LW830 inline relay, no google control?
LightwaveRF Community: Welcome › Forums › Installation and Troubleshooting › LW830 inline relay, no google control?
This topic contains 2 replies, has 2 voices, and was last updated by pedro 3 months, 2 weeks ago.
Hi All, been using LWRF for years, had various challenges but never to the point that i failed….. before.
I've various devices in the house all connected via link plus, everything working fine except the LW830, it works via the LW app, but no matter how i pair (using various different types of device types) it never shows (and thus isn't controllable) in google assistant.
I suspect it's a replace for one of the other relay types (that i have elsewhere and work as expected) but curious if anyone else has this relay model working with google?
Thanks Node Zero, gave it another shot today and seems to work fine without fail, thought using the same method i tried to pair the other day. I'm guessing as i was re-doing the whole house with the new link that things we're in a state of flux or so.


Costa Rica is a natural treasure with an incredibly rich and diverse array of plant and animal life. It has long been a biological land bridge between the Americas with more than a dozen life zones within its borders. Join us to explore the volcanoes, cloud forests, and rainforests of this remarkable land.
The diversity is reflected in its rich plant and animal life. There are more species of birds here than in all of North America, over 800 in a country only four times the size of Connecticut. There are more butterflies in Costa Rica than on the entire continent of Africa. The plant life is spectacular; there are more than 12,000 species of plants, including a dazzling variety of trees and orchids.
All of this is being wisely protected in an excellent system of national parks and reserves that has won praise from conservationists around the world. The government has set aside thirteen national parks, eight biological reserves, three wildlife refuges, and other areas that now comprise one fourth of the country's land area. These far-sighted efforts have placed Costa Rica at the forefront of conservation, especially among tropical countries, where deforestation is proceeding at an alarming rate.
Guided by a Costa Rican naturalist, Professional Photo Leader Kathy Adams Clark and Naturalist Gary Clark.
Photographic locations filled with hummingbirds, reptiles, and tropical blooms.
All meals included in land cost. Tour limited to twelve participants.
Visit the La Selva Biological Station and Eco Observatory in Sarapqui.
Accommodations known for their bird feeders, hummingbirds, and gardens.
Savegre region, renown by birders around the world in search of the Resplendent Quetzal.
Early this morning you can join Gary on one of the balconies as he describes rufous-crowned sparrows and parrots as they fly overhead in the beautiful gardens surrounding the hotel. Blue-gray Tanagers are easy to photograph as they feed outside the dining room and Blue-crowned Motmot occasionally perch out in the garden. On the way to the Sarapiqui region, there will be a photography stop at a lovely hummingbird garden, with feeders attracting several different species of birds.
Sarapiqui region is one of the most exuberant and luscious places in Costa Rica, especially with respect to the rainforest. It is named after a river and rests at the base of the Central Volcanic Mountain Range. The program includes your first visit this afternoon to a lovely nature park.
Sarapiqui Eco-Observatory consists of three covered open-air observation decks for world-class photography and bird watching. Enjoy a spectacular display of beautifully colored Costa Rica birds as they perch just feet away. Over 215 bird species exist here including the Keel-billed Toucan, Crimson-collard Tangaer, and the White-necked Jacobin.
Start the day early with a photography shoot at the Sarapiqui Eco-Observatory. The program returns here this morning to capture the bird and wildlife in different light and activity levels. The mission of the park is to promote environmental awareness through exciting up-close and personal encounters with nature. Bringing insights and appreciation for the vital role reforestation plays on the environment.
The destination for the next two evenings is the Turriabla region. Rancho Naturalista, is located in the Tuis Valley, at the northern limit of Costa Rica's Talamanca Mountains. At 900 meters elevation on the Atlantic slope of the country, Rancho's forests, farmlands, and surrounding area offer an impressive 300 species of birds – many of which are difficult or impossible to see in other parts of the country.
The ranch lies on 125 acres in pre-mountain rain forest. You will be impressed with the famous hummingbird pools where Snowcap and Purple-crowned Fairy are regular bathers. The numerous hummingbird feeders offer a wonderful opportunity to photograph White-necked Jacobin, Green Violet-ear, and Green-crowned Brilliant species. The beautiful old tree off the veranda that is covered with bananas, attracts Fiery-billed Aracari, Passerini Tanager, and other topical birds. Photograph hummingbird with a stop-action studio at this location. The Rancho itself is somewhat eclectic, an attractive combination of main house - in bed and breakfast style - plus additional hotel-style rooms in separate but nearby buildings. Balanced, nutritious meals are prepared in the newly remodeled kitchen and served family- style in the cozy dining room. Overnight Turrialba Region, (B, L, D) both days.
Tour Notes: Some variations to the published itinerary may be made based upon weather conditions or other opportunities or situations. Animal and bird sightings mentioned are likely but not guaranteed. Several places provide hiking trails therefore you should have sturdy shoes and be in adequate physical condition to take advantage of the trail systems.
The trip was amazing and seamless!!!
I learned so much from Kathy Adams Clark that I feel I have more tools to become a better photographer. Kathy is just delightful as a person and a great teacher! The amount of knowledge your local guide knows and imparted certainly made the tour richer as I learned much about birds and plants. He was delightful. By in large the whole trip was beautiful. Every place we went opened up a world I had not seen and enjoyed.
I love Costa Rica and your operations provide for a great trip. I never wanted for anything!
Kathy Adams Clark is a professional nature photographer and owner of a stock agency representing fifteen photographers. Her work has been published in a variety of national and regional publications including National Geographic Books, The New York Times, and Sierra. Kathy teaches over fifty photography workshops and classes each year. Her work is seen each week in the Houston Chronicle's "Nature" column, written by her husband, Gary.
Accommodations are clean, comfortable and pleasant, but not luxurious. When visiting parks and reserves, expect cabin-like accommodations with private baths.
Costa Rican food is not spicy. Menus are usually simple, but the food is always good and plentiful. Breakfast menus are much like those in North America. Rice, meat, beans, and vegetables are usually served at lunch and dinners. Local cheeses are quite good. Delicious fruits and juices are in abundant supply.


text:
//
// Copyright (c) Microsoft. All rights reserved.
// Licensed under the MIT license. See LICENSE file in the project root for full license information.
//

/*=============================================================
**
** Source: test2.c
**
** Purpose: Create a child process and some events for communications with it.
** When the child gets back to us with a memory location and a length,
** Call WriteProcessMemory on this location and check to see that it
** writes successfully. Then call ReadProcessMemory to check if the
** contents read are same as those written
**
**
**============================================================*/

#define UNICODE

#include "commonconsts.h"

#include <palsuite.h>

#if defined(BIT64) && defined(PLATFORM_UNIX)
#define LLFORMAT "%I64u"
#else
#define LLFORMAT "%u"
#endif

int __cdecl main(int argc, char *argv[])
{

    PROCESS_INFORMATION pi;
    STARTUPINFO si;
    HANDLE hEvToHelper;
    HANDLE hEvFromHelper;
    DWORD dwExitCode;

    DWORD dwRet;
    char cmdComposeBuf[MAX_PATH];
    PWCHAR uniString;

    if(0 != (PAL_Initialize(argc, argv)))
    {
        return FAIL;
    }

    /* Create the signals we need for cross process communication */
    hEvToHelper = CreateEvent(NULL, TRUE, FALSE, szcToHelperEvName);
    if (!hEvToHelper)
    {
        Fail("WriteProcessMemory: CreateEvent of '%S' failed. "
             "GetLastError() returned %d.\n", szcToHelperEvName,
             GetLastError());
    }
    if (GetLastError() == ERROR_ALREADY_EXISTS)
    {
        Fail("WriteProcessMemory: CreateEvent of '%S' failed. "
             "(already exists!)\n", szcToHelperEvName);
    }
    hEvFromHelper = CreateEvent(NULL, TRUE, FALSE, szcFromHelperEvName);
    if (!hEvToHelper)
    {
        Fail("WriteProcessMemory: CreateEvent of '%S' failed. "
             "GetLastError() returned %d.\n", szcFromHelperEvName,
             GetLastError());
    }
    if (GetLastError() == ERROR_ALREADY_EXISTS)
    {
        Fail("WriteProcessMemory: CreateEvent of '%S' failed. "
             "(already exists!)\n", szcFromHelperEvName);
    }
    ResetEvent(hEvFromHelper);
    ResetEvent(hEvToHelper);

    if (!sprintf(cmdComposeBuf, "helper %s", commsFileName))
    {
        Fail("Could not convert command line\n");
    }
    uniString = convert(cmdComposeBuf);

    ZeroMemory( &si, sizeof(si) );
    si.cb = sizeof(si);
    ZeroMemory( &pi, sizeof(pi) );

    /* Create a new process.  This is the process that will ask for
     * memory munging */
    if(!CreateProcess( NULL, uniString, NULL, NULL,
                        FALSE, 0, NULL, NULL, &si, &pi))
    {
        Trace("ERROR: CreateProcess failed to load executable '%S'.  "
             "GetLastError() returned %u.\n",
              uniString, GetLastError());
        free(uniString);
        Fail("");
    }
    free(uniString);

    while(1)
    {
        FILE *commsFile;
        char* pSrcMemory;
        char* pDestMemory;
        SIZE_T Count;
        SIZE_T wpmCount;
        char incomingCMDBuffer[MAX_PATH + 1];

        int err;
        HANDLE readProcessHandle;
        DWORD readProcessID;
        char readProcessBuffer[REGIONSIZE]; // size 1024
        BOOL bResult;
        size_t size = 0;

        readProcessID = pi.dwProcessId;

        /* wait until the helper tells us that it has given us
         * something to do */
        dwRet = WaitForSingleObject(hEvFromHelper, TIMEOUT);
        if (dwRet != WAIT_OBJECT_0)
        {
            Trace("test1 WaitForSingleObjectTest:  WaitForSingleObject "
                  "failed (%u)\n", GetLastError());
            break; /* no more work incoming */
        }

