in a virtualized environment.
The design allows customers to transition their existing or new SAP applications to a dynamic and flexible cloud-enabled environment.
The FlexPod solution for use with SAP applications can support both virtual and physical configurations and scales up or down as required.
For added security, customers can isolate different development or maintenance environments, or manage different production environments for SAP applications through the Cisco, NetApp and VMware Secure Multi-tenancy (SMT) Design Architecture design guide.
Cisco, NetApp, and VMware have built a new Unified Support Lab where support engineers can reproduce customer environments, diagnose issues, and rapidly resolve customer cases. This further strengthens the global 24-hour cooperative support model that Cisco, NetApp, and VMware developed to offer customers a streamlined response to identify and solve potential issues related to the FlexPod for VMware and Secure Multi-tenancy architecture designs.
"We are seeing strong interest in flexible, secure, scalable, and highly functional IT infrastructure solutions that help companies optimize their SAP applications to achieve greater efficiencies and reduce costs."
Bert Odinet, Vice President and Chief Information Officer at Freeport-McMoRan Copper & Gold Inc.
"As a global natural resources company, the latest economic downturn provided us with a unique opportunity to focus on business process transformation in preparation for the eventual recovery in our business. We turned to SAP, Accenture, and NetApp to help us create a strong and flexible application platform better aligned to our evolving business requirements. There were crucial differences in the capabilities of the innovative stack approach they offered with their other partners that couldn't be matched by alternative solutions we evaluated. As a result, we were able to reduce program risk, provide infrastructure scalability, and create a lower-cost operating model-all of this while accelerating a significant business process transformation program."
"As one of the largest independent business-to-business Internet service providers in Canada, we needed to expand our cloud hosting business with an additional data center and were looking to improve our services. Using Cisco and NetApp FlexPod for VMware®, we now have a flexible and efficient shared IT infrastructure that scales easily and quickly, allowing us to deploy highly secure, multi-tenant cloud-based services on demand."
"FlexPod, now available in support of SAP applications, brings the power of the Cisco and NetApp FlexPod solution to our customers, providing them with a proven, flexible IT infrastructure that enables them to build secure private clouds. Organizations can now scale SAP solution-based landscapes on demand, helping them be ready for the future and capitalize on new growth opportunities."
Cisco and the Cisco logo are trademarks or registered trademarks of Cisco and/or its affiliates in the U.S. and other countries. NetApp, the NetApp logo, Go further, faster, Data ONTAP, and FlexPod are trademarks or registered trademarks of NetApp, Inc. in the United States and/or other countries. VMware is a registered trademark and/or trademark of VMware, Inc. in the United States and/or other jurisdictions. The word "partner" or "partnership" does not imply a legal partnership relationship between Cisco, NetApp, VMware, and any other company. All other brands or products are trademarks or registered trademarks of their respective holders and should be treated as such.


text:
We Didn't Deserve Anything - Hignett
Craig Hignett admitted too many of his players were
off-colour during Saturday's disappointing defeat to Dagenham & Redbridge at
Victoria Road.
The Pools boss didn't hide from the fact his team were
second best against The Daggers and revealed his frustration at the manner of
the goals conceded in the 3-1 reverse.
"We were alright with the ball but it was the dirty bits of
the game that we've been doing so well recently that we didn't do – the tracking
back and the running," Hignett told Pools TV.
"They kept getting in and we didn't do anything about it. We
didn't get close to anyone, go with runners or put a tackle in, so without the ball
we were disappointing.
"Too many had an off-day and you can't carry players at thislevel. We carried too many today and we didn't deserve anything from the game.
"In recent weeks we've been getting chances but the final
ball and that little bit of quality wasn't there today and when we did get
openings we didn't take them.
"The second goal was embarrassing and then for the third we're
all like statues – you can't give goals away like that and expect to come away
"That is as angry as I've been, I think. They've been great
the last five or six few weeks so I don't want to be too harsh but they know
the standard today wasn't what we expect.
