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Jelly Roll Explains His Transition From Hip-Hop to Rock
Lauryn Schaffner Published: January 24, 2022
Erika Goldring, Getty Images
A lot of artists have been experimenting with different genres and sounds in recent years, and we've seen quite a few make the leap from the hip-hop world into rock 'n' roll. Jelly Roll, from Nashville, Tenn., has explained his reasoning for that very type of transition.
During a chat with Loudwire Nights host Toni Gonzalez, Jelly Roll recalled being in jail and discovering that he had a daughter on the way, which made him rethink a lot of the decisions he'd made up until that point.
Once he started to take music more seriously as a career choice, he released an mixtape in 2013 titled Whiskey, Weed & Waffle House, that actually resulted in him receiving a cease-and-desist order from Waffle House — but it actually helped his career in a strange way.
"[That] was like the first national attention I'd ever got," the musician said. "That's kind of my story in a nutshell, I just kinda grinned my way in. I always had a love for the guitar, I grew up in Nashville, so you can throw a rock and hit a guy that can play the guitar."
After growing up in a large household, Jelly Roll was inspired by many different genres of music, and was always interested in trying to create in as many of those genres as possible.
"That's kind of what led me into rock 'n' roll," he added.
In 2020, Jelly Roll took the plunge when he released the ballad "Save Me," which featured the artist singing and playing the guitar.
"I've always considered my music cathartic, I always called it therapeutic music. So it's always had this very serious, dealing-with tone, and 'Save Me' was just an extension of stuff I was... I just love experimenting sounds. I guess the only person I can really compare it to is Kid Rock — I always knew that I would cross from hip-hop into rock, I just didn't know how or when. And I could've never guessed that it would've been a ballad like 'Save Me.'"
In addition to "Save Me," 2021's Ballads of the Broken is full of deep and autobiographical songs, including the current single, "Dead Man Walking," which the artist admitted is about his own struggles with obesity and alcoholism.
To hear more about Jelly Roll's journey, tune into Loudwire Nights tonight at 7PM ET.
Jelly Roll, "Save Me"
11 Metal Musicians Who Killed It In Other Genres
Filed Under: Jelly Roll
Categories: Exclusive, Interviews, Loudwire Nights, Loudwire Radio, News, Rock


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Bottle Screen Printing Machine: The Complete Buying Guide
EXW-Ex Works
"Ex works" means that the seller fulfils his obligation to deliver when he has made the goods available at his premises (i.e. works, factory, warehouse, etc) to the buyer. In particular, he is not responsible for loading the goods on the vehicle provided by the buyer or for clearing the goods for export, unless otherwise agreed. The buyer bears all costs and risks involved in taking the goods from the seller's premises to the desired destination. This term thus represents the minimum obligation for the seller.
This term should not be used when the buyer cannot carry out directly or indirectly the export formalities. In such circumstances, the FCA term should be used.
Provide the goods and the commercial invoice, or its equivalent electronic message, in conformity with the contract of sale and any other evidence of conformity which may be required by the contract.
Render the buyer, at the latter's request, risk and expense, every assistance in obtaining any export licence or other official authorisation necessary for the exportation of the goods.
Place the goods at the disposal of the buyer at the named place of delivery on the date or within the period stipulated or, if no such place or time is stipulated, at the usual place and time for delivery of such goods.
Subject to the provisions of B.5., bear all risks of loss of or damage to the goods until such time as they have been placed at the disposal of the buyer in accordance with A.4.
Subject to the provisions of B.6., pay all costs relating to the goods until such time as they have been placed at the disposal of the buyer in accordance with A.4.
Give the buyer sufficient notice as to when and where the goods will be placed at his disposal.
A.9. Checking- packaging- marking
Pay the costs of those checking operations ( such as checking quality, measuring, weighing, counting) which are necessary for the purpose of placing the goods at the disposal of the buyer.
Provide at his own expense packaging (unless it is usual for the particular trade to make the goods of the contract description available unpacked) which is required for the transport of the goods, to the extent that the circumstances relating to the transport (e.g. modalities, destination) are made known to the seller before the contract of sale is concluded. Packaging is to be marked appropriately.
Render the buyer at the latter's request, risk and expense, every assistance in obtaining any documents or equivalent electronic messages issued or transmitted in the country of delivery and/or of origin which the buyer may require for the exportation and/or importation of the goods and, where necessary, for their transit through another country.
Pay the price as provided in the contract of sale.
B.2. Licences, authorisation and formalities
Obtain at his own risk and expense any export and import licence or other official authorisation and carry out all customs formalities for the exportation and importation of the goods and, where necessary, for the transit through another country.
Take delivery of the goods as soon as they have been placed at his disposal in accordance with A.4.
Bear all risks of loss of or damage to the goods from the time they have been placed at his disposal in accordance with A.4., provided, however, that the goods have been duly appropriated to the contract, that is to say, clearly set aside or otherwise identified as the contract goods.
Should he fail to give notice in accordance with B.7., bear all risks of loss of or damage to the goods from the agreed date or the expiry date of any period fixed for taking delivery.
Pay all costs relating to the goods from the time they have been placed at his disposal in accordance with A.4., provided, however. that the goods have been duly appropriated to the contract, that is to say, clearly set aside or otherwise identified as the contract goods. Pay any additional costs incurred by failing either to take delivery of the goods when they have been placed at his disposal, or to give appropriate notice in accordance with B.7.
Pay all duties, taxes and other official charges as well as the costs of carrying out customs formalities payable upon exportation and importation of the goods and, where necessary, for their transit through another country.
Reimburse all costs and charges incurred by the seller in rendering assistance in accordance with A.2.
Whenever he is entitled to determine the time within a stipulated period and/or the place of taking delivery, give the seller sufficient notice thereof.
Provide the seller with appropriate evidence of having taken delivery.
Pay, unless otherwise agreed, the costs of pre-shipment inspection (including inspection mandated by the authorities of the country of exportation).
Pay all costs and charges incurred in obtaining the documents or equivalent electronic messages mentioned in A.10. and reimburse those incurred by the seller in rendering his assistance in accordance therewith.

redpajama_set_name: RedPajamaCommonCrawl


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Authors Refuge
Writing, tech, and navigating between the two without letting the latter distract from the former.
Full Fathom Five is James Frey's latest project. We all remember Frey, right? The notorious author of the 'memoir' A Million Little Pieces, he's now using his notoriety - er, sorry, industry contacts - to get young and bright-eyed MFAs published, with aims at movie deals for all of them.
Sounds great, right?
Except that said MFAs don't get to claim credit for it. Their names appear nowhere on the published book. The recent movie I Am Number Four was put out by Full Fathom Five, and the author has sued for the right to claim in public that he wrote the original novel. He's now allowed to talk about it, but his name still doesn't appear on the book.
It's an interesting concept, a think tank for coming out with cool young adult novels, surrounded by other people trying to do the same thing, with someone acting as literary agent for the whole group. Even the idea of branding as a think tank more than as a collection of individual writers is kind of fun, in concept.
Where Full Fathom Five falls off into creepy and exploitative is that James Frey is modeling it after Damien Hirst's art factory - it's all to be rewritten to his orders, and bear his stamp more than that of the writer, or even of the collective, for low wages and no recognition. The contract is a nightmare.
Which is why, despite pretty people and sparkly special effects in the previews, I will not be seeing I Am Number Four, or any future project from Full Fathom Five that makes theatres.
Labels: full fathom five, publishing, writers, writing
Akrasia, and the necessity thereof
Akrasia, as defined over at Wikipedia, is "the state of acting against one's better judgement."
For example, venti creme brulee lattes with whipped cream are bad for me. They contain dairy, which I react badly to, caffeine, which renders me strung out, and whipped cream, which renders me fat. Also sprinkles, sometimes. I know, logically, that they are bad for me and that I should not drink them. But they're also delicious.
And sometimes delicious wins. That's akrasia.
As an aspiring rationalist, I want to avoid akrasia as much as possible (that's why I have tea in front of me - that and holiday beverages being over of the year).
Since I like to have characters that represent a fair spread of humanity, there are some characters who are aspiring rationalists, too. They fall victim to akrasia infrequently, since they're specifically looking to avoid it, but they still do, since they're still aspiring rationalists. And, in my stories, they end up in extreme situations where their best interests might not always be clear, making akrasia nearly inescapable.
For non-rationalist characters, akrasia is much more frequent. They do things like go off on adventures to save the world, when staying where they are and filing a complaint with their local representative or calling the police would be more practical and be the more logical decision, as there are agencies which are more effective than they are as an individual and present lower risk to life and limb.
It's important to separate akrasia from the character judging outcomes using only the information they have, as opposed to information the author has. If the character has let their dog outside and hears a scratching at the door that sounds just like their dog, but the author has shown that it's a ravenous wolf scratching at the door, the character is acting in their best interest as far as they know when they let the wolf in. To a reader, it's achingly stupid, but the character is using the information they have available. To present the same character in a situation that really would involve akrasia, install a window next to the door. The character has heard stories on the news of wolf sightings in town. It's dark out, and the shape is canine, but distinctly not that of his dog. He wants it to be his dog, since otherwise it means something has happened to make his dog not send up an alarm. Does he keep the door closed and call animal control, or let hope rule and let in the wolf?
Take out the possibility of akrasia, and you as a writer remove a great deal of suspense from your writing. The three main conflicts are man against nature, man against man, and man against himself. A rationalist who acts always towards what is best for themselves removes the third conflict. An aspiring rationalist, however, may simply elucidate that conflict more than many.
In fiction, akrasia serves a purpose, and can be good. It adds conflict, and makes characters more relatable to we flawed mortals who don't choose rationally at all junctures. If the main character of Alexander behaved in a rational way, I'd never have made it past Chapter One with that particular story. This post is a result of more ruminating on the differences between good fiction and good life.
This post is also up at my group writing blog, Lunatic Writers.
And now, blog post complete, I shall go and drink something with sprinkles.
Labels: akrasia, characters, rationality, writing
Another frequent topic of debate is the technology used to write. Most frequently I see pen and paper vs computer, but not nearly enough do I see comparisons of the writing software available.
Microsoft Word and Notepad are the most obvious tools, since they come bundled with a Windows package on almost any PC you can buy commercially. But if you've had to wipe your hard drive and have lost your discs or are more interested in freeware in general, there's OpenOffice. It has a lot of the same features as Word, except it can save in more formats. The default format isn't Word, and Track Changes is hard to translate to another machine that doesn't run OpenOffice, but it's free, not particularly buggy, and has lots of online support. Probably not best for absolute computer beginners, but if you can google "how do I ___ in OpenOffice" and aren't particularly set in your ways with Word, it's a nice way to go. And if you feel bad about using freeware, you can just donate: a substantial donation at OpenOffice.org can still be cheaper than Word.
But what if you're frequently switching between machines, and can't keep track of a flash drive to save your life? What if you're collaborating on a project with six people and can't keep track of the latest version? What if, like me, you don't want your hard work tied to your hardware? Then there's Google Docs. Available anywhere there's internet, they have a few fewer formatting capabilities than some software, but are free and perfect for collaboration. There's a bit of a learning curve for using it, but it's been well worth it for me.
Then there are the writing-specific softwares, like Dramatica and StoryWeaver. The only one of these that I've tried is yWriter5 (which everyone will be shocked to find is freeware). I found it interesting, the way it encourages planning and structure and pre-writing, but didn't find that it gave me any appreciable advantage that couldn't be filled by a spreadsheet. For people with large, sprawling worlds and huge casts of characters, it might provide more of an advantage.
Like every other aspect of writing, it's a matter of finding those tools that work for you.
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Labels: software, technology, writers, writing
Island Writer Launch
Volume 9 Issue 1 of Island Writer launched tonight. It was my first issue as Editor In Chief.
There were a few minor crises, of course: un-synched lists meant that there were three people I wasn't sure were reading until tonight, the final cover with the price on it wasn't the one that went to print, Claudia de Veaux and her poem Waiting didn't make it into the table of contents, and the 2010 contest honorable mentions were forgotten from my list altogether (sorry!).
But it was a fantastic launch: the readers were funny and moving by turns, the magazine was there, with enough for everyone who attended. Marianne Altos from the City Council came by and said very nice things. The magazine looked great! There was punch and cookies and fruit and cheese!
And I'm utterly exhausted. This is the result of six months hard work on the part of myself and Kim Nayyer, the Creative Non Fiction Editor; Sheila Martindale, the Poetry Editor; Catherine George, the Fiction Editor; and Simeon Goa, the Art Director. And then a week of living on nerves making sure the details for the launch were finalized. I'm utterly elated that it went this well, and I'm crawling into bed as soon as I type this last period.
Labels: island writer, victoria, VWS
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This stylus is perfect for everyone. It plugs into any phone or tablet headphone jack. Simply plug black end into the headphone and you will never loose it. The rubber tip is perfect for your touch screen.