        /* get the parameters to test WriteProcessMemory with */
        if (!(commsFile = fopen(commsFileName, "r")))
        {
            /* no file means there is no more work */
            break;
        }
        if ( NULL == fgets(incomingCMDBuffer, MAX_PATH, commsFile))
        {
            Fail ("unable to read from communication file %s "
                  "for reasons %u & %u\n",
                  errno, GetLastError());
        }
        PEDANTIC1(fclose,(commsFile));
        sscanf(incomingCMDBuffer, LLFORMAT " " LLFORMAT, &pDestMemory, &Count);
        if (argc > 1)
        {
            Trace("Preparing to write to " LLFORMAT " bytes @ " LLFORMAT "('%s')\n",
                  Count, pDestMemory, incomingCMDBuffer);
        }

        /* compose some data to write to the client process */
        if (!(pSrcMemory = malloc(Count)))
        {
            Trace("could not dynamically allocate memory to copy from "
                  "for reasons %u & %u\n",
                  errno, GetLastError());
            goto doneIteration;
        }
        memset(pSrcMemory, nextValue, Count);
        Trace("Preparing to write to " LLFORMAT " bytes @ " LLFORMAT " ('%s')[%u]\n",
                  Count, pDestMemory, incomingCMDBuffer, pSrcMemory);

        /* do the work */
        dwRet = WriteProcessMemory(pi.hProcess,
                           pDestMemory,
                           pSrcMemory,
                           Count,
                           &wpmCount);

        if (!dwRet)
        {
            Trace("%s: Problem: on a write to "LLFORMAT " bytes @ " LLFORMAT " ('%s')\n",
                  argv[0], Count, pDestMemory, incomingCMDBuffer);
            Trace("test1 WriteProcessMemory returned a (!=0) (GLE=%u)\n",
                  GetLastError());
        }
        if(Count != wpmCount)
        {
            Trace("%s: Problem: on a write to " LLFORMAT " bytes @ " LLFORMAT " ('%s')\n",
                  argv[0], Count, pDestMemory, incomingCMDBuffer);
            Trace("The number of bytes written should have been "
                 LLFORMAT ", but was reported as " LLFORMAT " \n", Count, wpmCount);
        }

        readProcessHandle = OpenProcess(
                PROCESS_VM_READ,
                FALSE,
                readProcessID);

        if(NULL == readProcessHandle)
        {
            Fail("\nFailed to call OpenProcess API to retrieve "
                    "current process handle error code=%u\n",
                    GetLastError());
        }

        /*zero the memory*/
        memset(readProcessBuffer, 0, size);

        /*retrieve the memory contents*/
        bResult = ReadProcessMemory(
                readProcessHandle,         /*current process handle*/
                pDestMemory,      /*base of memory area*/
                (LPVOID)readProcessBuffer,
                Count,            /*buffer length in bytes*/
                &size);

        if( !bResult || (Count != size) )
        {
            Trace("\nFailed to call ReadProcessMemory API "
                "to retrieve the memory contents, error code=%u; Bresult[%u] Count[" LLFORMAT "], Size[%d]\n",
                GetLastError(), bResult, Count, size);

            err = CloseHandle(readProcessHandle);

            if(0 == err)
            {
                Trace("\nFailed to call CloseHandle API, error code=%u\n",
                GetLastError());
            }
            dwExitCode = FAIL;
        }

        if( !memcmp (pDestMemory, readProcessBuffer, Count ) )
        {
            Trace("Difference in memory contents, expected [%s], but received [%s]\n", pDestMemory, readProcessBuffer);
            dwExitCode = FAIL;
        }

        Trace("ReadProcessBuffer contains [%s]\n", readProcessBuffer);
        err = CloseHandle(readProcessHandle);

        free(pSrcMemory);

    doneIteration:
        PEDANTIC(ResetEvent, (hEvFromHelper));
        PEDANTIC(SetEvent, (hEvToHelper));
    }

    /* wait for the child process to complete */
    WaitForSingleObject ( pi.hProcess, TIMEOUT );
    /* this may return a failure code on a success path */

    /* check the exit code from the process */
    if( ! GetExitCodeProcess( pi.hProcess, &dwExitCode ) )
    {
        Trace( "GetExitCodeProcess call failed with error code %u\n",
              GetLastError() );
        dwExitCode = FAIL;
    }

    PEDANTIC(CloseHandle, (hEvToHelper));
    PEDANTIC(CloseHandle, (hEvFromHelper));
    PEDANTIC(CloseHandle, (pi.hThread));
    PEDANTIC(CloseHandle, (pi.hProcess));

    PAL_TerminateEx(dwExitCode);
    return dwExitCode;
}

redpajama_set_name: RedPajamaGithub


The OpenEdge Adapter enables you to integrate Business Process Server applications with OpenEdge solutions. You can use OpenEdge Adapter as a participant to perform tasks in a workstep.
The OpenEdge Adapter is one of the Managed Adapters conforming to the Adapter Configuration and Mapping Framework. For more information regarding the managed adapter framework, see Understanding the Managed Adapter framework.
The OpenEdge managed adapter workstep in your process enables you to request OpenEdge business logic to be executed on the OpenEdge application server. This allows you to link a specific business process step to the execution of specific OpenEdge business logic.


In April of this year I wrote about Honda's press release announcing that they had made some breakthroughs in the area of mental control of robots. On close inspection it seemed that Honda had not accomplished anything that other researchers weren't already doing, so they were essentially announcing that they were in the game. Well, not another Japanese car manufacturer is in the game also – Toyota.
They announced that they have developed a system that allows a person to control a wheelchair with their thoughts alone. The system allows a person to make the chair go right, left, or forward with thoughts alone. Curiously, in order to stop the chair a traditional puffer control is still needed (where the operator controls the chair by puffing into a tube).
This is nothing new – devising a system that can distinguish among three brain states is fairly crude. Obviously they could not make it distinguish a fourth to command the chair to stop. But Toyota needs their distinguishing feature – something to put in the press release to make their technology seem like a breakthrough. So, they tell us, theirs is the fastest system yet. While other systems take several seconds to process the thought commands, their system accomplishes this task in 125 milliseconds (thousandths of a second). That is fast enough to give the feel of instantaneous control. In fact the response time of the brain itself, from thought to action, is about 100 milliseconds.
CT is nowhere near the bible belt, and is not usually a place to find fire and brimstone sermons. But there has been a subculture of demonology and exorcism here. I can't be sure exactly why that is true, but it may have something to do with the historical connection with ghosthunting.
I wrote earlier in the week about our past investigation of the Warrens – perhaps the most famous ghost hunters. Well, Ed Warren was a self-proclaims demonologist, and as part of his schtick he professed belief in demons and evil spirits. He even occasionally worked with ministers and a defrocked priest who performed exorcisms (without the sanction of the church).
One of the greatest scientific mysteries is the question about the frequency and nature of life beyond the Earth. This is not a mystery because of any theoretical problems – it has just been difficult so far, with the technology we have had available, to investigate this question.
We can look at planets around other suns, but so far not with the detail necessary to identify life. This technology is rapidly progressing, however, and so we will likely have tantalizing clues in the coming years, and maybe a definitive answer.
We have been listening for intelligent signals from space, but so far have only sampled a tiny fraction of what might be out there. This is also looking for intelligent life only – and perhaps most life is not technology in a way that would lend itself to sending out radio signals.
Lynne LaFountain lives in a modest condo in the small town of Winsted, CT, which NESS investigators were invited to visit this May. As we sat in her living room, this ordinary appearing middle-aged woman spoke to the small gathering in the voice of D'Hartma, the spirit of a man who allegedly last lived more than 1000 years ago in Nepal, but now resides in the seventh spiritual dimension. Lynne has been channeling (the modern word for this form of spirit summoning) D'Hartma for 24 years, and claims that his only purpose is to bring his philosophy of love and spirituality to mankind.
Modern channelers are the successors to a long history of spiritualism in this and other countries, which has waxed and waned in popularity over the centuries. The most recent rise in popularity of spiritualism prior to its modern resurgence, was around the turn of the century. This was the age of mediums and seances.
The classic séance involved several people gathering in the parlor of a medium, who, with the lights off, would summon the spirits of their client's lost loved-ones. As proof of the presence of the spirit, there were often many physical manifestations, such as rappings, bell ringing, or other noises, items moving about the room, and levitating tables. These "parlor tricks" were often very persuasive to those who already had a strong desire to believe, and were likely not schooled in the techniques of magic. The spirits would sometimes speak in a disembodied voice, speak to the medium, who would then relay their messages, or would speak directly through the medium, who would be in a trance state while the spirit used their voice to communicate.
When first introduced in 1796, phrenology was the latest advancement in the field of neurology. It was widely accepted, even welcomed, by many practicing neurologists as a powerful diagnostic tool. Phrenologists were even on the winning side of an important scientific debate concerning a central concept of brain anatomy and function. As more scientific methods began to take hold within medicine, however, and the secrets of the brain began to yield to more careful investigation, phrenology became increasingly marginalized. By the early 20th century the last vestiges of phrenology were gone from scientific medicine and mainstream neurology, but not gone completely. Phrenology survives to this day as a classic pseudoscience, with dedicated adherents convinced of its efficacy.
I hate reading these stories – A Haitian woman is accused of burning her own daughter, 6 year old Frantzcia Lauradin, in a ritual designed to purify her of demons. The child's grandmother did eventually put out the fire, while the mother ignored her child's screams of agony, but then allegedly put her to bed rather than take her to a hospital.
Only after a day of begging by relatives was she eventually taken to the ER, where she was found to have 2nd and 3rd degree burns on 25% of her body, including part of her face.
The mother, Marie Lauradin, is denying the charges, saying she accidentally spilled some boiling rice on her daughter and did not notice the burns until she was in the ER. As reported, that defense is not credible – a mother not noticing severe burns on her daughter's face? Such burns would cause someone to scream in agony, making it impossible, in my opinion, to justify the delay in bringing the child to medical attention.
This is a one day conference featuring lectures by many of the SBM regular contributors. The conference is designed to be appropriate for a general audience – no prior expertise is expected – and for medical professionals simultaneously.
More information can be found here, including links to register.
My primary blog entry for today can be found at Science-Based Medicine – it covers the recent FDA warnings regarding Zicam and anosmia.
But this would be an incorrect assessment based on perception of BMI. BMI is nothing more than weight / height. It would be perfectly reasonable for someone that walks to have more muscle mass then someone that does not. Since muscle weighs more, someone that walks could have a higher BMI then someone that does not for at least a certain period of time and maybe longer depending on the calories the muscle / exercise uses compared to the conversion of the excess on the person that does not walk. If you would have used body fat rather than then you would have removed this loophole.
Zelocka is technically correct – BMI is just height to weight, and a very muscular person can have a high BMI without being fat. This is a widely recognized limitation of BMI. Fat measurements are therefore better. However, BMI is still used in many epidemiological studies because the information is readily available.


