The editorial in the last edition of the EASST Review took us from fireworks to fire objects to archives (Farías 2014, p.3). Creating an "overtly incomplete archive" was suggested as a way to review the multiple practices of the EASST conference in Poland. The making of an archive highlights another characteristic of fire objects alongside their complexity – their generative quality.
On this view, an archive of multiple accounts is one pattern of absence and presence created from otherness, from difference. My original proposal had been to write about futures – I presented in the "Synthesising Futures" track. However, reading back over my notes months later the productive quality of objects seemed like a more interesting motif to organise my partial account.
The production of patterns brings to mind the notion of another metaphor: diffraction. Waveform diffraction patterns depend, much like fire objects, on difference and are formed of creative and destructive interference (Barad 2007, p.78). Bringing the concept of fire objects to bear on my notes is a way of making a new pattern, new spots of bright and dark, new instances of understanding and further questions to be asked.
By way of background, Torun was my second STS conference. I attended my first in Denmark, at Copenhagen Business School, in the first month of my PhD. That was a thrilling experience. To me, with a background in laboratory bioscience and science education, it was a whole new way of looking at the world. Torun was different. Partly because I was presenting a paper and partly because the conference itself was smaller, somehow more intimate, the event moved on my thinking in important ways, which I'll return to towards the end.
My thoughts draw on many of the excellent papers in these tracks, but also on the bits in between – the breaks, long lunches and discussions. And, while a conference can be understood to produce many things including prizes, hot meals, book launches, advertisements, coffee, economic transactions, conversations and so on, I focussed my selection on how otherness is productive of questions and for developing early career academics.
Difference was notably productive in Harro van Lente's meta-analysis of narratives often used in theories of innovation. His paper argued that it was possible to classify eight theories of innovation into Hayden White's narrative genres. As romance, tragedy, comedy or satire. For instance, the ideal simplicity of the linear model of innovation is a romance characterised by 'progress' and a 'struggle to happiness'. The 'Social Construction of Technology' is a comedy. Tales of misunderstanding and complication, but like romance, comedy ends happily. The presentation moved on to argue that because the authors could only find evidence for satire in literature, Huxley's Brave New World being one example, there may be an absence of satire in STS scholarship. Thus, bringing together different things created a possible new direction for STS and IS research. Is there a new satirical future in the making? In the discussion following the paper, Robin Williams commented that, perhaps, different groups find it hard to write together because they have different ideas about what makes a good story. This raises other questions to ponder: What are the implications of choosing any single genre? What is included and what is not?
General discussions about what role STS scholarship should, or could, play in innovation featured in both the "conceptualising responsible research and innovation" (RRI) and "crossbreeding STS and innovation studies" sessions. One presentation proposed that STS could operate in the service of innovating new products. This opened up a familiar conversation – see Nina Amelung's review about early career researchers in the last issue (Amelung 2014) – with some delegates putting forward the idea that other scholars might be uncomfortable with an instrumental conception of their research. This follows the idea that the role for STS is one of explanation (e.g. Bauchspies et al. 2006).
The notion of care presented here suggests prudence, awareness of emotions and a focus on process. This means on-going responsibility for the things STS generates, as well studying the practices of responsibility by scientists and innovators, and a willingness to be involved (Bijker 2003). However, the theorising about these roles tends to be abstract and general. For some researchers their involvement in a project can shift from explanation to engagement and back again – the roles emerge alongside the research and relationships. Mattering is a process. The different positions researchers can take raises a further question: would it be useful to focus on conceptual tools that deal with the changing roles of STS throughout cases and projects, as well as arguments spanning a whole field or area of inquiry?