What's up with Sandy Bridge only being rated for up to 1333mhz memory?
Can someone explain this to me? Why are sandy bridge processors only supposed to work with memory of up to 1333mhz (is that a specific limitation of the integrated memory controller?) And if it's only designed to work with memory of up to 1333mhz, then why then can I plug in two 1600mhz sticks and have the memory function perfectly fine?
The CPU can still run the faster memory its just that Intel speced it to 1333MHz memory. When SB came out (last year) we were just getting 1600MHz memory into a good cost per GB.
Now you can get 8GB of great quality 1600MHz for $50 bucks but again that wasn't the case at the time.
Plus the benefits of faster memory are almost minute with desktops because most applications do not need the memory bandwidth, servers and VM machines however do.
Currently running SB with 1600MHz RAM is the sweet spot. Overall the performance is great and you get the great price. But its not needed as I said, you wont see any major benefit from it. Its much like 1866MHz or 2000MHz+ memory. Unless you are running a AMD APU, you wont benefit in performance from it at all.
Can you possibly go into more detail about what exactly you mean when you say Intel 'speced' it to 1333MHz memoy'? Is there some part of the microarchitecture that they had to fine tune to work best with 1333MHz?
As you stated earlier, the IMC is what is limited. Its mainly limted to 1.5v so as long as the memory is 1.5v it will run at whatever speed its rated. The Corsair Vengance is XMP so it will pick up 1600MHz in most mobos automatically.
But as I said, at the time 1333MHz was more comming, had better timings and was more cost effective. Right now its 1600MHz RAM and Ivy Bridge does 1600MHz as its best speed.
I am sure Haswel (the next CPU from Intel) will move to 1866MHz RAM or higher depending on whats common and easily affordable at the time.
And if it's only designed to work with memory of up to 1333mhz, then why then can I plug in two 1600mhz sticks and have the memory function perfectly fine?
One question: what is the frequency the BIOS configures?
Rating is the maximum guaranteed to work. A 1600MHz memory can work even at 1000MHz. It's just that it was tested an works up to 1600. But if it requires 1.6V or more for 1600, then it's actually an overclock-friendly 1333MHz memory. JEDEC does not allow >1.5V for DDR3.
^^ I don't have that info on-hand right now, as I'm out of town for a few days!
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Courage: To defend my Sisters and Folk Always, no matter what the odds are!
Discipline: To show restraint and self control when around things i know are not good for me or my Folk!
Fidelity: To show faithfulness to my partner, sisterhood and beliefs, by demonstrating it with continuing loyalty and support.
Honour: To faithfully show honour towards my Kin, Sisterhood and Folk always!
Hospitality: To be a good hostess, showing generosity to my Kin, Sisters, Visitors, or strangers of my Folk!
Industriousness: To work hard, so that in return i can help my Folk in need!
Perseverance: I will rely on my own strengths, powers and resources rather than those of others!
Self Reliance: To show self reliance in everything i do despite the difficulty or delay in achieving goals.
Truth: I will Live by My Word, you will NEVER be able to doubt me or speak ill of me without doubt from others!


UPDATED: APR 14, 2019 341-ml bottle from a sample 12-pack bought at the duty-free shop in Quebec pours clear golden yellow with a half-inch soap-bubble off-white head and residual lacing; lots of visible carbonation. Aroma: honey, lemon, floral, biscuit. Flavor: lemon-honey cough drops, biscuit, banana, clove, coriander, melon, jack fruit. Mouthfeel: medium-bodied with a somewhat creamy finish.
UPDATED: JAN 6, 2019 Belle robe dorée, mousse crémeuse et persistante. Nez sur les fruits mûrs, les fruits exotiques, les épices, la levure, les céréales. Bouche souple et ronde, agréable par son coté raffraîchissant et sa finale sur les céréales. Une Saison dans un style européen.
Robe or pâle, voilée, mousse très abondante, grosses bulles, tenace, carbo très forte. Nez fleuri et légèrement acidulé, typé saison. En bouche, un goût de grain cru et un peu acidulé, citronné. Légère amertume, presque résiduelle, équilibre bien l'ensemble. Désaltérant et agréable, une saison sympathique.
Bottle, [email protected] Bière. Pours hazy pale yellow with a medium, staying, frothy white head. Aroma has sweet malts, pepper, crisp, light doughy. Medium carbonation, fine dry and fairly light mouthfeel. Flavour has sweet malts, doughy, light herbal, grass. Fine bitterness. Okay.
Bottle, 5%. Hazy golden with big off-white head. Aroma is malt, wheat. yeast, orange and spices. Flavour is malt, yeast. wheat, medium sweet, spices, orange, hop and a little bitter.
My second one from the 6-pack. St-Feuillien being my reference, this is definitely the type of beer with orange and coriander, a nice refreshing Summer beer, but not my kind of saison.
Very modest head, yellowish body with some fog. Funky sour grapes aroma, rotting lemon, coriander, odd overall. Heavy coriander flavour with a bit of wheaty dough. Crisp finish. Bready on the back end. Not too bad though a bit of an acquired taste.


In the early 1960s, author John Steinbeck set out with his poodle Charley to discover America. Steinbeck's chariot was a green 1961 GMC pickup truck with a simple camper shell. Dubbed "Rocinante," this early RV carried the author across the nation and gave rise to his book "Travels with Charley." Today, people take to the road in modern RVs, some simple campers, others with nearly all the comforts of a brick-and-mortar home. Two of these choices are the Class B, or van conversion, and the larger Class C. Learning the differences between the two helps you decide which type of RV is best for your lifestyle.
Class B motor homes, sometimes called van conversions, start out as full-size or extended 3/4 or one ton vans. The RV manufacturer will take the shell of the van and add the makings of a home on wheels. The roof is raised, so that travelers can stand up straight. The raised roof also provides additional space to add cupboards or, in some of the luxury models, entertainment centers. The bed is normally in the back and doubles as a dinette during the day. A stove, sink and mini-fridge are added along the side, as is the toilet in most models. In some cases, the van's wheelbase is lengthened, adding more living space. Larger models may have a collapsible table in the front that is stored when on the road. Some of the top-end models have slides to increase living space. A slide is a part of the RV's wall that extends out when the vehicle is parked.
Class C motor homes have an instantly recognizable silhouette. The cab, part of the original truck chassis, is covered by an overhang, or cab-over, that in most models houses a bed. A passageway leads into the body of the motor home, usually a step or two up from the driver's compartment. The truck chassis, able to carry more weight, gives RV manufacturers the freedom to add more amenities. Sometimes the truck frames are extended, creating space for an additional bed in the back. Class Cs have a separate dining area, larger stove and refrigerator, and larger storage tanks for water, waste and propane. The bathroom is larger, usually with a shower stall separate from the toilet. Storage is maximized, with plenty of cupboards and hiding spaces inside and several storage compartments outside. Some of the modern Class Cs are so large that they rival the Class A, or bus-style motor home, in space and amenities.
In the past few years, the RV industry has come up with a sort of hybrid between the Class B and the Class C. Known as the B-Plus, they get better gas mileage than a Class C but have more storage and space than the Class B. They are built on a truck chassis, and there is a cab-over, but it is more aerodynamic and not as high. The cab-over usually houses storage space or an entertainment center rather than a bed. The bathroom is more in line with those in a Class C. Floor plans include models with beds in the back or sofa-beds on the side, both with a separate dinette that usually converts into a bed. Slides are common.The B-Plus models, usually limited to 30 feet in length, can fit into most National Park camping spots. Depending on the model you choose, this motor home may or may not fit in your driveway.
Wachman, Monica. "Difference Between Class B & Class C RVs." Travel Tips - USA Today, https://traveltips.usatoday.com/difference-between-class-b-class-c-rvs-62395.html. 16 April 2018.
American author John Steinbeck's camper truck "Rocinante", which he took on a cross-country trip described in Travels with Charley. On display at the National Steinbeck Center in Salinas, California.