I try and stay away from politics on this here blog, but once in a while something comes along that is too good not to share. The following excerpt has been floating around the interwebs for a little while now. I found it here. While it does pigeonhole an inferred group of people, I happen to think some of this makes a good point. Enjoy. Or don't.
You didn't get mad when the Patriot Act got passed. You didn't get mad when we illegally invaded a country that posed no threat to us.
You didn't get mad when you found out we were torturing people. You didn't get mad when the government was illegally wiretapping Americans.
You didn't get mad when we gave a 900 billion tax break to the rich. You didn't get mad when the deficit hit the trillion dollar mark.
You finally got mad when the government decided that people in America deserved the right to see a doctor if they are sick. Yes, illegal wars, lies, corruption, torture, stealing your tax dollars to make the rich richer, are all okay with you, but helping other Americans...oh hell no.
Because I love food. And you guys.
Restaurant.com is running a deal where you can buy a $25 gift certificate to any restaurant on their website for $2. Just enter the promo code COOK. That's it. And the only strings attached are that you usually have to spend $35 at the restaurant in order to redeem the certificate, it's only valid Monday-Thursday, and it's not good on alcohol. If you ask me, that's still a phenomenal deal. Bon appetit, you guys!
Editor's note: I am in no way affiliated with this website. I just really, really like food!
Sometime after 11:10, I changed my gChat status to "I think I want Burger Lounge for lunch."
HE SAID "DO IT"!! Internet, if you asked your boyfriend what he thought about a hotel, and the next response you got from him was "do it," what would you think?
So it all worked out. And he's still Rad.
....there's only so much busy work I can do.
Because I'm poor, I went clothes shopping at Target recently and found some AWESOME stuff. Seriously ladies, check it out!
So I went to Bed Bath & Beyond recently and bought a bedset almost the exact opposite of white: it's brown. Dark brown with shades of aqua and lime green. Pair that with the dark wook furniture and the darker curtains I bought, I'm starting to think it's just too dark in the room. ::Sigh:: I guess we live and learn through decorating mistakes.
I say temporarily because her mommy and daddy are in Peru doing Peace Corps-type work and will be back in July. I'm gonna miss these kitties!
"Here's how you can tell the difference between my toothbrush and your toothbrush: mine is the normal-looking one, and yours is the one that looks like it's been shoved in a blender."