In a discussion following one presentation on RRI, a senior academic said the challenge of RRI was about relocating responsibility from where it had classically resided, in individuals and in groups, to the process of innovation. Yet, the senior academic said, it was not clear whether the presenter had shifted back to individual entities because the presenter did not like the challenge, or because it was an error. The presenter stalled. It was one of the trickiest questions I heard at the conference, yet I did not note the answer. I mention it because I too had a similar moment. My paper's focus was on synthetic biology and part of my argument involved conceptualising synthetic biology as having the characteristics of an epistemic object (e.g. Knorr Cetina 2005). In the discussion, I was questioned as to whether synthetic biology could be an epistemic object because I had also demonstrated it to be political. I realised my mistake. In earlier drafts I had referred to a partial object but at some point had switched back to the more restricted word 'epistemic'. However, as I considered the question and my oversight on the plane home, I came to understand that I needed to develop my own framework. The months since the conference have been stimulating for me on this issue – it will be a chapter in my thesis.
The conference was not only about tidying up reasoning and learning from mistakes. Conversations with other students also brought to my attention that many were approached by more senior academics who were interested in their concepts or empirical data, and who suggested staying in touch or embarking on some kind of collaboration. The coming together of experienced scholars and new scholars, the differences in their academic ideas and social connections, creates possibilities for research relationships in the future.
Lastly, my most memorable paper was Detecting Security Politics in the "non-concerns" track. It was a 'comedic' tale, filled with rich detail and humorous insights, of developing a new international border technology which had to meet many different ideas of success. The main point was that the multiple actors in the project broke up a large risk, that of detecting biological, chemical, radiation, nuclear and explosive materials at border crossings, and 'disaggregated' it to many smaller technical problems. But, for me, it was the not findings that resonated: it was a style of delivery and a presentation of a necessarily absent project to which one could aspire. Less experienced scholars were moved on, then, by practices that developed the specifics in the formulation of their arguments, their academic contacts and their inspiration.
In this account I used the generative quality of fire objects to create a pattern of interference and a way of thinking about how different practices of the conference are productive. From this view, of objects as a generative pattern of absence and presence, the conference produces theory, directions for research, interdisciplinary interactions and changes the practices of students and early career researchers.
Amelung, N., 2014. Early career scholars' expectations and obstacles in doing STS – within academia and beyond. EASST Review, 33(4).
Barad, K., 2007. Meeting the Universe Halfway, London: Duke University Press.
Bauchspies, W.K., Croissant, J. & Restivo, S., 2006. Science, Technology and Society – A Sociological Approach, Oxford: Blackwell publishing.
Bijker, W.E., 2003. The Need for Public Intellectuals: A Space for STS: Pre-Presidential Address, Annual Meeting 2001, Cambridge, MA. Science, Technology, & Human Values, 28(4), pp.443–450.
Farías, I., 2014. Editorial. EASST Review, 33(4).
Kerr, A., 2012. Responsible Innovation: What next for STS? » Centre for Health, Technologies and Social Practice. Available at: http://thesp.leeds.ac.uk/2012/11/responsible-innovation-what-next-for-sts/ [Accessed February 22, 2015].
Knorr Cetina, K.D., 2005. Objectual Practice. In T. R. Schatzki, K. K. Cetina, & E. von Savigny, eds. The practice turn in contemporary theory. London: Routledge.
Law, J. & Singleton, V., 2005. Object Lessons. Organization, 12(3), pp.331–355. Available at: http://org.sagepub.com/cgi/doi/10.1177/1350508405051270..
Robert Meckin is a postgraduate student at the University of Sheffield, UK. His PhD explores the enactment of innovation, particularly how the notion of 'translation' is deployed and practised, in synthetic biology.