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Jan Witting
Jan Witting is a biological oceanographer with long-running interests in the Sub Tropical and Equatorial Pacific, where he has served as Chief Scientist on more than 20 research cruises. His work broadly addresses the linkage between climate variation, circulation, and biological production in the tropical and subtropical oceans, where he studies the effects of changing primary production on the structure of pelagic food webs and the ultimate consequences to Pacific fisheries and the human communities that rely on them.
Jan received his Ph.D. from Northeastern University, where he also completed a postdoc in underwater robotics. On board, he will be assembling a real-time picture of the state of the ocean in the Cafe as it relates to questions the expedition is asking about white sharks. This work will involve data from daily CTD/rosette deployments, from shipboard acoustic instruments, and from observations from the Saildrone and Slocum Glider autonomous robotic platforms that will be surveying the Cafe. Oceanography aside, Jan is also an avid birder at sea, and is known for his on-deck rescues of shearwaters, petrels, boobies, and terns.
Voyage to the White Shark Café


1055 Reviews and Price for Bosch WAE20060IN 7 Kg Front Load Washing Machine - ReadyViews !
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What Is Restless Leg Syndrome, What Causes It And Is There A Therapy?
Your Blog » What Is Restless Leg Syndrome, What Causes It And Is There A Therapy?
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But the Red Cross stuck by its strategy till Healy declared Sept. 11 an extraordinary disaster that belonged in a class of its personal. It didn't make sense to her to treat Sept. 11 as if it have been an earthquake. Americans were responding really especially to the enormity of a terrorist attack. They have been donating buckets of cash, more than $600 million in the end, because she believed they had been heartbroken and scared. She believed that to commingle those emotions and these funds with the cash set aside for a lot more plebeian disasters would never stand up to public scrutiny. Apart from, she did not want large sums of income deposited in a general disaster-relief fund that is sometimes employed as a ''piggy bank'' for the chapters. So she produced a stand-alone fund for Sept. 11 and what ever might adhere to it. The Liberty Fund, with its personal team of 800 outside auditors, was born. 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Some researchers at the time thought the drug could be helpful for anxiety problems, like PTSD, but before formal clinical trails could begin, Adam spread to dance clubs and college campuses beneath the name Ecstasy, and in 1985, the Drug Enforcement Administration made it a Schedule 1 drug, barring all legal use.Persecutory delusions - unfounded, strongly held beliefs that other people intend to harm us - have traditionally been regarded as a key symptom of psychiatric diagnoses such as schizophrenia. They are far better conceived as the extreme end of a paranoia spectrum in the common population, with paranoid thoughts considerably far more common than previously thought. Delusions are notoriously tough to treat, so there is a pressing require please click for source new methods of tackling the problem - which is where VR comes in. In a Healthcare Study Council (MRC) funded study at the University of Oxford we've just completed the first experiment in making use of VR to treat persecutory delusions. We wanted to tackle the fundamental fear that we think underlies paranoia: the sense of danger from other men and women. The most effective way to do that is to support the individual learn from encounter that the conditions they dread are truly safe. As the feeling of safety increases, so the delusion diminishes.But according to the U.S. Department of Overall health and Human Solutions, 55 % of U.S. counties have no psychiatrists. Other barriers to therapy consist of a lack of other trained mental wellness providers, distance to care, and difficulty creating appointments.The same medicines given to younger folks may possibly not be powerful for folks with late-life anxiousness. 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Internet providers in Ojus, FL
Shop the best Ojus internet providers. Compare internet plan pricing and speeds from DSL, cable and fiber-optic providers in your area.
Ojus, FL internet providers
AT&T $40 100 - 1,000 Mbps Fiber-optic 9.070%
Ojus internet service at a glance
Provider: AT&T
3 providers - 1.62%
At 99%, broadband coverage in Ojus is comparable to the rest of Florida - 97%, and comparable to broadband coverage across the U.S. - 95%.
The vast majority of those living in the Ojus area will have access to DSL, which covers 99% of Ojus residents. Cable internet is also an option for many, offering service to 97% of the area. Fiber-optic is less available but still a popular internet option for roughly 9.070% of those living in Ojus.
There are five internet providers serving the Ojus area, and 96.92% of households will have internet options from more than one provider. Among Ojus's five internet providers, prices start at $29.99 and available download speeds reach up to 1,000 Mbps.
Find Ojus internet providers by ZIP code
Top high-speed internet providers in Ojus
The largest internet providers in Ojus are AT&T, Xfinity, and HughesNet bringing DSL, cable, and satellite options to Ojus.
DSL internet from AT&T is available to nearly all Ojus residents, covering 93% of households. Many will also have the option of cable from Xfinity, which covers 97% of the area. Ojus's third most-available internet provider, HughesNet, offers satellite to around 100% of Ojus residents.
DSL from AT&T offers broadband to nearly all households in Ojus covering 93% of the area.
DSL internet from AT&T uses telephone lines in Ojus to deliver service, which often leads to lower prices and higher availability, though download speeds are likely to be slower than cable or fiber-optic internet.
Internet prices for AT&T start at $30/mo.*, which is significantly lower than the average starting price for internet in Ojus, $42.49.
AT&T customers who choose the lowest-priced plan can expect speeds up to 100 Mbps, which comes to an estimated $0.30 per Mbps, about the same as the average cost per Mbps for the lowest priced plans in Ojus, $0.67.
For those who value internet speed as much as cost, AT&T offers download speeds up to 75 Mbps and upload speeds up to 20 Mbps in Ojus. These download speeds are available to 93% of the area, and are much slower than the average max speeds from all Ojus's providers, 528 Mbps.
Cable from Xfinity offers broadband to nearly all households in Ojus covering 97% of the area.
Xfinity's cable network is likely to offer faster speeds than DSL or satellite service, but Ojus residents in densely populated areas may experience slowed speeds during peak usage times.
Internet prices for Xfinity start at $29.99/mo.*, which is significantly lower than the average starting price for internet in Ojus, $42.49.
Xfinity customers who choose the lowest-priced plan can expect speeds up to 15 Mbps, which comes to an estimated $2.00 per Mbps, higher than the average cost per Mbps for the lowest priced plans in Ojus, $0.67.
For those who value internet speed as much as cost, Xfinity offers download speeds up to 987 Mbps and upload speeds up to 35 Mbps in Ojus. These download speeds are available to 97% of the area, and are much faster than the average max speeds from all Ojus's providers, 528 Mbps.
Satellite from HughesNet offers broadband to all households in Ojus covering 100% of the area.
HughesNet satellite internet offers reliable connection in areas of Ojus where other internet types may not be available, but service is likely to come with low monthly data allowances and high latency, making streaming binges and real-time online gaming impractical.
Internet prices for HughesNet start at $59.99/mo.*, which is significantly higher than the average starting price for internet in Ojus, $42.49.
HughesNet customers who choose the lowest-priced plan can expect speeds up to 25 Mbps, which comes to an estimated $2.40 per Mbps, higher than the average cost per Mbps for the lowest priced plans in Ojus, $0.67.
For those who value internet speed as much as cost, HughesNet offers download speeds up to 25 Mbps and upload speeds up to 3 Mbps in Ojus. These download speeds are available to 100% of the area, and are much slower than the average max speeds from all Ojus's providers, 528 Mbps.
What's the fastest internet provider in Ojus?
AT&T is the fastest internet provider in Ojus with download speeds up to 1,000 Mbps. These speeds are available to 9.070% of households in Ojus. The next fastest internet provider in Ojus is Xfinity, offering download speeds up to 987 Mbps to 97% of the area.
What's the cheapest internet provider in Ojus?
Xfinity offers the cheapest internet in Ojus with plans starting at $29.99/mo. This is significantly less than the average starting price for internet in Ojus, $42.49.
Is fiber internet available in Ojus?
AT&T is the largest fiber-optic internet service provider in Ojus, covering 9.070% of the city.
Is cable or fiber internet better?
Fiber and cable internet are similar internet service types, but fiber offers a few advantages over cable. Fiber internet can deliver faster upload and download speeds than cable in most areas, and is less vulnerable to slowed speeds during peak usage times. Cable does have the advantage over fiber in terms of availability, covering 89% of U.S. households compared to fiber's 38%.
What internet speeds do I get?
Take a speed test to see what download and upload speeds you are getting. For the best results, perform the test over a wired connection. View our speed test guide for a full breakdown of your results. If you want faster speeds, consider these tips for boosting internet speed, or shop for faster internet plans in your area.
Home page Florida Ojus