text:
Jake Epstein // Photo: courtesy of Arena Stage
Jake Epstein Talks World Premiere of Arena Stage's Dear Jack, Dear Louise
November 26, 2019 /in Arts and Culture, Featured, Stage/Screen /by Joyelle Ronan
It can be a challenge for an actor to tap into a character, especially one from a different decade. But for Jake Epstein, playing a WWII soldier holds a special family connection. The former Degrassi star is portraying Jack Ludwig in Arena Stage's Dear Jack, Dear Louise now through December 29. The play, based on the love story of playwright Ken Ludwig's parents, is set in the middle of the war and told through the use of letters. We talked to Epstein to learn more about the world premiere of Dear Jack, Dear Louise, long-distance relationships and the DC theatre scene.
On Tap: What's it like portraying a real-life figure? Especially the playwright's father?
Jake Epstein: To be honest, I try to block out that I'm portraying the playwright's father. Only because in the sense of the play, I have to think of it as a character I'm playing. I'm trying to approach it the way I would any play, but certainly, there's a real responsibility to tell the story right and to make sure the playwright can feel good about it.
OT: How closely did you work with the playwright, Ken Ludwig?
JE: At the beginning, very closely. He's an amazing and hilarious writer. He was around for all of our table reads where we did a lot of work talking about the history and going on the trip together. Once we got up on our feet and started working with the director [Jackie Maxwell], Ken said "I'm going to let you guys play." So he kinda went away and he's been in and out of the whole process.
OT: How did you tap into playing a WWII soldier? What does that era of history mean to you?
JE: When you're playing somebody from history you try to gather as much information as you can. I've done a lot of research, listened to podcasts every day and tried to read what I can so that I feel I can be as authentic as possible. On a personal note, my mother [Kathy Kacer] is a pretty well-known writer and she writes mostly stories about the holocaust for young adults. Her parents, my grandparents, were both Holocaust survivors. My grandmother, I never knew and my grandfather, I only knew a little when I was young. But one of the amazing things about being an actor is that sometimes you'll get to do a play that's out of your own time and place, and in this case, getting to do a play during the second world war makes me feel connected to my grandparents.
OT: What books has your mother written about the holocaust?
JE: She's written over 20 books. My favorite is The Secrets of Gabi's Dresser, which is a story about my grandmother hiding from the Nazis. Since then, she's written a lot of other books, one called Clara's War. They actually use her books in Canada, and I believe they're starting to in the states, when they're teaching kids about the second world war in school. That time in history definitely means a lot to me and my family.
OT: Have you visited the Holocaust Museum since you arrived in DC?
JE: I've been twice before. I went when I was younger with my parents, and a few years ago when I was here with the national tour of Spring Awakening. I've been in intense rehearsal, so I haven't gotten the chance to do too much in DC but I'm certainly hoping to.
OT: What do you think of the DC theatre scene? How do you like Arena Stage?
JE: I'll admit that I haven't seen very much other DC theatre, but I know that it certainly has a great reputation with really smart, savvy audiences. Getting to perform at the Kennedy Center [with the national tour of Spring Awakening] was one of the highlights of my life. It's such a gorgeous building and it was one of those moments like "oh my god, I'm so lucky that I get to do this." I mean Arena Stage has this reputation of being this amazing out of town try out. A lot of shows going to New York, Broadway got to try themselves out at Arena Stage. It's got this real spirit of creativity and support that I've been really impressed with. The building is beautiful and its location, with being right on the Wharf, is really cool.
OT: The story revolves around your character Jack and a character named Louise in a long-distance relationship, do you have any experience with long-distance relationships?
JE: Yeah, I do. My wife and I were long distance for about five years before we got married. So I have a lot of experience dealing with long distance and the tragedy, frustration and comedy that goes into maintaining a relationship when you're far apart from each other.
OT: In today's world, do you think relationships via letters is still considered romantic or is texting much more practical?
JE: In today's world, people date through social media and through online dating and texting. It's a specific part of how people meet and interact. This play is just like the original texting, the original online dating. The difference is just that letters took over a week to get to each other but I love how the play has a sort of wink to where we are today, but with the story of the real history of letters.
OT: Since the play is told through letters, does that change the way you interpret the script as an actor?
JE: Yes and no. Yes, in the sense that the characters are not speaking aloud what they're saying. They're expressing the letters that have been written out loud but at the same time, because it's a play, because it's a piece of theatre, we really thought to theatricalize the story and theatricalize the way letters can be used on stage. Our director has really encouraged us to make the letters spoken as realistically as possible.
OT: How is being in a world premiere play like Dear Jack, Dear Louise different from being in an established play or TV show, such as Spring Awakening or Degrassi?
JE: Definitely being in a world premiere is a different beat than being in something that is set in stone. The main thing being that the playwright is there so you can talk to him about moments that maybe aren't working as well as they could. There's the opportunity for the line tweaks or changes or discussion with what the intention was about certain lines with the person who wrote it. Whereas with a published play, that's it. You have to make it work. On TV it's actually similar to a world premiere, the writers are around and there are constant changes on TV. So if anything, being in the world premiere of a play is probably closer to doing a TV show.
OT: Speaking of Degrassi, my editor [Monica Alford] told me she had a big crush on your character. Do you often get recognized for that role?
JE: Tell her thank you very much! I do sometimes and I appreciate it. It makes me laugh every time.
OT: Why do you think Dear Jack, Dear Louise is a great love story? Why will audiences resonate with it?
JE: I definitely hope so. I hope audiences can relate to it. There's a lot of truth in their love story, it's a difficult love story. There's a lot of banter, the two characters couldn't be more different from each other. Jack is a shy, self-effacing, intelligent army medic who has zero experience with the ladies because he's been in school his whole life. Louise is this outgoing, charismatic aspiring actress. They couldn't be more different, yet somehow find each other and start to relate on this very deep personal level through letter writing. They actually have a lot in common and they start to need each other in a way they both didn't expect. I think there's a lot of truth in the love story and I certainly related to a lot of it in my own life. I hope audiences feel the same.
Dear Jack, Dear Louise opened November 21 and runs through December 29. Various times. Tickets begin at $41. For more information visit here.
Arena Stage: 1101 Sixth St. SW, DC; 202-488-3300; www.arenastage.org
https://ontaponline.com/wp-content/uploads/2019/11/Epstein-Jake-scaled-e1574795979770.jpg 517 1000 Joyelle Ronan https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Joyelle Ronan2019-11-26 14:44:422019-12-02 19:05:05Jake Epstein Talks World Premiere of Arena Stage's Dear Jack, Dear Louise
Nova Payton in Newsies // Photo: Margot Schulman
Nova Payton Brings Power As Heroine in Arena Stage's Newsies
November 20, 2019 /in Featured, Stage/Screen /by Langford Wiggins
Her name is Medda Larkin, and "she is in charge," Nova Payton exclaims excitedly as she tells the joys of playing a brassy operatic and bluesy burlesque theater owner in Arena Stage's production of Disney's Newsies the musical.
Set in New York City in 1899, Newsies follows the adolescent newsboys who go on strike after newspaper owners Joseph Pulitzer and William Randolph Hearst, also known as the most powerful men in the country, raise the price for newspapers purchased by newsboys, who resale on the streets of Lower Manhattan.
Despite already being unable to earn a living wage, the newsboys are forced to pay double for an even now hard-to-sell newspaper.
Medda, the heroine of the tale, offers her theater as a safe haven for those youth struggling in the inner city.
"She is a powerhouse, who commands the room's attention upon each entry," Payton explains of the elaborate petticoats and headdresses she proudly wears to embody her character.
Medda requires the vocal prowess and tenacity of an actress with grit and worldly experiences, as she is based on the late Aida Overton Walker, a renowned musical theater performer, most known for her vaudeville performances and her marriage to George Walker.
Fortunately for director Molly Smith, Payton was available.
"I was called and asked about my availability, as here in DC, we audition a year in advance for each show," she says. "So, they said they would like if I would sing in the show, and asked me to come in and sing with the music director Laura Bergquist, and here we are."
From studying at the The American Musical and Dramatic Academy in New York and touring the world as a backup singer for Roberta Flack to performing in 3 Mo' Divas, seen on PBS, Payton was primed for this role.
"I grew up around performers all my life. From Mike Malone the co-founder of Duke Ellington [School of the Performing Arts] to Roberta Flack", Payton shares. "It was wonderful being able to sit under these geniuses and be groomed."
When asked about the significance of this play in today's climate, and the connection it would have to older and younger audiences, Payton had plenty to say.
"When you think about the kids who are protesting about global warming and gun violence and gun control today, it's the same thing the newsies were doing with the newspapers. It was a matter of life or death. If you raise the rates, what am I supposed to do? After I pay you all this money, what's left for me? How am I supposed to survive and eat?"
Payton says the younger generations are responsible for a lot of powerful movements, whether back then or in today's political climate.
"With gun control and global warming, it's the same. Kids are afraid to go to school, children are dying. Back then as today, kids were the movement. They took the risks, the chances and didn't worry about what would happen next."
Newsies has been extended and will be showing at Arena Stage through December 29. Showtimes vary. Tickets are $45-$102 and can be purchased by visiting the Arena Stage Ticket portal.
Arena Stage: 1101 Sixth Street SW, DC; 202-488-3300; www.arenastage.org
https://ontaponline.com/wp-content/uploads/2019/11/lores_newsies-production_03.jpg 465 900 Langford Wiggins https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Langford Wiggins2019-11-20 16:16:162019-11-26 15:20:37Nova Payton Brings Power As Heroine in Arena Stage's Newsies
Photo: Tony Powell
Right to Be Forgotten Sparks Healthy Debate
October 4, 2019 /in Arts and Culture, Featured, Stage/Screen /by nicole hertvik
To err is human. To forgive? Well, that is a lot harder with the Internet around, cataloging our every misstep and reminding us years later of actions we might rather forget.
Derril Lark was 17 when he developed a crush on a girl at school. Awkward and nerdy, he followed her around for three months, causing her stress and trauma before a school official intervened and Lark stopped. That was the end of it until a blog turned Lark into a meme, exaggerating his offenses and making him the posterchild for a male predator. Lark is not free of blame, but neither is the monster that the Internet makes him out to be.
This is the premise of Sharyn Rothstein's new play Right to be Forgotten, with a world premiere coming to Arena Stage on October 11. When Rothstein, whose previous writing credits include numerous plays and USA Network's Suits, started researching in 2014, the European Union had just granted its citizens the right to ask tech companies to remove search results related to their name – aptly named the Right to be Forgotten.
"I was so taken by the name of the law itself," Rothstein says. "It's so striking and the opposite of what we usually want. I mean, who wants to be forgotten?"
The more Rothstein investigated the issue, the more its complexities surfaced. Who decides what lives online and who should have the power to remove potentially damaging content? Tech companies? The government? You?
"This is a clear case of the technology we've created not always working with humanity," Rothstein continues. "Mistakes we make when we were young that we hopefully learn and grow from can now follow us for the rest of our lives and define us."
The issue is an especially sticky one in the United States, where the First Amendment guaranteeing free speech is a foundational part of our national identity and where, to date, tech companies have faced minimal government regulations. Where does society draw the line between protecting people's right to privacy and the right to free speech?
"A lot of discussion comes down to: could we ever have a Right to be Forgotten law in this country that wouldn't violate the First Amendment?" Rothstein asks hypothetically.
It was these issues that attracted Seema Sueko, deputy artistic director at Arena Stage, to the play.
"As soon as I read it, I knew it was the right match for Arena," she says. "It deals with such big, complex issues around democracy, freedom of speech and privacy."
Sueko's gut told her that she needed to direct the play.
"I love shows that I don't have all the answers to at a first read."
Rothstein channels the intricacies of the topic into the fictional story of Lark, who is not meant to be a completely sympathetic protagonist.
"He did a bad thing," Rothstein says. "There's no getting around that. But I hope this show highlights all the complexities of both his predicament being stuck as the monster for all time, and the girl that he followed being stuck by the Internet as a victim for all time."
John Austin, last seen at Arena Stage in Kleptocracy, plays Lark.
"Derril has internalized a lot of guilt for his actions," Austin says of his character. "He lives with this constant uncertainty of what's true and what's untrue because once something is put online, it becomes its own reality."
Rothstein and Sueko think Right to be Forgotten will generate heated conversations as audiences leave the theater.
"My goal will be that the audience bounces back and forth in their opinion and that they can see, hear and feel the arguments on all sides," Sueko says.
But the play studiously avoids taking a stand on whether or not the U.S. should enact Right to be Forgotten protections.
"I take every stand in the play," Rothstein laughs, noting that her characters have strong opinions on all sides of the debate. "What I hope is that the audience comes out of this play having thought about this issue that I don't think enough of us have thought about in this country."
Don't miss Right to be Forgotten at Arena Stage from October 11 to November 10. Tickets start at $40-$95. Learn more at www.arenastage.org.