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If This is the End for Lundqvist, It's Been a Glorious Run
'King Henrik' announced he'll miss this season with a heart condition and while he hasn't definitively ruled out a return, it's difficult to imagine he can come back to the best league in the world at 39.
Things can certainly change, but it's difficult to imagine that we haven't seen the last of Henrik Lundqvist as an NHL player. Assuming Zdeno Chara does indeed play this season, 'King Henrik' would have already been the fourth-oldest player in the league and the oldest NHL goalie in 2020-21. It's hard to fathom that someone even of Lundqvist's mettle could endure recovering from a heart condition and missing a full season of hockey, then coming back to the best league in the world at the age of 39.
So it may very well be that our last memory of Lundqvist will have been a 4-1 loss in the qualifying round of the bubble playoffs in which Lundqvist stopped 30 of 34 shots back on Aug. 3. If that's the case, Lundqvist is, of course, a no-brainer Hall of Famer in 2023. After Lundqvist announced Thursday that he will have to sit out the season due to a heart condition, we do know for sure that we will not get to see him chase the elusive Stanley Cup with the Washington Capitals. Lundqvist did not definitively close the book on his career when he made his announcement, but it's very likely the book has been closed for him.
So we'll have to be content with remembering Lundqvist as one of the game's all-time greats and add him to the inauspicious list of the greatest players in NHL history to not win a Stanley Cup, where he'll be joined by Marcel Dionne, Joe Thornton (probably), Eric Lindros, Pavel Bure, Cam Neely, Adam Oates, Brad Park, Gilbert Perreault, Darryl Sittler, Peter Stastny and Mats Sundin. (As well as fellow former Ranger goalie Eddie Giacomin, who is right there – along with Mike Richter – in the discussion of the Rangers' all-time greatest goaltenders.)
And of course it's not all on Lundqvist that he failed to bring a Stanley Cup to a franchise that has delivered less to its fans than any other in NHL history. And we're including the Toronto Maple Leafs. For all the individual star players they've had and the resources they've had at their disposal, it's actually remarkable to consider how historically putrid the Rangers have been at hockey.
When top players have surrounded Lundqvist on the international stage, he has delivered the goods. He backstopped Sweden to an Olympic gold medal in 2006 and a World Championship in 2017. He also won two Swedish League titles with Vastra Frolunda, where he was named the league's top goalie three times and the top player once. In New York, Lundqvist and the Rangers were not bereft of opportunities, particularly in 2014 when they made it to the Stanley Cup final and were overwhelmed by the Los Angeles Kings and the next year when they finished first overall in the NHL, but lost in the Eastern Conference final in seven games to the Tampa Bay Lightning. The one that probably stings the most was in 2012 when Lundqvist won the Vezina and the Rangers were the best team in the Eastern Conference, only to lose in the conference final to the New Jersey Devils in six games. The Rangers had five very good seasons in the middle of Lundqvist's career, but for the first five and the final five, they were basically either a bad team or an average one that was in no danger of being a serious Stanley Cup contender.
If Lundqvist doesn't play another game in the NHL, he'll likely be sitting sixth on the league's all-time wins list with 459 for some time. That's because the active goalie with the next-highest number of wins is 40-year-old Ryan Miller, who has 387, and Miller has yet to be signed for this season. Next after that is 38-year-old Pekka Rinne with 359. In fact, the only active goalie with a real shot of catching Lundqvist at the moment is Carey Price, who is 111 victories in arrears. And Lundqvist's career save percentage of .918 puts him tied for 10th all-time in that category.
And that's even before you consider that whenever Lundqvist does leave the game for good, he'll go down as one of the most respected players of his generation. Guys from Sweden are, generally speaking, some of the most humble and low maintenance hockey players you're ever going to meet and in that respect, Lundqvist was no exception. And he loved playing the game. Perhaps that's what is most disappointing, that it looks as though Lundqvist won't be able to leave the game to which he has given so much on his own terms.
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Maple Leafs have Trio of Issues Creep Up in Loss to Senators
Three issues that became of a point of emphasis this summer for the Toronto Maple Leafs to correct were brought to the surface after their loss to the Ottawa Senators.
By David Alter
Detroit Red Wings: The Almost Playoff Dynasty
The Red Wings of the 1930s were just the third team to win consecutive Stanley Cups. Complacency prevented them from becoming the NHL's first tri-cup dynasty
By Stan Fischler