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Effortless What Is The Purpose Of A Literary Analysis Essay? Products – Where To Go
Firstly to know What a Literary Analysis Essay means, it's a option to determine and understand the work of an author, even when it is a single work or a complete physique of labor. Studying how one can write a personality evaluation requires an intensive studying of the literary work with attention to what the writer reveals about the character via dialogue, narrative, and plot. A literary analyst writes about the position each character plays in the work. The protagonist is a very powerful character, whereas the character who performs the villain within the battle with the principle character is named the antagonist. Great writers create characters with many sides, so character analyses should deal with these complexities. Right here are a few things to remember as you write your personal character analysis.
Generally, students are free to decide on their themes or literary works according to private preference. Nonetheless, when you've got been given out a list of selected matters by the lecture to choose from try to decide one that you've got some knowledge on or one thing that has a number of simply accessible information.
Painless essay samples Programs – An Analysis
The climax in To Kill a Mockingbird (or any other novel). Describing how the author builds up the plot to achieve the culmination is a good solution for a novel crucial analysis essay. Monitor how the tension is created in the entanglement and how it's launched as soon as the climax is reached.
Tolkien, whereas introducing minor elements, never fails to develop their character. Even Radagast the Brown, a wizard who is mentioned briefly on not more than two events isn't any exception to this rule. Tolkien tells his readers where Radagast used to dwell and explains his relationship with Gandalf, the only character with whom Radagast interacts (Tolkien 250). Glorfindel, the Elf-Lord who's' horse Frodo rides across the ford to Elrond, is a properly developed character as Gandalf explains his nature and background to Frodo after their arrival within the House of Elrond at Rivendell (Tolkien 217-218). Via these descriptions of all of the characters in his novels, Tolkien provides an emotional reference to Center Earth and makes the story seem less fiction and more like a dream in which readers are fully immersed.
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Obtain steering from your tutor by way of an internet chat. Your tutor will proofread your essay to verify it is in high shape and provide you with recommendations on the right way to enhance your writing. Ensure that the subject lends itself easily to crucial evaluation. Famous literature and controversial articles would be excellent choices.
Think of the title as the quilt page of the ebook. It's pleasant once we are greeted by one thing that captures our attention and makes us curious. Try to be concise but also inventive at the same time for the reason that title will give the reader the first impression about what they're about to explore in the essay. The title itself should not give away the conclusion, but it surely should entice the viewers to find that out.
It's difficult to tell who's doing what to what in this model. It makes the reader surprise 'who?' It's as if the quilt of the pot was magically eliminated and replaced, and we can not really tell that the Little Pig was the one chargeable for defeating the Wolf. Although it is sometimes acceptable to use passive voice, most writing ought to be in active voice.
An introduction, body, and conclusion – that is the fundamental structure to keep up in most codecs of educational writing. The literary evaluation is not any different; it wants an intro, physique, and conclusion. The one difference is that you just're not obliged to stick to the 5-paragraph format. In the event you want more paragraphs in the body, you are free to incorporate them until your professor tells you otherwise.
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SKYbrary Wiki
Enhancing safety
About SKYbrary
If you wish to contribute or participate in the discussions about articles you are invited to join SKYbrary as a registered user
Model of ATM Reality In Action (MARIA)
From SKYbrary Wiki
Category: Safety Management
Content source: EUROCONTROL
Content control: EUROCONTROL
3 Modelling Process
4 Top Level Functions
5 Model Dimensions
6 Model Framework
7 Model Benefits
8 Model Evolution
The Model of ATM Reality In Action (MARIA) is a knowledge database and an automation framework developed by NAV Portugal to provide a sound base for safety analysis by describing the whole ATM system and the interdependencies between its functions. It is coded as a graph providing additional possibilities of automatic analysis. The model has undergone extensive validation and is considered mature. Experimental work has been done on hazard and cause identification with success.
MARIA is neither a business, nor a safety model. It is built to allow several perspectives of analysis depending on the aim at hand. It may be used in simulations to identify strong and weak points, to evaluate risk mitigation strategies and for other purposes.
The following goals were defined at the start of model development:
provide a global view of the system (people, procedures and equipment);
show the dependencies between functions / processes;
build a description of the system architecture;
provide the reference for future safety assessments;
come up with a systematic and reproducible hazard identification method;
help the definition of risk mitigation strategies.
Modelling Process
MARIA was developed capturing the work performed daily at NAV Portugal to provide ATM services via interviews with the people actually doing the work. The questions addressed what is done to ensure safe provision of services, in line with the Safety II approach. The interviews were preceded by collection of information from existing documentation to allow a better understanding by the interviewers of the subject and thus allow for a better lead and structure of the interviews. The information was captured in a bottom-up way and afterwards consolidated in a top-down model. The achievement of this abstract view is one of the major advantages of the work carried out.
A first version of the generic ATM architecture was released at the start of 2014. The local architecture descriptions were built and distributed for validation by operational and maintenance staff from the sites in the second quarter of 2014. More than fifty people were involved and over 3000 work hours were invested.
MARIA is based on the day-to-day activities modelled top-down, starting with very high level functions which are systematically decomposed down to the level where the resources performing them can be identified. The level of abstraction is kept uniform at each level of function decomposition to ensure that the description covers all system parts (is complete), and facilitates verification and validation. The modularity of the model allows the addition of new blocks, derived either from new features or changes in scope.
The main difficulties with the modelling were:
to define the scope;
the lack of a global picture by most of the interviewed staff;
the complexity of the system;
the great interdependency and data diversity;
the specific terminology;
the amount of implicit knowledge.
Top Level Functions
The top level functions are represented in the following figure.
Each of the system functions is described and further decomposed. An additional function to maintain the infrastructure, which includes the provision of resources, was derived. A fictitious function designated as "Exterior" was added to cover the data exchange with external systems/functions. The description of the system functions does not cover the mechanisms that perform the function. This is only included in the description of the system architecture which is ANSP specific.
The information gathered from the interviews describes mainly the human functions and all the inputs required from the technical support function. To ensure the consistency of MARIA, namely that all flows have a start and an end, each function and each data flow are assigned a unique identifier thus enabling referencing and automatic checking.
The functions are decomposed until a specific enabler is identified. The human functions are decomposed to a level where specific training or rating requirements are specified. Technical functions are decomposed up to the level where the mechanism is identified – the set of related equipment used to provide a specific function. The top-down functions' decomposition has been validated by a bottom-up matching of the existing equipment.
The Structured Analysis and Design Technique (SADT) was used to represent the top level functions and the associated inputs and outputs. Details of some of the functions were captured using Business Process Modelling Notation (BPMN), a much richer notation which permits recording the way work is done. The following diagram illustrates the description of the sub-function 'Conflict resolution'.
In terms of dimension there is a maximum of seven levels of decomposition of a function. Each node has as properties: Name, Parent, Unit, Extras and Type (optional); each flow is described by: Name, Parent, Origin, Control, Destination, Enabler, Extras and Unit (optional). The following table provides information MARIA's current dimension.
Model Framework
The model framework is open allowing the easy addition of new properties to the existing descriptions, and new areas or systems, e.g. the aircraft functions. All functions, data flows, connections and hierarchy are coded in YAML, a human-readable data serialisation format. This data is considered to be a knowledge database which can be enlarged both to introduce new functions or data flows and to insert further knowledge such as function characteristics. Tools exist to automatically check the consistency of the knowledge database and to produce views.
Currently the framework provides the following automated functionalities: loading, checking, filtering, and documentation production. The checking functionality automatically verifies that the knowledge database is coherent, that all flows have a start and an end, all functions and flows have a parent except for the top level ones, the functional decomposition does not lose or create flows.
Model Benefits
MARIA is a knowledge database and an automation framework providing a global view of the ATM system, covering the high level, abstract functions, and their decomposition to the system's building blocks (components) and their interactions. It is an answer to the need for a better knowledge and understanding of current ATM systems, and a basis for safety assessments being done at system level.
MARIA is independent from the underlying technology or implementation as it only covers the functions and the information flows. It helps harmonization of the designation of functions which will facilitate the communication between ATM stakeholders.
The current version of the MARIA is starting to be used for safety analysis and impact assessment. The impact of equipment failure can be derived from the model in terms of the functions directly and indirectly impaired. This information can be used to adapt the monitoring indicators.
The model describes both the system functions and the architecture with all its mechanisms. From this base the specific architecture of an ATS unit can be automatically obtained.
The use of MARIA for hazard identification has been validated by means of a trial FHA session at Lisbon ACC. It is now systematically used in the FHA done for the ATC units of the Lisbon FIR.
Model Evolution
The used approach to model development allows for expansion, both by adding new aspects such as variability or dynamics and by adding new functions or further detail.
The current version is static, lacking information on dynamic properties of the system. Functional Resonance Analysis Method (FRAM) is proposed to model complex socio-technical systems and is based on SADT adding two new "sides" to the function description, namely time and preconditions. These two new properties describe dynamics and thus adding these new features to the functions is a way to integrate dynamics in the existing model. The main difficulty will be to obtain this information for the existing system. Adding it in the current knowledge database will be straightforward. Variability is another FRAM characteristic associated with the system dynamics, used to explain why functions can become coupled and how this leads to unexpected outcomes. It is a function property relevant for the outputs and studies are needed to find the best way to add this knowledge to the model.
The following figure depicts the existing knowledge and framework database and possible evolution plug-ins, covering the three layers:
The model in green
The coded knowledge inside the dark blue box
The automated view inside the turquoise box and reliant on the coded knowledge
Notes on figure above:
Green, yellow and orange boxes: Already existing
Straight line: Finished
Dotted boxes: Work started
Grey boxes: To be added.
Modelling ATM day to day operations - A functional model of the ATM system, P. Santos and P. Monteiro (NAV Portugal), January 2017
Coordination and simplexity in modelling air traffic control as a service: The case of NAV Portugal - Case study by Wellington university, New Zealand
A methodology used for the development of an air traffic management functional system architecture (Imperial College)
Portal:Safety Management
Retrieved from "https://www.skybrary.aero/index.php?title=Model_of_ATM_Reality_In_Action_(MARIA)&oldid=126743"
SM Methods and Tools
Licence agreement and Code of conduct


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Q: Docker MultiStage Build Exposing web app, and running bash commands I have this dockerfile. I am attempting to create an image that has ubuntu and a website contained within. The ubuntu commands open firefox and should navigate to the url that has the website. The CMD portion works as expected but http:localhost:8080 does not work as intended. Here is the dockerfile and I will walk you through each section.