Arena Stage: 1101 6th St. SW, DC;202-488-3300; www.arenastage.org
https://ontaponline.com/wp-content/uploads/2019/10/HEADER-OPTION-2-Photo-courtesy-of-Tony-Powell.jpg 1396 2700 nicole hertvik https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png nicole hertvik2019-10-04 16:37:322019-10-14 16:48:50Right to Be Forgotten Sparks Healthy Debate
Arena Stage's "Jubilee" Provides Musical Portrait of HBCUs
May 31, 2019 /in Arts and Culture, Stage/Screen /by Langford Wiggins
Jubilee, showing at Arena Stage at the Mead Center for American Theater, takes a necessary step to illustrate the importance of Historically Black Colleges and Universities, also known as HBCUs. Written and directed by Tazewell Thompson, a transcendent experience is facilitated with the help of choral singing, witty dialogue and a cast worthy of praise.
Quite like most uplifting minority stories not considered for mass population, Jubilee centers around a narrative, though familiar to few, resonates with the masses. Thompson's original piece, inspired by a public television documentary, tells of the plight of a courageous group of college students – some teenagers – who advocated for what was considered a trivial, lofty pursuit back in the mid-1800s.
Thompson's eye-opening portrayal carefully leads theatregoers down a road of resiliency, where thirteen hopefuls endure the wrath of the south.
In 1871, Fisk University, overcome with financial hardships and on the verge of foreclosure, organized an a cappella group to fundraise for the institution. Hoping to fundraise their education, which they designated as their opportunity for survival, the group encountered all that could be imagined while traveling the Bible Belt, post American Civil War.
Most of Thompson's theatrical ideation leans on the traditional spirituals sung throughout the Underground Railroad. Selections include "Swing Low Sweet Chariot," "There's a Balm in Gilead," "Come Down Moses" and the list goes on.
Each of these historical songs, still sung in churches today, encouraged and carried these idealistic yet realistic youth through extreme hardships that were synonymous with bigotry.
Thompson takes this surreal tale and imbeds humor to keep the inspirational a cappella tribute in fact inspirational. You will have the opportunity to deeply bond with these heroes, as they share the truth behind being part of the African Diaspora. The tale recounts childhood, love formed, painful memories that are beautifully expressed in song and spoken word throughout the performance.
Be prepared to be mesmerized by the varying genres of music naturally harmonized onstage. Each cast member has the responsibility of being pitch perfect, and they all rise to the occasion. The surprising part about the vocal talents for this performance was the four roles played by understudies. I can only imagine the heartfelt soul shaking vibrato that would have lifted us further from our seat, if those primarily cast had been in attendance.
Again, each singer is able to carry their own, and they were undeniably put to the test as each were presented with opportune solos. Thompson, evidently, has a knack for pairing singers and selections. While the vocals varied and tunes were broad, the curation was heavenly. The diversity of complexions (organically referenced in throughout the play) paralleled the diversity in tone, makes this spectacle a true sight to see.
Viewers who enjoy opera styled sopranos will feel at home. Those who favor raspy jazz riffs will be most delighted. Those craving soft melodies will croon. And those desiring a deep full bass will fall out of their seats. It was a dream come alive.
Jubilee runs at Arena Stage's Mead Center for American Theater through June 9th. Various times and ticket prices. For more information, visit
www.arenastage.org/tickets/season-landing/jubilee/.
Arena Stage: 1101 6th St. SW, DC; 202-554-9066; www.arenastage.org
https://ontaponline.com/wp-content/uploads/2019/06/jubilee.jpg 336 651 Langford Wiggins https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Langford Wiggins2019-05-31 10:30:232019-06-04 16:33:01Arena Stage's "Jubilee" Provides Musical Portrait of HBCUs
A Conversation with Edward Gero on Arena Stage's "Junk"
April 3, 2019 /in Featured, Stage/Screen /by Leah Seyoum
Pulitzer Prize winner Ayad Akhtar's play Junk is coming to Arena Stage on April 5. Inspired by the debt crisis of the 1980s, Junk explores the ruthless world of finance and its effects on American values. Acclaimed DC stage actor Edward Gero plays the role of Thomas Everson, the owner of a steel manufacturing company, who is confronted when junk bond giant Robert Merkin plots the hostile takeover of the family company. Gero talked to On Tap about Junk and his experience with the production so far.
On Tap: How did you learn about Junk and land your role in the play?
Edward Gero: Actually, [Artistic Director] Molly Smith asked me to come in and read for it. She knew Jackie Maxwell, who's directing the play, was looking for somebody, and they asked me to come in and read. I put an audition on tape with Thomas Keegan, who's playing the role of Merkin and sent that out, and I got cast. That was about a year ago. And of course, I heard about the play because it had a great run in New York in 2017–it's been produced around the world—and the playwright Ayad Akhtar is a Pulitzer Prize winner for Disgraced in 2013. He's a playwright of some importance, so it was a project I was interested in doing. Plus, the subject matter too, it's a really complicated play, an interesting play about the junk bond raiders of the 1980s.
OT: Why did you want to be a part of the production?
EG: I was really interested in the play. I had not worked with Jackie Maxwell before, and I was very excited about that. I also love working at Arena. And it's a really terrific role. I play Thomas Everson, the owner of what's called Everson Steel, which is sort of a stand-in for, let's say, U.S. Steel—it's a Dow Jones Industrial company. They become the target of a takeover, and he sort of holds down the old economic values. He was born into the company, 3rd generation in his family, he has commitment to the workers and he's sort of overwhelmed by this takeover. So, it's an interesting role to play in terms of facing the future. It becomes quite a shock to him.
OT: Was working with Ayad Akhtar a goal for you?
EG: Not particularly, but when I heard the play was going to be produced, I was interested in it right away because I knew it would be a very smart play. I'm interested in plays that are intellectually stimulating, and this certainly was that. It's a language play too. It's deep-in-the-weeds about blue economics. It moves at such a pace like a Shakespeare play, and Ayad had made the comparison. He's been influenced by both David Mamet and Shakespeare, so it's a very heavy language play. Yet you end up getting is into the relationships of these people. If you don't follow all of the weeds and information about the new economics, you'd get really compelling relationships between these people.
OT: Can you describe your character Thomas Everson?
EG: Thomas Everson is a man of a certain age—he's probably late 50s, early 60s. He's inherited this role as a CEO. His father father had it before him, his grandfather started the company. They come out of the late 19th century industrial magnets. [He is] someone who makes steel to make money, where the characters of Merkin for example, are just out to make money by turning debt into assets and doing these raids and hostile takeovers. It's something [Everson] didn't necessarily want to, but felt obligated to take it over. His father is no longer with him, but the burden and responsibility of keeping the steel mill alive and keeping that legacy of his father alive drives him and actually becomes his downfall. Where the other characters are contemporary, young and aggressive, he's trying to hold on to an older version of what America is. That's really what the play is about. In guise of finance, it's really about a generational change of what's happened to America. Ayad said really brilliantly that the play was really about how Americans moved from being citizens to being consumers; Everson is sort of the last of that generation.
OT: Did you identify with him in any way? Is that important to you when you're developing a character?
EG: Well, you try to find ways into the character. My dad was not a steel magnate. However, he was a president of a local United Auto Workers union for 25 years, so I grew up in a labor house. I can use that experience and I understand that mentality of wanting to do the best for the workers. But management now and management then are two different things. Of course, management is in the business of making money, but he also knows he's got this whole community. The town where Everson lives in, there's Everson High School, Everson Street, Everson Road, Eveson Park. He's sort of the leading citizen of that whole area. So, I use my own experiences of growing up with my dad as an entryway, but then I have to go into the imagination of the character, which is different.
OT: What kind of research did you do to prepare for the role? Did you study the financial crisis of the 80s?
EG: For sure. I mean, I lived through it. It takes place in New York in the 80s. I was there then, and I had friends who worked on Wall Street. The New Years Eve party from 1979 to 1980 was an amazing party. A friend of mine from high school owned a loft. He had written the first arbitrage trading program for IBM and other friends of mine were working on the Street, so the whole culture of that period, I lived. I have that first-hand experience.
OT: You're a prolific stage actor in DC. What do you think makes this play interesting to a DC audience?
EG: I think it's very smart in a way that, let's say, The Originalist was red meat for lawyers, this is certainly red meat for economists. The whole financial structure is sort of a nexus between economics and law, and that's certainly policy making. It's very relevant to this community, and I think audiences will come to this with a certain understanding. I'm sure the economists in the room will be saying, "Well, that might not be true," the lawyers are saying, "That's good, that's right," so there's that kind of engagement. Washington has one of the smartest audiences, if not the smartest audience, in the United States because of the people who are here.
OT: You touched on this earlier, but as a Shakespearean actor do you see any parallels to this play?
EG: Oh, absolutely. I drew the connection to it directly with Henry IV, but there's also the characters of Merkin and his wife that had a Macbeth and Lady Macbeth kind of feel to them too—she's a very strong advocate for Merkin and steals him all the time. This play is going to fly. I think it started on Broadway as a three-hour, three-act play. It's now a two-hour, one-act play. There's been extensive cuts, extensive re-writes and it flies. So, articulation, as it would be in Shakespeare, it has to drive, it's a lot of information, but like Shakespeare, there's really no subtext to it. It's not people sitting and thinking and mulling things over and becoming external, it's just always going forward and that's very Shakespearean in terms of dealing with language.
OT: Is there anything you want audiences to take away from the play?
EG: I think they're going to have an experience that will make them question where we are going in terms of our economics and how we interact with each other, the sort of brutal capitalism of this play. Certainly in this upcoming election cycle, it's going to be in issue. Looking at this administration, how ruthless are we willing to be in terms of selling our brand or making money and how do we balance that with the policy making and where's the human element to it? So, I think people will come away probably not changing their points of view about politics or economics. It might strengthen the beliefs they already have. But it's certainly going to take them on a ride. It's a rollercoaster.
Junk opens at Arena Stage on April 5. The play runs through May 5. For more information and tickets, visit www.arenastage.org
https://ontaponline.com/wp-content/uploads/2019/04/JUNK_02-1.jpg 1994 3857 Leah Seyoum https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Leah Seyoum2019-04-03 11:00:322019-04-05 12:22:18A Conversation with Edward Gero on Arena Stage's "Junk"
Photo © Tony Powell. Arena Stage "Anything Goes." October 5, 2018
Anything Goes: Arena Stage Breathes New Life into Golden Age Classic
November 3, 2018 /in Featured, Stage/Screen /by Trent Johnson
For a con man on a mission to stop the woman he loves from engaging in a romantic relationship with some Joe Schmoe from another world, anything goes. At least that's what Arena Stage's retelling of the classic play entails, with stowaway Billy Crocker on a mission to get to his beloved Hope Harcourt aboard a luxurious cruise ship using every ounce of his street knowhow.
Anything Goes runs from November 2 to December 23 on Arena's Fichandler Stage, with the theatre's artistic director Molly Smith at the helm of the production. During the SS American's journey from NYC to London, Crocker must use various disguises and the help of his friends to win back his love.
"There's the romance and the love," says High School Musical's Corbin Bleu, who plays Crocker. "What's fascinating about this piece is the differences in class. Billy's had to fight his way to the position he's at in the world. He wasn't born with a silver spoon in his mouth at all and this woman was, but [she's] had it shoved in her mouth and [doesn't] want her mother having a hand in everything."
The musical is set in the 1930s, which local actress Maria Rizzo says is one of her favorite eras.
"It's a vibrant time to sing music," she says of the decade. "That's what's going to draw our audiences to the show, because there are so many songs people will recognize."
Rizzo plays tough-talking Erma, balancing the character's strength and independence with her playful demeanor.
"I feel comfortable playing characters who are big and exciting. I think it's easy to slip into a stupid or flaky version of her, but I refuse to play a woman who's dumb. There are so many women written well, like Erma. She's street smart, even if she doesn't talk like the classiest of broads."
To get into character, Rizzo changed her accent by mimicking folks who say "New Joisey" instead of New Jersey. The actress says she shares a lot in common with Erma – namely her resilience and fascination with the here and now – although her character does love attention from the boys.
"So that and [her] voice were the two opposite qualities."
For Bleu, navigating his role was more difficult because he is playing a character who is playing characters. Each of Crocker's disguises requires its own mannerisms and voices.
"I know I am a hopeless romantic, and there is that aspect of Billy. He's willing to go to the ends of the earth to win this woman's heart, even after being continually denied. There's several different accents and disguises, and while doing that you have to make sure it stays Billy."
Bleu and Rizzo are both fawning over the choices Smith has made throughout pre-production, culminating in the new look and feel she's bringing to this 1934 musical.
"What I love so much about Molly's shows is that she typically casts cross-culturally, and it's really reflective of what America looks like today," Rizzo says. "Even though this show is from the 1930s, and the original cast would have been all white actors, that's not the show you'll see because that's not the world we see right now. It gives the piece a more powerful voice."