Sabres' Dylan Cozens is Riding a Wave of Momentum
From the World Junior Championship to Buffalo's opening night roster, Dylan Cozens has had quite the past month.
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Moles can appear anywhere in the body and how to get rid of moles on skin is a question by those people who have it on the face because it affects the appearance. Moles are just small skin growths which are either small or large and they hardly hurt. People often have 10 or more moles on various body parts. Generally, moles are by birth, but sometimes they appear later in any age. Only the surgery can remove the mole forever, but some other methods also help.
Some doctors don't believe in home remedies and say that only laser or surgery can remove the moles but several people believe in traditional treatments. Sometimes removing it becomes risky if you don't know how to use the tools, like scissors, etc. If the size or color of the mole changes, consult your doctor as it may be dangerous because it can be cancer. You can use any method as a remedy on how to get rid of moles on neck, especially if it hurts you when your skin touches anything.
Moles are just small skin growths which are either small or large, but they hardly hurt. People often have 10 or more moles on various body parts. Some moles are cancerous and the doctor diagnoses it through biopsy. The Dermatologists use scissors or shaving method to remove the mole.
Several DIY methods of mole removal are available online but try them if they are not risky. You may find some tips helpful but some may not help you or may damage the skin. There are both proven and unproven methods so be realistic while using them. You can also consult a dermatologist before following any method.
Rubbing the garlic over mole to make it soft so you can remove it with the tool.
How to get rid of moles on your skin with iodine is also traditional but an unproven tip. People remove the mole by burning it off with iodine. Use iodine for a few days and the mole will flake off but don't forget to apply petroleum jelly on the surrounding skin to prevent it from burning.
Some home products for mole removal include the flaxseed oil, Aloe Vera gel, castor oil, baking soda, hydrogen peroxide, banana peels, and frankincense cells.
Take a mixture of baking soda and castor oil and apply the paste on the mole, as the soda will help remove the mole by making it dry and the oil will prevent the surrounding skin.
A use of oregano oil with olive oil may remove the mole after a few days as it makes the mole soft. Use it every day to get the best results but this is not a proven method.
How to get rid of moles on skin with hydrogen peroxide is another way. You can apply the hydrogen peroxide to your mole but repeat it a few times a day. After a few days, the mole will flake off as it is what people say.
Some products fade away the moles and they become lighter. Like you can use lemon, honey or potatoes for this purpose. You can also use a mixture of rice flour and corn flour to reduce the darkness of the mole.
There are several home mole removal methods and they are very tempting because they are cheap and we don't have to go anywhere to get a surgery or laser. But these methods may or may not work because they are not proven. You can damage your skin and the creams also have side-effects, like they create a dark scar around the mole area.
How to get rid of moles on face with surgical razor or scissors is not a good idea because you may get an infection if you don't wash them properly. A scar may also develop on the cut part so avoid it. However, the doctors use sanitized tools so you can ask their help if you don't want moles.
A home method also becomes risky if you don't know the causes of mole, like playing with a cancerous mole may become dangerous like it can spread to the rest of the skin. If you feel something weird in your mole size and color, see the doctor for a diagnosis. The doctor will take a tiny part of the mole to get its biopsy from the lab.
Some people find the creams safe rather than using the scissors. These medicated creams make a scab after a day of applying them. The mole goes with the scab as it falls down. However, the user has to scrape off the upper layer of the mole before applying the cream.
How to get rid of moles on your face with makeup is the safest way like you can conceal it with a concealer and can pluck hair in the mole.
The surgical methods are also safe because a skin specialist or dermatologist removes it with surgical tools. Generally, two methods are common, like the surgical excisions in which the doctor cuts the mole after making the skin numb and will stitch the wound afterward. The doctor will also prescribe the drugs to take after a surgery, if required, like the painkillers or antibiotics.
Another surgical method on how to get rid of moles on face involves the surgical shave. The dermatologist shaves off the mole with a blade after giving a local anesthesia. But, before using any method, the doctor will first get the biopsy of the mole to find its nature.