"We'll go away and analyse it and if we have to make adjustments we will."
https://www.youtube.com/watch?v=xPuiGQb0ECU


text:
The Polis Center
We Build Capacity
We Create Actionable Information
We Develop Knowledge Platforms
Grand Challenge Initiatives
Indiana Data Partnership
SAVI Community Information System
The Digital Encyclopedia of Indianapolis
Project on Religion & Culture
Home About Community & Culture The Digital Encyclopedia of Indianapolis
In 1994, The Polis Center published a 1,600 page print encyclopedia that provided a comprehensive social, cultural, economic, historical, political, and physical description of Indianapolis. The work—the standard reference volume for information about Indianapolis—was hailed as a national mode for urban encyclopedias. The book is now 25 years out of date. We need to update the content and make it available to the public in digital format.
The Polis Center at IUPUI, in collaboration with the city's major cultural and heritage institutions is developing a web-based, free-access Encyclopedia of Indianapolis to update information in the print work, add highlights from the past 25 years, and link resources from multiple organizations across desktop and mobile devices.
Digital Encyclopedia of Indianapolis
In 1994, The Polis Center published a 1,600 page print encyclopedia that provided a comprehensive social, cultural, economic, historical, political, and physical description of Indianapolis. The work—the standard reference volume for information about Indianapolis—was hailed as a national mode for urban encyclopedias. The book is now 25 years out of date.
How has Indianapolis and Central Indiana changed over the past twenty-five years? How has the city developed over the two centuries since its founding? What important events, people, and organizations have shaped the city, past and present? What do residents need to know about Indianapolis to contribute to the vibrant place-making that characterizes Greater Indianapolis today? A web-based, free-access Encyclopedia of Indianapolis will capture this information and more. Currently under development with a projected launch date of December 2020, this innovative platform will be the major source of information on the city and region.
Designated a legacy project of the Indianapolis Bicentennial Commission, the digital Encyclopedia of Indianapolis will be the hub of an innovative knowledge environment, linking resources from multiple organizations across desktop and mobile devices. It will be highly visual, interactive, and dynamic. Key elements include updating and enhancing the 1600 entries of the 1994 Encyclopedia of Indianapolis, adding new content to reflect developments since 1994, and implementing a document-and-image-rich interactive timeline. It will also allow citizens and organizations to add materials, such as special timelines or histories, as well as suggest entries and offer corrections and comments. Each neighborhood in the city will have its own entry, thereby giving residents information about the places where they live.
Users will be able to explore and discover information by event, name, date, place, keywords, or topic. The platform will include multi-media material including text, audio, video, images, and story maps, with the ability to access content from other digital collections housed elsewhere.
Ownership is vested in The Indianapolis Public Library. Collaborating partners include the city's major heritage and cultural organizations: Indiana Historical Society, Center for Civic Leadership and Indianapolis Mayoral Archives (University of Indianapolis), Indiana Landmarks, IUPUI University Library, Butler University Archives, Indiana State Library and Historical Bureau, Indiana Archives and Records Administration, and Indiana Humanities.
"This new platform will be of interest to every person who wants to know about Indianapolis and Central Indiana," said David J. Bodenhamer, executive director of The Polis Center at IUPUI and the encyclopedia's editor-in-chief. "In order to be productive citizens, we need to understand who we are and what we have achieved as a city. This dynamic resource will allow us also to add new material continuously, so all of us will have access to timely and comprehensive information about where we have been and where we are headed as a city and region."
The digital encyclopedia will include features designed to take full advantage of web technologies, eventually including immersive capabilities. New information will be added continually, and existing information will be refreshed as needed. It will complement neighborhood entries with up-to-date statistical profiles generated by the SAVI community information system. The online platform will be especially useful to the media, government, and professionals and individuals with interest in planning, economic development, tourism, government, economic development, education, leadership development, arts and culture, neighborhood development, health, social services, philanthropy, religion, and the other areas that are key to the development of a vibrant, innovative, and prosperous city.
"This resource provides a comprehensive gateway to the story of our city," said Jackie Nytes, Indianapolis Public Library Chief Executive Officer. "Anyone wishing to explore Indianapolis' many milestones and the rich tapestry of its civic and cultural organizations can do so online 24/7 when the site is launched. The Library is excited to play a role in its creation."
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