Smith also encourages performers to dig deeper, including the development of character backstories and experiences.
"We had to find ways to make [the script] justified, and we even brought backstories not in the text," Bleu says. "We all had to come up with our own improvisations of our characters, [and what] the biggest turning point of your character's life was. It was really, really interesting. I've never been part of a production where that process was so open to everyone."
With fresh faces breathing life into beloved characters, this version of Anything Goes will undoubtedly emotionally engage audiences who span generations.
"Anything Goes has a lot of potential for a lot more depth than most Golden Age musicals," Bleu continues. "You have an incredibly talented ensemble and the choreography is going to be incredible, so there will be that excitement of having seen a great performance."
Catch Anything Goes on Arena Stage's Fichandler Stage from November 2 to December 23. Tickets are $92. For more information on the play, visit www.arenastage.org.
https://ontaponline.com/wp-content/uploads/2018/11/Lisa-Helmi-Johanson-Hope-Harcourt-and-Corbin-Bleu-Billy-Crocker-in-Anything-Goes-Photo-Tony-Powell.jpg 336 650 Trent Johnson https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Trent Johnson2018-11-03 08:00:452018-11-26 13:01:44Anything Goes: Arena Stage Breathes New Life into Golden Age Classic
Artwork: Courtesy of Arena Stage
Arena Stage Presents World Premiere of Dave
June 30, 2018 /in Featured, Stage/Screen /by Keith Loria
The heartwarming movie Dave was released 25 years ago, and the Kevin Kline/Sigourney Weaver political comedy became one of the most popular movies of 1993. The film follows a high school teacher named Dave Kovic – who also happens to be a dead ringer for the President of the United States – as he's thrust into stand-in mode to help the country avoid a national scandal when the real commander in chief gets ill.
A world-premiere musical based on the movie makes its debut at Arena Stage from July 13 to August 19. The show is written by a trio of heavyweights – three-time Tony Award-winner Thomas Meehan (Annie, Hairspray, The Producers), Nell Benjamin (Mean Girls, Legally Blonde) and Pulitzer Prize and two-time Tony Award-winner Tom Kitt (Next to Normal, If/Then) – and directed by Tina Landau. Drew Gehling, who originated the role of Dr. Pomatter on Broadway in Waitress, plays the demanding dual role of Dave and President Bill Mitchell, while First Lady Ellen Mitchell is portrayed by Broadway vet Mamie Parris.
"I love the film and was really excited to audition for this project," Parris says. "It's always interesting to hear when someone is inspired by something or adapting something and looking at a piece [to see] whether it sings. When I first saw this material, I knew the story really sang because it's a fairytale about what a man can become. That really lends itself to being musicalized."
Parris recently starred in the Cats revival as Grizabella, belting out "Memory" eight times a week. Other Broadway credits include School of Rock, Ragtime and The Drowsy Chaperone. One of the things she likes about getting to play the First Lady is not only is it a fun love story, but she also gets to play a powerful female character.
"It's always thrilling to be asked to portray a strong, thoughtful, confident, independent, assertive woman because a lot of those roles aren't written," she says. "This is really a very human, multidimensional and complex woman."
Fans of the movie won't be disappointed as many of their favorite scenes are represented in one way or another, but one doesn't need to be familiar with the source material to enjoy it.
"It's a wonderful film and incredibly funny, but at the same time, if you get a little too precious with that material, it may not translate quite as well for a stage production – especially one done 25 years after it was original written," Parris says. "All the charm and story from the original is there, but there's a new facet that really breathes new life into it."
The musical also includes Broadway favorites Douglas Sills (The Scarlet Pimpernel) and Jonathan Rayson (Little Shop of Horrors), as well as a collection of talented regional and New York-based actors. Vishal Vaidya, a Burtonsville, Maryland native and American University graduate, is part of the ensemble and thrilled to be part of a new work so close to home.
"It's always nice to be here," Vaidya says. "The theatre community in DC is so strong, and so much great theatre is happening here. Personally, it's been nice to come back and reflect on how I've changed as a person and also get to see how the DC theatre [scene] has evolved and changed."
Vaidya made his Broadway debut last April in Groundhog Day, and local credits include Ford's Theatre's 25th Annual Putnam County Spelling Bee as Barfee and Adventure Theater's Frog and Toad as Frog, earning a Helen Hayes nomination. He was drawn to Dave because of the subject matter and people working on the show.
"I wanted to work with Tina [Landau] for a really long time," he says. "She is such a great visionary. She wants everyone to be involved and on the same page. Tom Kitt and I have done a bunch of work in development together and I think his work is incredible. They were the main draw for me."
Plus, the story is one that he believes is perfect for today's political atmosphere.
"The moral of Dave is that it's about how we can all make changes or do our part for the greater good," he says. "Even if we think we are just a normal citizen, which is what Dave is in the beginning, we think we can't make a difference – but he has to. He may not have the experience or connections, but he has to take action and he learns to do that."
Parris adds that one of the things the script does particularly well is reflect a modern storyline while also standing completely apart from the current political climate.
"I'm impressed by that because I think that's hard to do," she says. "Dave is remarkably apolitical and I think it can be appreciated by both sides of the aisle, which the writers deserve a lot of credit for."
Dave runs from July 13 to August 19 in Arena Stage's Kreeger Theater. Tickets start at $96. Learn more about the production and ticket discounts and deals at www.arenastage.org.
https://ontaponline.com/wp-content/uploads/2018/06/Dave-Artwork-Courtesy-of-Arena-Stage.jpg 336 650 Keith Loria https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Keith Loria2018-06-30 08:00:132018-06-29 21:00:14Arena Stage Presents World Premiere of Dave
Photo: Courtesy of Arena Stage
Lights, Camera, Eco-Friendly Action: Arena Stage's Solar Rooftop
March 31, 2018 /in Featured, Stage/Screen /by Amanda Weisbrod
For almost 70 years, Arena Stage at the Mead Center for American Theater has impacted countless lives with diverse and groundbreaking work from great artists around the country. They've held programs, classes and events to inspire creativity and expression, reaching over 10,000 students every year through community engagement. And in February, they decided to show their love for the community by installing 1,145 solar panels on their expansive rooftop.
To Arena Stage Executive Director Edgar Dobie, being eco-friendly is one of the best ways the theater can serve their network of artists and theatergoers.
"We feel that we need to respect our relationship with our community and our environment," says Dobie, who has been with Arena Stage for nine years. "We tell stories on our stage, and as an institution, we have stories to tell as well. One of those stories is that we want to be as efficient and respectful as possible to the resources – whether they're environmental or financial – that are given to us."
As part of Arena's renovations from 2007 to 2010, the Southwest Waterfront-based space hired the late Vancouver architect Bing Thom to design a massive glass enclosure that would surround both historical theaters. He even fit a new, third theater in the enormous 200,000-square-foot design. Thom's idea for using glass came from his environmentally conscious roots. A huge glass wall means lots of sunlight entering the space, and a natural thermal system to save energy. Dobie is certain that Thom would be thrilled with the solar panel design if he were alive today.
With their new 452.3 kW solar system, Arena Stage's move toward a renewable energy resource is the equivalent to saving 45,231 gallons of gas annually, or taking 85 cars off the road. And to achieve their goal of producing 20 percent of their power supply purely from solar energy, Arena Stage teamed up with EnterSolar, a leading provider of commercial marketplace solar energy options in New York. Dobie says their reputable portfolio isn't the only reason he's thrilled to work with them.
"EnterSolar is doing great things, and we are proud to partner with them on this project," he says. "On top of it all, I love their name. It's like a stage direction!"
Dobie says that because they're eventually going to save money with this new energy source, Arena Stage will most likely hire more actors and teachers in the future. Thanks to their initiative and forward thinking, this theater will not only help to save the environment but also step up their mission to bring people together through the arts.
Learn more about Arena Stage at www.arenastage.org.
https://ontaponline.com/wp-content/uploads/2018/03/Solar2-Photo-Courtesy-of-Arena-Stage.jpg 336 650 Amanda Weisbrod https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Amanda Weisbrod2018-03-31 08:00:462018-03-29 18:55:58Lights, Camera, Eco-Friendly Action: Arena Stage's Solar Rooftop
Illustration: Courtesy of Arena Stage
Actor Carlton Byrd on Two Trains Running
March 19, 2018 /in Featured, Stage/Screen /by Valeria Villarroel
In 1992, August Wilson's Two Trains Running premiered on Broadway. It was, at the time, the latest in his The Pittsburgh Cycle – his take on documenting and portraying Black American life, decade after decade. Two Trains Running explores the 1960s in the rapidly changing neighborhood of the Hill District, a historically black neighborhood in Pittsburgh, Pennsylvania; more specifically, in Memphis Lee's diner – a place soon to be wiped out thanks to something we now know as gentrification. Now, the play comes to the Arena Stage on March 30 amidst a political and social backdrop nearly 50 years after the events of the story. And yet, the events still echo the tumultuous time outside the doors of Memphis Lee's diner.
Carlton Byrd makes his Arena Stage debut as Sterling, a man recently released from the state penitentiary and in search of work who arrives at the diner eager to ask Risa, the one female character in the play, out on a date. On Tap got a chance to speak with Byrd ahead of his DC performance about the legacy of August Wilson's work, returning to the DC theater scene and how Two Trains Running still rings true.
On Tap: What's it like being back in DC's theatre scene?
Carlton Byrd: It's great. [The] first time I was in DC was for Woolly Mammoth's production of Antebellum the day before Obama's inauguration, so there was a certain energy to the city then. I'm excited for another chance to perform in DC, this time doing my first August Wilson.
OT: What drew you to Two Trains Running? Are there any similarities between you and Sterling, the character who you're portraying? Do you know people like Risa and the other characters in real life?
CB: I was drawn to Two Trains because it's a great play with great characters done by a great playwright. August Wilson writes in a way that is authentic to the African-American experience in this country. I know dozens of people who are similar to the characters in this play; some of them are in my family. As for myself and Sterling, I find similarities between myself and every character I portray. The work then becomes finding how we are different. That's where the acting begins.
OT: Seattle is a very different environment from DC. Does the environment that you're performing in affect your approach to the performance? How will the DC production be different or similar to the Seattle Repertory production?
CB: I approach every performance the same [way]. It doesn't matter where I'm performing, within what medium or in front of what group of people. [It] doesn't matter if my mother is in the audience, some celebrity or a total stranger – the work and my work ethic are the same. Our DC run will be different because we have had time to settle deeper into our characters and learn from each other during our Seattle run. Also, the performance will now be restaged for the round. That's a big difference.
OT: How is this play still relevant to today, specifically to a place like DC that's undergoing massive gentrification? And in the background, we have events like what happened in Charlottesville and the Parkland, Florida school shooting – events also tinged with racial violence and tension.
CB: The play takes place in May of 1969 in the days leading up to Malcolm X's birthday. I feel that most Americans like to gloss over Malcolm X's contributions to empowering black people and providing in many ways the precursor for the Black Power Movement, which has been unfairly demonized through the rewriting of American history. Malcolm's ideals and the Black Power Movement take center stage throughout the play with the character of Sterling. The play still rings true because many of the same issues are happening today. When the play speaks to specific instances of police brutality, gentrification, racism and the disenfranchisement of black people, it feels like they are speaking about 2018. The play speaks of people in transition; people at a crossroads in their lives. Since the election of 2016, I think our country is in a similar place of transition. And just like our characters, many Americans are tired of simply giving in to various forms of mistreatment – to put it mildly – and writing it off as the status quo. Our characters want to be treated with respect, among many other things. They also want the injustices that have become commonplace in their communities to change as well. I think that sentiment is shared today with the millions pushing for gun reform and the rise of the #BlackLivesMatter and #MeToo movements. Like our characters, people are expressing their need for change. As was true in the 60s, those in need of change in 2018 are willing to fight, picket and protest to obtain it.
OT: What is it about August Wilson's work that still resonates with modern audiences?
CB: He was a poet and a historian. Great poetry is timeless, and history tends to repeat itself. Thus, by very nature, his plays will continue to be relevant as long as the themes in his plays continue to be present around the world.
OT: What are you most excited about in bringing this production to DC? What do you want audiences to take away from this performance?
CB: I'm always excited to perform. That is a blessing in itself. I look forward to doing my best to tell my portion of the story. Hopefully in doing that with the help of my amazing cast, the audience will get what August wants them to get from the performance. I'm simply at service to the work and his words.
OT: Finally, to end on a lighter note: what is your favorite place or hidden gem in DC?
CB: I'm looking forward to attending the National Museum of African American History and Culture. It will be my first time.
Two Trains Running runs on Arena Stage's Fichandler Stage from March 30 to April 29. Ticket are available here.
https://ontaponline.com/wp-content/uploads/2018/03/DCcMC1lU0AA3z73.jpg 336 650 Valeria Villarroel https://ontaponline.com/wp-content/uploads/2019/06/OnTap_Magazine.png Valeria Villarroel2018-03-19 16:44:572018-03-26 17:27:09Actor Carlton Byrd on Two Trains Running
Coconut Club & Other Local Spots Explore Zero-Proof Drinks January 11, 2020