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Le Tirailleur algérien est un hebdomadaire satirique français publié à Alger, avec plusieurs interruptions et changements de direction, entre le  et le .

Histoire

Le second Tirailleur (1889-1895)

Un premier Tirailleur avait été publié à Alger sous le Second Empire, mais cette feuille avait assez vite disparu. Son titre est repris en 1889, quand un groupe de jeunes journalistes de la presse algéroise, mené par Lys du Pac (1859-1923), décident de fonder un journal de « critique narquoise ».

Ce second Tirailleur est lancé le 15 décembre 1889. Il rencontre un certain succès, surtout à partir du 142 numéro, daté du 4 septembre 1892, qui marque le début de la collaboration du caricaturiste Salomon Assus, qui redessine le titre du journal et fournit chaque semaine un grand dessin d'actualité. Le prix du numéro est alors doublé, passant de 5 à 10 centimes. Les finances du Tirailleur souffrent cependant d'une mauvaise gestion, et l'équipe du journal n'est bientôt plus en mesure de payer l'imprimeur Giralt, ce qui entraîne une première disparition de l'hebdomadaire après le  du 30 avril 1893.

Le Tirailleur paraît à nouveau le 6 août 1893, après avoir été renfloué par l'ancien représentant de commerce Émile Schmerber (1855-1896). Selon le journaliste Ernest Mallebay, ce nouveau directeur tente bientôt de transformer le journal en une feuille de chantage et s'aliène la plupart de ses collaborateurs. Plusieurs d'entre eux rejoignent ensuite Le Turco, un hebdomadaire satirique lancé par Mallebay le 3 mars 1895 afin de concurrencer la feuille de Schmerber. Le plus célèbre de ces transfuges est le caricaturiste Assus, qui a définitivement quitté le Tirailleur en décembre 1894. Le Tirailleur ne survit pas longtemps à cette défection car il cesse de paraître en octobre 1895.

Le troisième Tirailleur (1899-1901)

Le 20 août 1899, un nouveau Tirailleur voit le jour à Alger sous la direction de Gabriel Lurs, nom de plume d'un certain J. Depieds. L'un de ses principaux dessinateurs est Émile-Hippolyte Ferrez. Les caricatures de ce dernier, signées « E. Hachef » puis « Jules Niorky », sont d'une qualité qui n'avait plus été atteinte depuis le départ d'Assus. Elles n'hésitent pas à s'attaquer aux personnalités antisémites alors majoritaires dans le paysage politique algérois, ce qui vaut au nouveau Tirailleur d'être désigné par ses détracteurs comme un « journal juif » ou un organe officieux « de la préfecture ».

Après le succès des « antijuifs » aux élections municipales de mai 1900, Lurs avoue son découragement dans l'éditorial du 20 mai. Il cède alors son journal, qui paraît dès la semaine suivante avec une nouvelle équipe et une ligne éditoriale plus complaisantes à l'égard de Max Régis et des autres hommes politiques « antijuifs ». Le titre dessiné par Ferrez, encore utilisé de manière provisoire le 27 mai, est remplacé le 12 août, lors du véritable lancement de la nouvelle version du journal, par un titre dessiné par Édouard Herzig, un artiste antisémite bien connu des lecteurs du supplément illustré de L'Antijuif algérien. Le journal disparaît finalement en janvier 1901.

Le 19 août 1903, un éphémère quatrième Tirailleur, illustré par un certain « Haro » et annonçant une ligne « radicale, socialiste et anticléricale », est lancé à Mustapha. Il ne semble pas avoir eu plus de deux numéros. Le titre est repris une nouvelle fois en 1906 par le magazine Alger-amusant.

Rédacteurs et autres collaborateurs notables

Notes et références

Voir aussi

Liens externes

 Le Tirailleur algérien consultable en ligne sur Gallica.