Dockerfile

FROM microsoft/aspnetcore-build:2.0 AS build-env
WORKDIR /app

# copy csproj and restore as distinct layers
COPY *.csproj ./
RUN dotnet restore

# copy everything else and build
COPY . ./
RUN dotnet publish -c Release -o out

# build runtime image
FROM microsoft/aspnetcore:2.0
WORKDIR /app
COPY --from=build-env /app/out .
ENTRYPOINT ["dotnet", "SecondApp.dll"]

#ubuntu 16.04
FROM ubuntu:16.04
#set the working directory. All commands will be ran here
WORKDIR /root/
#Update packages, and install sudo
RUN apt-get update && apt-get install -y sudo
#not sure what all this does, but it gets the gui and firefox working
RUN export uid=1000 gid=1000 && \
    mkdir -p /home/developer && \
    echo "developer:x:${uid}:${gid}:Developer,,,:/home/developer:/bin/bash" >> /etc/passwd && \
    echo "developer:x:${uid}:" >> /etc/group && \
    echo "developer ALL=(ALL) NOPASSWD: ALL" > /etc/sudoers.d/developer && \
    chmod 0440 /etc/sudoers.d/developer && \
    chown ${uid}:${gid} -R /home/developer
#install firefox, wget and add chrome to sources
RUN apt-get update && apt-get install -y firefox
RUN apt-get install wget -y
RUN wget -q -O - https://dl.google.com/linux/linux_signing_key.pub | sudo apt-key add -
RUN echo "deb http://dl.google.com/linux/chrome/deb/ stable main" >> /etc/apt/sources.list.d/google.list
RUN apt-get update
#install severel dependent packages for firefox and chrome
RUN apt-get install google-chrome-stable dbus-x11 packagekit-gtk3-module libcanberra-gtk-module libcanberra-gtk3-module -y
#xdotool is used for mimicking key presses
RUN apt-get install xdotool -y
#not sure what this does either
RUN chown -R developer:developer /home/developer
RUN mkdir /var/run/dbus/
#? user
USER developer
ENV HOME /home/developer
#not sure what dbus-daemon does, but this does open up firefox, navigate to localhost:8080, and full screens the app. To keep the container running bin/bash is ran after, it remains in the background successfully.
CMD sudo dbus-daemon --system --fork && /usr/bin/firefox -url http://localhost:8080 & xdotool search --sync --onlyvisible --class "Firefox" windowactivate key F11  & /bin/bash

SecondApp

SecondApp is just the default created app for visual studio 2017 for an asp.net core web application. no MVC, nothing added. When debugging. Navigating to http:localhost:56545 will bring up the home page.
So from the above build of the dockerfile. Using this docker run command
docker run -ti --rm -p 8080:80 -e DISPLAY=$DISPLAY -v /tmp/.X11-unix:/tmp/.X11-unix repo/repo
or this one
docker run -ti --rm -e DISPLAY=$DISPLAY -v /tmp/.X11-unix:/tmp/.X11-unix repo/repo
Will run the container, open Firefox at url localhost:8080, and fullscreen firefox. But, localhost:8080 cannot be found.
Is there something wrong with the ports/networking that I am missing?

redpajama_set_name: RedPajamaStackExchange


Alumna, grad student competes for Miss Mass.
Emily Thomas '16, now a graduate fellow in education, competed in the Miss Massachusetts Scholarship Pageant in July.
"It was a great experience," Thomas said.
Thomas graduated in spring with a double major in biochemistry and secondary education, before starting graduate school with a goal of becoming a high school science teacher.
The best parts are the classroom work and mentoring students, she said. Thomas did her student teaching requirement at Andover High School last spring.
She didn't make the top 10 on July 2, so she didn't move on to the final day of the pageant. She's an experienced pageant participant, and the reigning Miss Middleboro, Mass., but this was the first time she went to the state competition.
"It does just come with experience — the experience of being at the state level, which I did not have," she said.
Thomas said she enjoyed the camaraderie with the other contestants in pageants, but the biggest attraction is the talent competition, which gives her a way to continue performing tap dance. She enjoys all forms of dance but really enjoys tap because it's upbeat, energetic and so intimately connected to the music and rhythm in a similar way to drums going to the core of the beat, she said.
The talent portion of the Miss Massachusetts competition is a key part of the scoring, and Thomas said she nailed her performance. Especially considering she hadn't performed on stage for a while.
This year's competition is over but Thomas' dream isn't. She enjoyed the experience so much she's going to work her way toward earning another shot at the state title.