redpajama_set_name: RedPajamaCommonCrawl


At least 20 civilians – including five children – have been reportedly killed in the past 36 hours in Idlib, Aleppo and Hama governorates, as a fresh wave of attacks has hit the north-western parts of the country.
The deadliest attack took place on Thursday in Kafranbel in southern Idlib, on what is usually a busy market day in the town. At least 12 civilians, including three women and five children, were killed according to the Syria Observatory for Human Rights, the local civil defence as well as other on-the-ground sources. At least 25 others were injured and many of them remain in critical condition, Islamic Relief's operating partners on the ground said.
The fear of fresh attacks on civilians and civilian infrastructure has since forced Friday prayers to be cancelled in mosques in Kafranbel, Islamic Relief staff said today. Civil defence teams have also placed warning signs around the remaining unexploded ammunitions but are still waiting for specialist support to remove these.
In Kafranbel, the local civil defence forces have reported that cluster ammunition was used in this attack, blaming this for the high casualty count. These kinds of weapons are banned under international law.
Islamic Relief has sent urgent lifesaving medical supplies for the patients who needed operations, but the whole Idlib region is suffering from widespread shortages of medical supplies and staff, with not enough doctors to assist the wounded.
"The attacks in Kafranbel, killing women and children on a busy market day, show a callous disregard for human life and international law. These brutal killings must stop.
"This escalation of attacks has sent a shockwave of panic and fear among the people of Idlib who worry that attacks could resume on a massive scale at any point and simply see no end in sight.
According to the UN, 90 civilians were killed in Idlib in March alone this year and more than 86,000 people were displaced in Idlib as a result of escalating violence in February and March.
Thursday's attack on the market, happened exactly two years after dozens of people, including many children, were killed in a chemical attack on the nearby village of Khan Shaykhun.
"Many people in Idlib had friends and relatives who were killed or injured and news of every new attack simply brings back the horrors that families have repeatedly endured throughout more than eight years of constant crisis and violence," Mahmoud added.
* Islamic Relief is one of the largest aid providers in Syria (and to refugees in Iraq, Jordan, Lebanon and Turkey) and continues to operate directly on the ground in Idlib.
* By the latest estimates, 6.2 million Syrians are living in protracted displacement in the country and 5.7 million have fled as refugees. Of the 6.2m displaced, 1.5 million, are in Idlib and surrounding areas.
* In 2018, we assisted almost 2.5m people across Syria with a range of services from health and education, to food and livelihood support.


These are the best brakes in the motocross world—still.
There's 14,000 rpm in there waiting to come out. The 350 has an outrageous redline.
The 350 corners like a 250. We've learned that power and the perception of weight have a complicated relationship.
associated with a big crankshaft as it is about weight.
None of that has changed for 2015, but the suspension certainly has. That was the one flaw in the 350 picture. Last year, and every previous year that we can remember, KTM has lagged behind in suspension, at least on the motocross side of the line. A good tuner could make the WP closed-cartridge fork work for specific applications, but virtually no one liked it with KTM's specs. The most common complaint was that it was harsh on small, sharp impacts.
Most of the big changes for 2015 are hidden in the suspension.
That's where the 350 needed the most work.