Presse satirique en France
Revue illustrée par des gravures
Caricature en France
Titre de presse créé en 1889
Titre de presse disparu en 1903
Presse hebdomadaire disparue en France
Presse sous la Troisième République
Presse et revue écrite française avant l'indépendance de l'Algérie

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News, Reviews and Features MInd the Blog's most popular 2017 reviews
MInd the Blog's most popular 2017 reviews
In London theatre, Musicals, Opinion, Plays, Reviews by Debbie Gilpin 6th January 2018 Leave a Comment
I get rather drawn to the stats page of the blog at times. But it's always interesting to see the search terms that bring people here – and which posts get the most hits! This time I've decided to compile all of the most popular ones in one place, just in case you missed them the first time around.
12. Twelfth Night (Merely Theatre)
Partway through their second national tour, Merely Theatre are currently performing Twelfth Night in rep with Romeo & Juliet using their genderblind company. The cast for this particular performance had a fairly even split, with Tamara Astor and Sarah Peachey opposite Robert Myles, Simon Grujich and David Gerits.
11. Doomed Resistance
Initially appearing as part of one of Falling Pennies' scratch nights, Doomed Resistance recently premièred in its new hour-long form at the Plymouth Fringe and is now providing lunchtime entertainment is part of this year's Camden Fringe. Written by Simon Godfrey, it is a farce set in the early days of the First World War in Belgium.
10. The Merry Wives of Windsor (Merely Theatre)
Merely Theatre are a busy bunch. Not only are they still touring their productions of Twelfth Night and Romeo & Juliet in rep, but they've also recently revived their A Midsummer Night's Dream at Stratford-upon-Avon – and for the past two nights they've debuted a production of the rarely played The Merry Wives of Windsor at south London's Theatre N16.
9. The Woman in the Moon
Initially performed as a Read Not Dead piece, before a production at the Rose Playhouse, The Dolphin's Back have begun a limited run of John Lyly's The Woman in the Moon in the Sam Wanamaker Playhouse. It has been billed as his "astrological sex comedy", and a likely source of inspiration for Shakespeare's A Midsummer Night's Dream. Read more…
8. 9 to 5 (Gillingham Dramatic Society)
Originally a 1980 film from Colin Higgins and Patricia Resnick, 9 to 5 was adapted into a musical by Resnick with the help of Dolly Parton (one of the film's stars) and opened on Broadway in 2009. Its run was incredibly limited, but the show's appeal hasn't dimmed; a production toured the UK in 2012, there have been recent London productions, and now Gillingham Dramatic Society have taken it on as their latest show. I was lucky enough to be invited along to their dress rehearsal to give you a preview of what you can expected from their short run. Read more…
7. The Duchess of Malfi
The first part in their 'The Face of Decadence' season, Scena Mundi's latest offering is a full production of John Webster's dark, murderous tragedy The Duchess of Malfi. Written c. 1613/14, around the same time as Fletcher & Shakespeare's The Two Noble Kinsmen, it remained a popular play for the next century – though its violent nature proved too much for the more genteel tastes of the Georgians and early Victorians. Read more…
Liam Joseph, Thomas Lovell and Charlotte Price in PLUTO
Photo credit: Moonchild Theatre Company
6. PLUTO
Moonchild Theatre's debut venture, a play written and directed by co-founder Callum O'Brien, recently had its first run at Barons Court Theatre in southwest London ahead of summer performances at the King's Head and Cockpit theatres. One of their key interests is creating pieces that millennials can engage with, and make their audiences think about important social and political ideas. Read more…
5. Gloria
The final production in the current season at Hampstead Theatre is Branden Jacobs-Jenkins' Gloria – overlapping with another of his plays An Octoroon, which recently closed at the Orange Tree Theatre in Richmond. It is a tale full of twists and turns surrounding the lives of people who work in a New York magazine office, exploring some people's daily struggle to survive in a demoralising environment. Read more…
4. Behind the scenes at Half a Sixpence