text:
New Asian Writing
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NAW Poetry
'THE DUBLIN STUDIO PORTRAIT' by Ram Govardhan
Short story selected for the 2014 New Asian Writing Short Story Anthology
The garrulous, accomplished mariner that he was, Joe Farquhar seldom spoke after Fiona, his wife, passed away. His gift of gab disappeared, turned taciturn and, for over fifteen summers now, he just took in and, no matter what, never returned. Indeed, of late, he detested perceiving any voice or noise. But, even at seventy-six, lamentably, every nick, niggle and natter was still within his earshot. He deeply desired to lose his auditory faculty and turn deaf altogether. However, his sense of hearing seemed to improve with each passing year. He snugly sealed every crack and crevice of his bedroom rendering it thoroughly sound-conditioned. Nevertheless, in the middle of eerie nights, Fiona's last words repeatedly rang in his ears: "Be wary of your Indian daughters-in-law."
Great grandson of a thoroughbred Irishman from Dublin, Joe was half Irish, but, except in his own eyes, every bit of him called attention to its Indianness. The year Mountbatten, the great-grandson of Queen Victoria, oversaw the independence of India and Pakistan, Joe resolved to wed an Irishwoman to ensure more of Irishry in his offspring. Later that year, soon after joining an ocean-going liner, he spent two years in Dublin and married Fiona, a pure-bred Irishwoman. But just two generations of interracial marriages had diluted virtually everything about their, as Indians referred, Anglo-Indianness excepting their surname and, to an extent, tint of eyes. While all three of his sons had Indo-Irish eyes—the fusion of brown plus green gave birth to a nameless shade—Ralph, his great-grandson, had the greenest eyes among all his descendants. None of Joe's sons were dependable but Ralph's Irish eyes instilled optimism that, unlike his parents, Ralph would preserve the antiques and the studio portrait after his end.
Two days ahead of the sixteenth anniversary of Fiona's death, his sons, daughters-in-law and their sons and daughters-in-law, were engrossed in a heated discussion in the drawing room about rebuilding the crumbling Dublin Villa, the only solid sign of Jose's chaste Irishry. In the hallway, Joe was dusting his cherished antiques, artefacts and the studio portrait, which had been sketched in a Dublin studio on the day of his marriage fifty years ago. There were so many antiques and artefacts that it took him days to be through with them. The drudgery consumed a day just to dust and another or two to shine. This was Joe's unfailing monthly routine. Despite reminders about his allergy and asthma, he would never be at peace until he had buffed and brushed them all new. While shining them, he overarched his back so much, like a bow in full swing, that he looked hunchbacked. "I never bring the piece close to my eyes; I always take my eyes close to it," he would explain whenever inquisitive Ralph asked. Ralph liked this answer so much that he often asked the same question again. Though he was, Joe never exhibited his irritation; he just repeated every word, "I never bring the piece close to my eyes; I always take my eyes close to it." Half of all the antiques were acquired, spread over a century, by his grandfathers. The other half were his own acquisitions, collected during his voyages across the globe, over thirty years, as captain of a Bermuda-based liner. And a few were Fiona's passionate pan-India assortment. His attempts to count and number them all went down the pan; he either forgot after counting five hundred or gave up half way, blaming distraction by Ralph. But he was always emphatic that there must be "Over six hundred in all." Joe intuitively believed that if there was anyone who would care for the antiques after him, it was Ralph.
"Grandpa…hurry up! They are talking of selling this house…hurry up," Ralph called out. Joe was unperturbed; without answering, he carried on his business. Nothing had harried Joe for the last fifteen years and now, as long as the precious pieces were undisturbed, nothing was capable of distressing him. Looking at a cool Joe, obviously disheartened that his words had made no perceptible impact, Ralph scooted back accelerating an imaginary bike to the living room where the row was about to be wrapped up. Grasping that his grandson had been offended, Joe set aside a couple of unbreakable artefacts and waved Ralph to drive back. Ralph loved playing with the brilliantly tinted pieces, but given the brittleness of antiques and artefacts, Joe never let Ralph handle them. But today, peculiarly, Joe was inviting; the boy could hardly believe this gesture. But this was one rare break to feel some of the most fascinating, vivid pieces. Ralph's joy knew no bounds; he rode his fanciful bike, this time in reverse gear, back to hallway gasping.
Joe's sons and their wives, after hours of animated deliberations, almost concluded that Dublin Villa, seeping, crumbling and dilapidated, deserved to be razed and rebuilt. One of them spread out a globally celebrated structural design magazine that featured some of the most aesthetically and functionally stunning private buildings. Another emphasized that tearing down and reconstruction was not only too expensive but also too time consuming. "And, more to the point, where would we reside until rebuilding is over?" asked Grace, Joe's eldest daughter-in-law and virtual matriarch since Fiona's demise. And then the deliberation, which appeared to have been all but clinched, began heating up all over again. Such frenzied spats had been commonplace for over three monsoons now but the unmistakable distinctions, lately, were the tiffs that grew bitter and the palpable rush to concur. "Let us not deliberate anymore, we have done it at length for years…let us come to a conclusion," hollered Alasdair, Joe's eldest son. "Don't yell…your father's range of audibility is too extensive to take it for granted," cautioned Grace. Minutes later, the issue was collectively thrashed out: put Dublin Villa up for sale.
Within days, even before broker-dealers were notified, the bitter bickering, which typically foments on the day of the patriarch's death, began: who will share how much of the proceeds? It did not pain Joe that his progeny were brazenly wrangling even as he was alive. Or do they consider him as good as dead? Or was his life on the line? He could not tell but kept quiet as was his wont. If this sort of squabbling were to have occurred twenty years ago, despite Fiona's pleas to the contrary, he would have whipped them black and blue or might have ordered them to "push off" en masse. But, ever since Fiona's death, nothing mattered to him except the upkeep of antiques and artefacts. In fifteen years, the only question he had repetitively asked, through Sunday prayers, was about Fiona's untimely death. No other question was worthy of asking, and not responding became his instinctive reaction.
Dublin Villa was just a few years older than Joe. Despite my own irreversible afflictions, he often wondered, if I can go on, why is this manor unliveable? Of course, the two storeys, added recently, stressed the masonry of the ground floor but, spending great amounts, Joe had erected stone buttresses. Or, like with all things old, outworn and infirm, once the sale is consummated, will they abandon him as well? Joe knelt and prayed to Him, "Thank goodness, now I realise why Fiona was plucked years ago. She would have poisoned herself seeing her sons squabbling over bricks and mortar."
As a true seafarer of great ability, most pirates dreaded the sight of his liner's topmast. Joe would forge at full sail towards the buccaneers despite noticing their retreat. He would pull away just ahead of a flotilla rendering them terrified. And, many a time, in the melee, freebooters were crippled beyond recognition. A great linguist, his loquaciousness endeared him to numerous ship-carpenters, ship-chandlers and ship-boys. Today, no one would believe that Joe was so enterprising, garrulous on seas, on shores and ashore. He would cure ship-fevers with his unique potions concocted by extracting oils from different species of dry fishes. He was chiefly known for the panache with which he maneuvered ocean-going ships through some of the narrowest of canals. Many a ship had disappeared over the waters of Bermuda triangle but, despite hundreds of trips, he always steered his liner triumphantly.
Alasdair had been pestering him on disposal of Dublin Villa for over five years now. And Grace engineered her best efforts to persuade him that times had changed, that people craved modern houses and, most significantly, that his grandchildren were ashamed of living in such an old, wet and crumbling house. "My wife cannot bring her friends over to something that is in ruins," Daley, Joe's youngest, thirty-five-year-old son had lamented. "It is utterly foolish to live in a house and neighbourhood that comes across as black and white memories," Alasdair had rued.
Dublin Villa's façade was exceptionally artistic and its eighteenth-century Irish architectural opulence oozed out of every inch and corner. The mansion housed broad and long hallways and innumerable courtyards with beamed cathedral ceilings. Finely crafted, intricately carved Natal Mahogany doors and ethereally coloured glass windows were timeless, standalone works of art. In grandeur, style and size, the mansion was nothing short of an imposing state building. While Joe's father was alive, the whole of Dublin Villa was brilliantly illuminated in the evenings, turning the house into an even more grandiose monument. In one corner of the majestic central hall, there was a grand East Indian rosewood Steinway piano that had never been used since it was acquired by Joe forty years ago. Abutting the porch, an eighteenth-century, ten-foot cast-iron canon stood majestically. In a rare display of loyalty by an inanimate object, it pretended it could still catapult the stone ball that sat on its mouth anytime Joe wished. But, despite little Ralph's several impassioned pleas, Joe never wished. On one of the inner courtyard walls, neatly adorned were many sparkling pieces of World War II memorabilia that his father had collected. Among many other prized pieces, Ralph liked the copper pageantry trumpets from Asia Minor, hand grenades, copper coins from Britannia, lemonade bottles from France and fine bejewelled daggers, unsheathed swords and bronze breastplates from Greece. Also displayed were exquisite knick knacks from all over the world—wood and clay toys and a set of copper-cut dinner plates that Joe had collected. And a unique, timeless Japanese Emakimono narrative scroll given by Fiona's mother and passionately preserved since their marriage.
Mounted, alongside some plush pieces of millinery and keepsakes from Milan, were Joe's greatest grandfather Daley Farquhar's dazzling country-made rifles, which still smelled gamy, used during the Second Polygar War in 1802 Anno Domini. The ceiling and the other side of the wall boasted gargantuan ornate murals, painted by graffitists of yore, in brilliant colours giving it an old world charm, feel and ornate décor characteristic of that era. A rare, time-worn vattezhuttu Tamil copper scroll and parchment were accorded the pride of place among all the artefacts. But, among all of them, the most precious possession that Joe woke up to every morning was the black and white studio portrait; lanky Joe and petite, bashful Fiona in bridal ensemble.
Despite all the majesty, unmanageable problems were all too glaring. For over three years now, Grace had been highlighting them: old-world plaster peeled off, seeping rainwater diluted the colours of murals, several edges turned blunt and looked like open wounds. Simple spells of drizzle made every inner wall wet and the eternal moisture rusted iron lattices beyond salvation. And, as each wall was about two feet deep, they stayed dripping, irritating the inhabitants and guests alike for weeks. Pellitory plants jutted out of damp walls and, the deep-rooted neem tree, which snaked into many of the walls, was growing thick and fast threatening to bring the whole mansion down, any day.
In keeping with his vow of silence, Joe signed on the dotted line without uttering a word, unaware of the money involved. Nor did any of his sons or Grace bothered to apprise him of the details. The Dublin Villa changed hands and the proceeds were apportioned in due proportion. Since Joe wished to live with Alasdair; two quarters went to Alasdair, one each to the other two. Alasdair and Grace were not surprised that Joe did not say a thing about the whole dealing.
Conducted by Grace, Joe entered the mansion Alasdair acquired in the exurb of Madras where well-heeled denizens lived in palatial surroundings. "The manor is too big, too luxurious and too posh a locality for Alasdair to afford," reflected Joe but did not utter a word. "The two shares Alasdair got would have been quite inadequate even to make the down payment for this large a mansion and, more importantly, how could he manage something so regal?" Joe asked himself. Despite strong qualms about his son's finances, Joe made two requests: name the manor New Dublin Villa and allow his antiques and artefacts to take the best of walls. "Of course…papa," Joe was stumped by Grace's instant nod.
The packers and movers descended and stuffed the most precious furniture carefully into compact boxes. Joe was pleasantly surprised to see the movers stowing the pieces so watchfully. While each and every antique and artefact was untangled from rusty nails, Joe wrapped them in shredded paper, in haystacks and deposited them carefully into "this side up" corrugated boxes. The moment all the walls were stripped bare, Joe stared at the grainy holes and twisted nails as if he was gazing at a Michelangelo painting in a gallery.
The corrugated boxes, the rosewood chairs, the sofas and the rest were all loaded into the lorry. The brass flower vase, his father's canvas and the Dublin studio portrait were neatly placed into suitcases and stacked. At last, all his artefacts were properly packed and the rickety truck lumbered along. Joe looked fixedly at the wobbly truck until it became too tiny to be seen.
The house was weirdly empty now. Joe paced the rooms, hallways and courtyards, up and down, down and up. And, the most nostalgic rooms of all, his bedroom of fifty years that Fiona brooked no one's entry into. "Fiona…you are fortunate to have left this world not knowing that it is changing hands," said Joe looking at the murals on the ceiling that she loved so much. Ralph saw tears rolling down Joe's suspended cheeks. Hearing Grace's footsteps, Joe quickly wiped them away. It was time to leave Dublin Villa for good and for all.
While was on his way to the New Dublin Villa, Joe began mulling over which antiques and artefacts would go on which wall, "The largest and heaviest would go to hallways…other small ones would go to the study…and our Dublin studio portrait will go to my room."
When Joe entered the palatial manor, it was fully furnished with plush furniture that seemed imported. Having wondered at his son's ability to pay for this large a mansion, his means of affording this expensive furniture were unfathomable. Joe felt like asking about it, but having almost forgotten about posing questions at all, he could only raise the issue after an hour. "Grace…Grace…tell me how has all this come about? I mean the source of money to afford this big a mansion in this genteel neighbourhood." Having asked, Joe regretted it right away. "We bought it second-hand," she replied nonchalantly. "But it looks brand new." "The world has changed papa…everything is plastered, polished, tinkered to make it look new," said Grace. Having uttered more words than he had done in fifteen years, Joe promptly turned mum. This time, Grace was dumbfounded that Joe turned abruptly quiet on such significant stuff.
Joe waited for the antiques, artefacts and furniture for weeks. Having got used to rising to glimpse the studio portrait for over sixteen years now, Joe dreaded waking up. Neither was he sleeping. Whole nights of tossing and turning impelled him into slumber in the wee hours. Within days, an unexpected turn of events unfolded: Joe refused food, turned too weak and exacerbated his asthma.
A month after entering New Dublin Villa, Joe breathed his last in his bedroom, unaware of what had happened to his antiques, artefacts and the studio portrait. Or that is what Joe's sons, daughters-in-law assumed. They never came to know that, a week earlier, a day before Joe started spurning food, Ralph had told Joe that every one of the six hundred antiques, artefacts, including the Dublin studio portrait, had gone under the hammer accruing millions, each of his sons receiving their fair shares.
Author's Bio: Ram Govardhan's first novel, Rough with the Smooth, was longlisted for the 2009 Man Asian Literary Prize, The Economist-Crossword 2011 Award and published by Leadstart Publishing, Mumbai. His short stories have appeared in Asian Cha, Quarterly Literary Review of Singapore, Muse India, Asia Writes, Open Road Review, Cerebration, Spark and several other Asian and African literary journals. He somehow survives the deadly humidity of Chennai, India. Email: ram.govardhan@ymail.com
This story was first published in Asiancha- http://www.asiancha.com/issue/13/ramgovardhan/
Illustration by Alan Van Every (Featured image on the front page)
Tags: India
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According to Dr. Michael Kyomya, misconceptions about what the Bible actually says can breed confusion and false ideas about God and the Christian life. Therefore, it is critically important that you know how to interpret Scripture carefully. Dr. Michael Kyomya explains what interpretation is, why it is important, how to do it, and the pitfalls to avoid. He illustrates his points with examples from his own experience and from sermons he has heard in Africa. Dr. Kyomya makes it clear that interpretation is not just something for scholars, but also is useful when preparing a sermon or a Sunday school lesson, as well as in your own personal study of the Bible. The writing is simple and clear, and the illustrations are both amusing and informative. Full of ways to enrich personal study of the Bible, this guide will equip you with the knowledge and instruction you need.
I'm the author/artist and I want to review A Guide to Interpreting Scripture.