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Son posts $2M bond to free Fairfield father accused of killing ex-wife
Tuesday, May 14, 2019 1:06 PM EDT
FAIRFIELD -
A Fairfield man is free on bond Tuesday after he was charged with killing his wife and attempting to kill his stepson in February.
James Taylor has been in custody since the incident. On Tuesday, a judge allowed Taylor's son to put up property to post his father's $2 million bond.
The judge imposed certain conditions on his release and continued the hearing until May 22.
MORE: Fairfield man accused in ex-wife's slaying appears in court
Taylor will have to live with his son in Southport and have to wear a GPS monitoring device, according to a judge.
He'll be under house arrest and only be able to leave for medical appointments.
The judge also says the 75-year-old must stay away from the surviving victim, Taylor's stepson, and maintain a 2,500-foot perimeter from properties on Catamount Road and Redding Road, which is where the crime happened and the victim currently lives.
Another condition of Taylor's release is he must surrender his passport. Police say shortly before the fatal shooting, Taylor withdrew a large amount of money from the bank and told the teller he was going to Costa Rica.
Taylor is charged with murder, home invasion, attempted murder, assault, burglary, and illegal discharge of a firearm.
Police say on the night of Feb. 3, Taylor broke into the home of his stepson and fatally shot his ex-wife, Catherine Taylor. They say Taylor tried to kill his stepson too, but the man was able to tackle Taylor and get the gun away from him.
In an interview with police, Taylor couldn't give specific details on what happened or recall why he attacked.
The prosecutor told the judge he had reservations about Taylor's release, saying his stepson and stepdaughter are concerned about their safety. They detailed a pattern of violence over the years.
Taylor's stepson was in court today with his attorneys. They had no comment following the hearing.
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HomeTagsPosts tagged with "attacks"
Ariana Grande did not find fiancé's Manchester joke funny
by Sorcha McManigan
We imagine Pete Davidson landed himself in Grande's bad books after the joke he made about the Manchester Bombings.
It's pretty obvious why people were upset at the 'joke' made by Ariana Grande's fiancé.
The poorly tasted joke was made during a stand-up gig before he met the Dangerous Woman singer.
Fans were quick to call for Ariana to break-up with Davidson, in light of the joke.
In the midst of the controversy, the singer's lips were sealed- until now.
Taking to Twitter, Ariana said that it had been 'very tough and conflicting' for her heart.
Defending her husband-to-be the 25-year-old said he uses his humour to help people to feel better, but she didn't find the joke funny.
She concluded by reassuring fans that his intentions weren't malicious, but – "it was unfortunate."
this has been v tough & conflicting on my heart. he uses comedy to help ppl feel better ab how f-ed up things in this world are. we all deal w trauma differently. I of course didn't find it funny. it was months ago & his intention wasn't/ is never malicious but it was unfortunate
— Ariana Grande (@ArianaGrande) July 5, 2018
The Manchester Bombings claimed the lives of 22 people.
The devastating incident occurred in May 2017 at Grande's concert.
Those closest to Pete told People, that his comments had been "taken out of context."
Whether or not that is true, it seems like Ariana won't be breaking it off with the comedian any time soon.
Manchester Bombings
Coach Kavanagh offers women free weekly self-defence classes
John Kavanagh, the coach of MMA star Conor McGregor, has announced the ;launch of free self-defence classes for women in the wake of the recent murder of Jastine Valdez.
Taking place every Saturday morning in Straight Blast Gym in Walkinstown, the initiative aims to give women a "fighting chance" should they ever come under attack.
The trainer shared the news on social media in a post which reads: "Introducing a FREE women's only BJJ Self Defence class at HQ starting this Saturday 11am.
Introducing a FREE women's only BJJ Self Defence class at @sbgireland starting this Saturday 11am. This will be on-going and on at the same time every Saturday. Don't worry if you miss this weekend, you can start any time. Feel free to drop in and watch one if you're considering taking it up. Also this class is free to any girls from any other clubs that want to supplement their training. In light of recent horrific attack in Dublin by a deranged individual we feel the need to do something to give women a fighting chance. Come down and meet @jaqueoalmeiida and see if you enjoy it.
A post shared by Coach Kavanagh (@coach_kavanagh) on May 23, 2018 at 4:46am PDT
"This will be on-going and on at the same time every Saturday. Don't worry if you miss this weekend, you can start any time.
"Feel free to drop in and watch one if you're considering taking it up. Also this class is free to any girls from any other clubs that want to supplement their training.
"In light of recent horrific attack in Dublin by a deranged individual we feel the need to do something to give women a fighting chance.
"Come down and meet Jaqueline and see if you enjoy it."
A post shared by Coach Kavanagh (@coach_kavanagh) on Mar 15, 2018 at 10:02am PDT
It comes after a series of violent attacks agasint women in the capital.
Jastine was abducted and strangled on Saturday evening, while earlier in the week 14-year-old Ana Kriegel was found brutally murdered in Lucan.
Feature Image // Instagram
john kavanagh
Self-defence
So, this is what caused the 'crazy' crow in Cork to act so vicious
Cork city was left traumatised this week when a bird attacked more than 20 people.
After numerous disturbances in Cork IT, where two people needed medical treatment, the Cork Society for the Prevention of Cruelty to Animals decided to call out to investigate the matter.
And it turns out that the culprit wasn't even a crow; it was a jackdaw.
The CSPCA said: "Jack the jackdaw. Apologies for the name but what else would you call the bandit of CIT.
"This little guy and its parents have been causing quite a stir over the past day or so with reports of people being buzzed overhead on the campus of CIT.
"So to prevent panic and a mass evacuation of the city, we headed over to see what all the fuss was about.
"Jack had fallen from its nest by either being too adventurous or got pushed by fellow siblings, when on the ground its parents were continuing to feed but also defend and protect it from anything that gets too close including humans, they were doing exactly what any other parent, human or animal would do in the same circumstances.
"As the nest could not be located, jack will now be fostered and will do quite well for itself and we are glad to report that calm has now been restored to our fair city."
Peace has been restored!
jackdaw
1 week, 4 attacks, 13 dead, dozens injured: Germany is under siege
Our newspapers and televisions screens have, over the last seven days, been awash with coverage documenting the horrifying events which have been unfolding in Germany.
Since last Monday, the country has seen a spate of senseless violence across various cities – events which have added to daily discourse regarding Angela Merkel's immigration policy.
On July 18, a 17-year-old Afghan refugee, armed with an axe and a knife, attacked passengers on a train in Wuerzberg southern Germany before being shot dead by police.
The teen, who Islamic State claim was one of its fighters, injured at least four passengers before being apprehended by police.
Commenting on the incident which rocked the country, Isil's online Amaq news agency said: "The perpetrator of the stabbing attack in Germany was one of the fighters of the Islamic State and carried out the operation in answer to the calls to target the countries of the coalition fighting the Islamic State."
Four days later, an 18-year-old male of dual German and Iranian nationality opened fire at a shopping mall in Munich, killing nine and injuring more than 20 before turning the gun on himself.
Authorities have established no links between the gunman and any terrorist organisations, but are currently investigating the theory that the student carried out the attack as a nod to the fifth anniversary of a mass shooting in Norway.
A mere two days after the horror endured by dozens in Munich, a 21-year-old Syrian male was detained by police after attacking, and ultimately killing, a pregnant woman with a machete in Reutlingen.
German officials have yet to establish a motive for the attack, which took place near a doner kebab stand at Listplatz Square, but current reports have described the incident as a ''crime of passion', with one onlooker asserting: "The perpetrator was completely out of his mind."
While the perpetrator was known to police, officials have asserted that the incident 'did not bear the hallmarks of a terrorist attack'.
Later that same day, the country was yet again rocked by reports that a bomb had been detonated outside a music festival in the German town of Ansbach, and today it has today been established that the 27-year-old Syrian responsible for the attack, who also died in the blast, had been denied asylum a year ago.
Commenting on the attack which injured 12 people – three critically- the Bavarian interior minister, Joachim Herrmann, said: "My personal view is that I unfortunately think it is very likely this really was an Islamist suicide attack."
"The obvious intent to kill more people at least indicates an Islamist background," he added.
According to authorities, the events which have taken place in Germany over the past seven days are adding to the population's concerns over security and immigration.
Speaking to the press in the wake of these attacks, Mr. Herrmann insisted: "We must do everything possible to prevent the spread of such violence in our country by people who came here to ask for asylum."
Bono RESCUED by armed POLICE after being caught up in Nice attack
U2 frontman Bono found himself in a worrying position on Thursday night as he reportedly had to be rescued by armed French police from a Nice restaurant.
According to The Mirror, the Dublin rocker was on the seafront terrace of La Petite Maison in the French city when Mohamed Lahouaiej Bouhlel drove a truck into the Bastille Day crowd killing 84 people.
The Daily Mail has reported that staff in the up-market venue pulled down the shutters when they realised what was happening and told everyone to hide until the all clear was given.
Bono and the restaurant's other diners were said to have been "gripped by fear" as the events unfolded and were later rescued by armed antiterrorist police who led the group to the nearby Massena square.
Restaurant owner Anne-Laure Rubi told a French magazine: "Suddenly I saw people running, without shouting."
"It was a silent panic – it was extraordinary."
A diner at the venue said: "It took around half an hour for the police to get us out."
"Like everybody else, Bono had to put his hands on his head and was told to remain calm."
Love is bigger than anything in its way – Bono, Edge, Adam, Larry pic.twitter.com/1w31gcXIQR
— U2 (@U2) July 15, 2016
On Friday U2 posted a picture of The Edge from their official Twitter account with the caption: "Love is bigger than anything in its way – Bono, Edge, Adam, Larry."
This is the second time Bono has been close to a major terrorist attack in France as last November he was rehearsing with his U2 bandmates in Paris when 89 people were killed in the nearby Bataclan theatre.
S! TV BREAKING: Katie Hopkins attacks Kim Kardashian
Katie Hopkins is known for her sour tongue and general dislike for most women. Once again, she has decided to publicly voice, her negative opinion and Kim Kardashian is her latest victim.
Why she feels the need to do it, we'll never know.
Emma Power reports.
katie hopkins
the sun newspaper


What should we screen next season? As usual the committee is keen to gather ideas for film events for the season ahead. Ideally, we'd like to attract a hundred people to our screenings, which means that a film shouldn't be too obscure and inaccessible, and should appeal to our audience, though we're happy to include films that might be a bit challenging from time to time.
It would be useful if you can also add a short note about why you think we should screen it, and how long ago you last saw it.
Alfonso Cuarón's Roma was also one of the best films of 2018, and hasn't had a proper theatrical release. Telling the story of a family in 1970s Mexico City through the perspective of their housekeeper, it is a gorgeous and precise insight into class, race and gender. See Peter Bradshaw in the Guardian.
After the success of the The Party, how about Sally Potter's earlier Orlando? See Roger Ebert.
I also really loved The Happiest Day in the Life of Olli Mäki (2017), based on the true story of the Finnish boxer from the 1950s. See Peter Bradshaw in the Guardian.
Interesting list of great European films in today's Observer, though there are some in there I certainly don't want to see again!
We screened Lukas Moodysson's We are the Best! a few years ago, which went down very well, and we really should do Together, a wonderful account of a commune in Stockholm in 1975. See review in Philosophy Now, a piece about the director, and a piece in the Guardian's My Favourite Film series.
The trailer is awful, but conveys the idea (badly).
Antonioni's great enigmatic film The Passenger starring Jack Nicholson and Maria Schneider. Re-released recently after its original 1975 debut. Read Peter Bradshaw's review.
Just won the Golden Bear in Berlin.


I have been with Huntington Bank for 4 years and have been working with small businesses for over 10 years. Huntington Bank has been the #1 SBA lender in the State of Michigan for a number of years. We have great products and services to help the small business owner, along with a wonderful support team to make sure you are taken care of!
I am a Business Banker Relationship Manager and I help finance purchases and refinances of equipment, real estate and working capital needs. If you are looking to sell your business I am able to work with the SBA to put the money you have earned into your pocket by financing the buyer. My interest in exit and succession planning is to help the successor have a smooth transition and work with them throughout their business life cycle.


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Q: Google Plus Domain API Android Exception I am trying to get Circles of user using Google Plus Domain API Android.
I imported following libraries first in my project:
google-api-client-1.18.0-rc.jar
google-api-client-android-1.18.0-rc.jar
google-oauth-client-1.18.0-rc.jar
google-http-client-1.18.0-rc.jar
google-http-client-android-1.18.0-rc.jar
gson-2.1.jar
jackson-core-asl-1.9.11.jar
jackson-core-2.1.3.jar
jsr305-1.3.9.jar
protobuf-java-2.4.1.jar

Please find the link for more info.
I did the following steps:

*

*Get authentication token:
String accountName = params[0];
String GPLUS_PROFILE = "https://www.googleapis.com/auth/userinfo.profile";
String GPLUS_LOGIN = "https://www.googleapis.com/auth/plus.login";
String GPLUS_CIRCLES = "https://www.googleapis.com/auth/plus.circles.read";
String GPLUS_ME = "https://www.googleapis.com/auth/plus.me";
String scopes = "oauth2:" + GPLUS_PROFILE + " " + GPLUS_LOGIN + " "
        + GPLUS_CIRCLES + " " + GPLUS_ME;
String token = null;
try {
    token = GoogleAuthUtil.getToken(LoginActivity.this,
            accountName, scopes);
    return token;
} catch (IOException e) {
    Log.e(TAG, e.getMessage());
} catch (UserRecoverableAuthException e) {
    startActivityForResult(e.getIntent(), REQ_SIGN_IN_REQUIRED);
    return null;
} catch (GoogleAuthException e) {
    Log.e(TAG, e.getMessage());
}

*Now as I received an authentication token, I tried to create PlusDomain Class Object to get details about user:
public void getPlusDomain(String response) {
    HttpTransport httpTransport = new NetHttpTransport();
    JsonFactory jsonFactory = new JacksonFactory();

    GoogleCredential googleCredential = new GoogleCredential()
            .setAccessToken(response);
    plusDomains = new PlusDomains.Builder(httpTransport, jsonFactory,
            googleCredential).setApplicationName("Google  Mini")
            .build();
    Person mePerson;
    try {
        mePerson = plusDomains.people().get("me").execute();
        System.out.println("ID:\t" + mePerson.getId());
        System.out.println("Display Name:\t" + mePerson.getDisplayName());
        System.out.println("Image URL:\t" + mePerson.getImage().getUrl());
        System.out.println("Profile URL:\t" + mePerson.getUrl());
    } catch (IOException e) {
        // TODO Auto-generated catch block
        e.printStackTrace();
    }
}

I get the following exception:

I used this link to Solve the problem and the exception goes
 JsonFactory jsonFactory = new JacksonFactory();
        Thread.currentThread().setContextClassLoader(
                jsonFactory.getClass().getClassLoader());

however after that i get
com.google.api.client.googleapis.json.GoogleJsonResponseException

How to solve this issue and why this exception coming

redpajama_set_name: RedPajamaStackExchange