Nardini, Luisa, Christian, Riann N, Coetzer, Nanette, Ranson, Hilary ORCID: https://orcid.org/0000-0003-2332-8247, Coetzee, Maureen and Koekemoer, Lizette L (2012) 'Detoxification enzymes associated with insecticide resistance in laboratory strains of Anopheles arabiensis of different geographic origin'. Parasites & Vectors, Vol 5, e113.
The use of insecticides to control malaria vectors is essential to reduce the prevalence of malaria and as a result, the development of insecticide resistance in vector populations is of major concern. Anopheles arabiensis is one of the main African malaria vectors and insecticide resistance in this species has been reported in a number of countries. The aim of this study was to investigate the detoxification enzymes that are involved in An. arabiensis resistance to DDT and pyrethroids.
The detoxification enzyme profiles were compared between two DDT selected, insecticide resistant strains of An. arabiensis, one from South Africa and one from Sudan, using the An. gambiae detoxification chip, a boutique microarray based on the major classes of enzymes associated with metabolism and detoxification of insecticides. Synergist assays were performed in order to clarify the roles of over-transcribed detoxification genes in the observed resistance phenotypes. In addition, the presence of kdr mutations in the colonies under investigation was determined.
The microarray data identifies several genes over-transcribed in the insecticide selected South African strain, while in the Sudanese population, only one gene, CYP9L1, was found to be over-transcribed. The outcome of the synergist experiments indicate that the over-transcription of detoxification enzymes is linked to deltamethrin resistance, while DDT and permethrin resistance are mainly associated with the presence of the L1014F kdr mutation.
These data emphasise the complexity associated with resistance phenotypes and suggest that specific insecticide resistance mechanisms cannot be extrapolated to different vector populations of the same species.
QU Biochemistry > Proteins. Amino Acids. Peptides > QU 58.5 DNA.


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We are very proud
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PLAYWRIGHTS AND COMPOSERS
A.B. ASHER
Competing Narratives
A.B. ASHER (Playwright) is a Bronx native who turned to playwriting in order to bring to life some of the people he has known in his life. Full-length plays: Competing Narratives, Pedestrian Crossing, Gibeah, Broken Soul, and Revelation. Shorter works: Animum Reflectere and Hermanos (one-acts); Candid Date, P.O.C., Play Ground, and Flight (ten-minute pieces). Thanks to Jack, Bruce and Margarett and all my love to Davey, my muse. www.WaxingGibbousMoon.com.
R. JONATHAN CHAPMAN and KEVIN STEFAN
Romeo and Hamlet
R. JONATHAN CHAPMAN (Playwright) graduated with a Masters in Philosophy from the University of Calgary in 2001. In 2008 he won Grand Prize for the Alberta Playwriting Competition for his full length play The Wall. His one act play the god of ordinary things was produced as part of the 2008 Ignite! Festival of emerging artists with Sage Theatre in Calgary, and a new play The Kingdom of Three will appear in Ignite! 2010. Previous work including Romeo and Hamlet, Prometheus Unplugged, and Watching Fight Club Made Me Crazy were produced in Calgary with Hidden Insanity Theatre, of which Jonathan was a co-founder. Jonathan is currently the President of the Alberta Playwrights Network, a non-profit agency providing developmental support for playwrights in the province.
KEVIN STEFAN (Playwright) another co-founder of Hidden Insanity, is completing his M.Sc. in Civil Engineering at the University of Calgary. His previous writing credits include sketch comedy for Hidden Insanity's "Culture Pop," in which he also performed as the show toured the Athabasca, Edmonton and Calgary Fringe Festivals in the summer of 2002, as well as the uplifting "Tour-based Microsimulation of Urban Commercial Movements", which was published in Transportation Research Part B. Kevin currently sits on the board for the Calgary Fringe Theatre Festival.
STEPHEN deGHELDER (book and lyrics)
BRAD SIMMONS (music)
A Kiss From Alexander
STEPHAN deGHELDER (Book and Lyrics) has had a long career in show business as a professional actor, singer, dancer, director, choreographer and writer. His credits include Broadway (Celebration, Hello, Dolly!, A Chorus Line), Off-Broadway (NY Public Theatre, Playwright's Horizon, Manhattan Theatre Club, Upstairs at the Downstairs, Hudson Guild), national tours (A Chorus Line, The Boyfriend, Hello, Dolly!), regional theatres (Goodman Theatre, Walnut Street Theatre, Florida Rep), the Chicago Co. of Hair, and in commercials and film in the US, Portugal, Holland, Australia, Greece, Spain, Mexico and Egypt. In 1993, Stephan became lead writer and co-founder of the award-winning, satirical musical cabaret series, License to Bash which had a highly successful five-year run in Sarasota, FL. Additionally, Stephan wrote the book and special material to Noel and Cole, Men About Town produced by the Asolo Theatre Company, the first state theatre of Florida; Albeit, a ten-minute play for the Edward Albee playwriting festival at the Florida Studio Theatre; and with composer Brad Simmons, the original musical A Dickens of a Carol which recently premiered in Alabama to standing ovations. His collaboration with Mr. Simmons began with the musical fantasy A Kiss from Alexander which premiered at the Bailiwick Theatre in Chicago and was nominated for four "Jefferson Awards" including "Best New Musical of the Season." De Ghelder and Simmons are currently working on several new projects and are contributing writers to the satirical revue Laughing Matters Too for the Florida Studio Theatre, scheduled for March 2007. Stephan currently resides on a mountain in Asheville, NC with his partner of 27 years and their flat-coated retriever/border collie mix, "Tucker".
BRAD SIMMONS (Music) An actor/singer, musical director and composer, Brad has worked with Stephan De Ghelder in each of these capacities: As Cornelius in Hello, Dolly! starring Carole Cook, along with And the World Goes Round and Mame; as Musical Director for Jerry's Girls; and writing partner for A Kiss from Alexander, A Dickens of a Carol, and Laughing Matters Too. Other compositional credits include In Full Bloom, Reel to Reel, Summer Wind, Back at Home and All for You. His musical direction credits include the recent Off-Broadway reading The Ticket and over 30 other regional shows. NYC recognizes him most as The Pianist in the cult film "Camp." He has also performed with the Alabama Symphony and the Indianapolis Symphony featuring Grammy Award artist Sandi Patty. He now happily resides in New York City, but while living in Alabama he led the Brad Simmons Band, writing and producing 3 CDs. Check them out on ITunes!
BRIAN DYKSTRA
Spill the Wine
BRIAN DYKSTRA(Playwright) has been seen on stage and screen throughout the US and UK. His play, Clean Alternatives, won the coveted Fringe First Award at the 2006 Edinburgh Festival Fringe. His solo show, Cornered and Alone, received an extended Off-Broadway run and was hailed by critics, and landed him on several watch-lists including the NRA and Rush Limbaugh. The conservative talk show host put the word out against Dykstra as an "enemy"—but of course Limbaugh never actually saw the show. He is currently appearing in Brian Dykstra: The Jesus Factor at the Barrow Street TheatreOff-Broadway. Brian's play Hiding Behind Comets saw its world premiere at the Cincinnati Playhouse in the Park during its 2004 Tony Award-winning season. Hiding Behind Comets then moved to NYC for an extended run at 29th Street Rep and Brian was awarded the National Theatre Conference Playwright Award. Notable television credits include: HBO's "Def Poetry" "Third Watch", "Law & Order" and Comedy Central's "Chappelle's Show." Brian's television writing credits include the Emmy-nominated television show "The Life" on ESPN. Brian was 05-06 Playwright Fellow with the Lark Play Development Center and was awarded The Vault's It's the End of the World As We Know It Award for exceptionalcutting edge artists who consistently take risks with their art. www.briandykstra.net.
ROBERT JOHN FORD
The Casserole Brigade
ROBERT JOHN FORD (Playwright) is an award-winning playwright, composer and lyricist whose theatrical works have been produced or are scheduled for upcoming productions/readings in New York, California, Florida, Minnesota and Iowa. He is the author/composer/lyricist of numerous musicals, including: Six-On-Six, Caucus!, The World's Largest Aluminum Foil Ball, and Trice; and the author of three plays: The Casserole Brigade, Wake, and Identity. He and his works have received numerous grants and been featured on National Public Radio, BBC America, and Voice of America. He is a member of the Dramatists Guild of America and enjoys a 19-year creative relationship with San Diego's Old Globe Theatre.
PHILIP GERSON
Jumping Blind
PHILIP GERSON (Playwright) writes for theatre, television and film. His work for theatre includes the play Night (NY International Fringe Festival 2007); the book for the musical, The Last Metro, based on Francois Truffaut's film (Musical Theatre Works, NY, and the Colony Theatre, LA), and the books for the enormously popular musical theatre parodies, Fiddler on the West Hollywood Roof and West Hollywood Gypsy (produced by Charity Parody Productions with the special permissions of the original authors, to benefit AIDS charities, at the Harmony Gold Theatre in LA and UCLA's Freud Theatre). Philip Gerson has written for two of the most successful series in TV history – "Murder, She Wrote" (for which he was Story Editor) and "Dr. Quinn, Medicine Woman" (for which he was Co-Executive Producer). Other series for which has written include "Christy" (Executive Story Editor), "Legacy" (Co-Executive Producer), "Cover Me" (Co-Executive Producer) and "Mysterious Ways." He wrote the hit TV movie, "A Change of Seasons," and pilots for several studios and networks. His pilot, "R & D," was selected to be published by the Writers' Guild of America's "Written By" magazine as one of the six Best Unproduced Sci-Fi scripts. Philip Gerson is the recipient of the Film Advisory Board Award, The Prism Award from the Entertainment Industry Council, and the Dialogue Award from the Institute for Mental Health, all for his work in television.
F.J. HARTLAND
(2009/2010)
F.J. HARTLAND(Playwright) is a playwright/actor/director currently based in Pittsburgh. In 2008 he was the recipient of a Pennsylvania Council on the Arts Playwriting Fellowship. F.J.'s work has been produced a record-setting nine times in the Pittsburgh New Works Festival; other Pittsburgh venues include Bricolage Theatre, Rage of the Stage, South Park Theatre, Duquesne University, Prime Stage and PrideFest. In NYC his work has been produced by Emerging Artists Theatre, Love Creek, 13th Street Theatre, Ensemble Studio Theatre, The Quaigh Theatre and Don't Tell Mama and five times in the Samuel French Off-Off-Broadway Short Play Festival.
STEVE HAYES
Steve Hayes' Hollywood Reunion
Steve Hayes: Tired Old Queen at the Movies: Live!
STEVE HAYES (Writer/Performer) is an award-winning comedian, actor and writer, as well as the host of the classic movie review/comedy show: "Steve Hayes: Tired Old Queen at the Movies," which is seen weekly around the world on YouTube. As an actor, he recently starred in The Big Gay Musical directed by Casper Andreas and in Fine Line Features motion picture trick directed by Jim Fall and starring Tori Spelling and Christian Campbell. trick was nominated for Best Picture at the 1999 Sundance Film Festival and Steve can be heard singing a solo number on the soundtrack CD. Off-Broadway he starred in the world premiere of Paul Corrigan's comedy Queen's Blvd directed by Vincent J. Cardinal and recently appeared at the NYMF Festival in Bradford Scobie's Moisty the Snowman Saves Christmas. Steve won Outstanding Actor at the International New York Fringe Theatre Festival in 2006 for The Penguin Tango by Stephen Svoboda. He performed his one-person show Steve Hayes' Hollywood Reunion directed by Vincent J. Cardinal to sold-out audiences at GAYFEST NYC 2008. Steve is a nine-time nominee and three-time winner of the Manhattan Association of Cabarets and Clubs MAC Award for Outstanding Comedian and Characterization. He is also the recipient of the Backstage Bistro Award for Comedy Performer of the Year and is a six-time recipient of the ASCAP Popular Music Award.
DAVID BRENDAN HOPES
Edward the King
DAVID BRENDAN HOPES (Playwright) is Professor of Literature and Language at the University of North Carolina at Asheville and director of Black Swan Theater. He is extensively published in poetry, fiction, and non-fiction. His most recent volume of non-fiction is the book of nature essays, Bird Songs of the Mesozoic (Milkweed), and his newest volume of poetry, A Dream of Adonis, was published by Pecan Grove last fall. His plays have been performed recently in California, Wisconsin, New York, Minnesota, Ohio and Ireland, and have won the Arch Brown scholarship, the Siena prize, and the YES Festival production prize. He is also a painter and a basso profundo.
MICHAEL D. JACKSON
MICHAEL D. JACKSON (Playwright/Director) has seen his plays Three Women, See You In Yosemite, Hidden People, My Magic Kingdom, Coffeehouse, Astor and Irving and five productions of A Taste of Heaven brought to the stage, of which one was part of the Gay Pride Series 2004. Michael has also directed 25 productions. In New York: The Student Prince, Dearest Enemy, A Taste of Heaven, Screwups, Character Forum and Three Women. In California: Private Lives, Peter Pan, Ah, Wilderness!, Into the Woods, Jumbo, The Captive, Good, Jeffrey, Babes in Arms and many others. He worked for 11 seasons with the California Musical Theatre as Assistant to the Director on 16 productions as well as an Instructor for the Theatre Education Project. His collection of 12 gay history plays, Making Progress, was published by AuthorHouse in 2004. New York Stages: A Journal of New Millennium Theatre was also published by AuthorHouse in 2005. Michael is a licensing agent with Music Theatre International, a member of SSDC and the Dramatists Guild.
TIM O'LEARY
The Wrath of Aphrodite
TIM O'LEARY (Playwright) grew up in New Jersey, and started acting at the age of 11 in the children's chorus of a Paper Mill Playhouse production of Jesus Christ, Superstar. From that point on, he was hooked on theatre and never looked back. In college, he exercised his creative muscles by helping to found an a cappella group, eventually coming to write fully scripted shows and short films for them to act in, as well as performing in various theatrical productions. One of these productions was Euripides' Hippolytus, and that experienced sparked in him the desire to write The Wrath of Aphrodite. Tim has always been drawn to the less traditional when it comes to theatre. Since moving to New York he appeared in productions such as Twist, an S&M rock musical based on Oliver Twist, and a staged reading of Bedbugs: The Musical, in which mutant bedbugs attack Manhattan. Tim is also an avid stage combat enthusiast, and it's not uncommon to find him working a little bit, or a lot, of violent spectacle into his shows. (When hit with a case of writer's block, he practices with his nunchucks. Seriously. Just ask his roommate.) As a writer, he enjoys flipping wildly between genres. His last outing was Pieces on the Board, a modern-day noir thriller; The Wrath of Aphrodite is quite literally a Greek tragedy; and up next is a sci-fi action adventure romantic comedy. But Greek mythology has always been very close to Tim's geeky heart, and it is with great pleasure that he sees Aphrodite come to life. He is extremely grateful to Jack Batman and Bruce Harris for this wonderful opportunity.
ADAM SIEGEL
ADAM SIEGEL (Playwright) is the author of several plays, including The Legacy, which was the winner of the New Play Festival at South Carolina's Centre Stage. The Legacy was also selected by HRC Showcase Theater in Hudson, NY, for a reading during their 2008-2009 season and was a semi-finalist in the Eileen Heckart Drama Competition. His previous play, Color Blind, was given a staged reading by FirstStage in Los Angeles. In addition to writing plays, Adam is the Editorial Director of Bearport Publishing, an award-winning children's publisher. He lives in Maplewood, NJ with his partner, Gary Collins, their four children, Ben, Noah, Simon, and Eve, and their dog, Coco. He is a member of the Dramatists Guild of America.
BIL WRIGHT (book)
DIONNE McCLAIN-FREENEY (music and lyrics)
This One Girl's Story
BIL WRIGHT (Book) is a novelist, playwright and director. He is the author of the critically acclaimed novels "Sunday You Learn How to Box," "One Foot in Love" and "When the Black Girl Sings." Directing credits include: Yasmine Rana's The War Zone Is My Bed (San Diego premiere), Bloodsummer Rituals based on the life of poet Audre Lorde (Jerome Fellowship, N.Y. premiere), Men As I Needed Them (International Festival of New Theater and Dance, Theater Am Turm, Frankfurt, Germany) LAMI Playwriting Award for Mother, Father, Lover Man. Silencing Ning produced this spring by Emerging Artists Theatre as part of their EATfest. Member of Dramatists Guild. Graduate of NYU Tisch School of the Arts.
DIONNE McCLAIN-FREENEY (Music and Lyrics) is a pianist, singer, songwriter, choral director, arranger, musical director, teacher and actor, appearing on some of the world's best known stages, including Carnegie Hall, Avery Fisher Hall, Yankee Stadium, the Brooklyn Academy of Music, Don't Tell Mama, Chicago's Soldier Field and Millennium Park, La Bellevilloise in Paris, and the Lyon Opera House in Lyon, France, and an accompanist for some of New York tri-state area's most beloved churches, including Canaan Baptist Church, Unity Fellowship Church, Marble Collegiate Church, and Middle Collegiate Church. As an actor, Dionne appeared in Cape May Stage's production of Lady Day at Emerson's Bar & Grill. She is a composer, creating music and lyrics for This One Girl's Story, Artistic Director of TruPraise Gospel Ensemble, and a regular performer in, and consultant to France's Absolute Gospel Festival.