Last week (thanks to Raw PR) the Noël Coward Theatre opened its doors to a whole host of bloggers, giving an exclusive look behind the scenes at smash hit musical Half a Sixpence. Since transferring to the West End from Chichester it has enjoyed huge success, seemingly every other month announcing extensions to its run. To celebrate this, rather than simply invite us in to watch the show (obviously a treat in itself) we were given the chance to hear about Charlie Stemp's experiences from audition to West End leading man, learn a snippet of the Flash, Bang, Wallop choreography from dance captain Jaye Juliette Elster and hold a brief Q&A with cast members Emma Williams, Sam O'Rourke, Bethany Huckle and Charlie Stemp too. Read more…
Edward Hogg and Blythe Duff in Romeo & Juliet
Photo credit: Robert Workman
3. Summer of Love: Romeo & Juliet
"For never was a story of more woe, than this of Juliet and her Romeo." And I'm fairly sure there has never been an instance of a Shakespeare piece being played out in something akin to the Marvel Universe before – that's where Daniel Kramer comes in. The ENO artistic director has taken on this most famous of tragedies as the season opener for the Globe's Summer of Love, making a bold statement with his thrillingly modern interpretation. Read more…
2. Bat Out of Hell
For Meat Loaf fans, the stage production of Bat Out of Hell (written as a musical but more famous as the classic albums) has been a long time coming. After an initial run in Manchester, it's come to London's West End, where it has been extended due to phenomenal demand. Read more…
1. Breaking Up is Hard to Do
Jersey Boys may have walked like a man from the West End, but luckily London has a natural successor in Breaking Up is Hard to Do. Featuring a choice pick of Neil Sedaka's back catalogue, it transports Upstairs at the Gatehouse to Catskills in New York for a whirlwind romantic comedy musical that will make you leave with a smile on your face and the songs stuck in your head. Read more…
Tags:9 to 5, Bat Out Of Hell, Branden Jacobs-Jenkins, Breaking Up Is Hard To Do, Dolly Parton, Doomed Resistance, Falling Pennies, Gillingham Dramatic Society, Gloria, Half A Sixpence, John Lyly, John Webster, Meat Loaf, Merely Theatre, Moonchild, Neil Sedaka, Pluto, Raw PR, Romeo and Juliet, Scena Mundi, shakespeare, Simon Godfrey, Summer of Love, The Dolphin's Back, The Duchess of Malfi, The Merry Wives of Windsor, The Woman in the Moon, Twelfth Night, William ShakespeareCategories:all posts, theatre
Debbie Gilpin
Debbie Gilpin stumbled into writing about theatre when she moved to London after studying for a degree in Human Genetics at Newcastle University. She started her website Mind the Blog in November 2014 and also tweets from @Mind_the_Blog. She spent the best part of 2014-16 inadvertently documenting Sunny Afternoon in the West End, and now also writes for BroadwayWorld UK. Debbie's theatre passions are Shakespeare and new writing, but she's also a sucker for shows with a tap routine.
Read the full article from Debbie Gilpin, published on 6 January 2018
Tags: 9 to 5, All posts, Bat Out of Hell, Branden Jacobs-Jenkins, Breaking Up Is Hard to Do, Debbie Gilpin, Dolly Parton, Doomed Resistance, falling pennies, Gillingham Dramatic Society, Gloria, Half a Sixpence, John Lyly, John Webster, Meat Loaf, Merely Theatre, Mind the Blog, Moonchild, Neil Sedaka, Pluto, Raw PR, Romeo and Juliet, Scena Mundi, Shakespeare, Simon Godfrey, Summer of Love, The Dolphin's Back, The Duchess of Malfi, The Merry Wives of Windsor, The Woman in the Moon, Theatre, Twelfth Night, William Shakespeare


/Mailing Service /How do I upload my spreadsheet of addresses?
There are two ways to upload spreadsheets of addresses. Learn more below.
After placing your order you will be prompted to enter your recipients' addresses.
You can enter your addresses at this point or you can add addresses at any time by logging into your account and clicking on the Account icon near the top of your screen and selecting "My Account".
This will bring you to your Dashboard where you can navigate to your "My Orders" tab.
This will take you to a page that lists your past and present orders. You'll see your current mailing service order listed as pending. Click on the Add Your Addresses link to complete your order.
Enter your return address and then scroll down to step two and add your recipient addresses. Click on the Import Contacts tab and select the Import Contacts button. Now you can either import your contacts from Google or Yahoo or by selecting a CVS file from your computer.
Click the Choose File button and select the file you would like to upload. Hit import when you're ready. After importing your file, your list of addresses should appear. Click the Add Contacts button to finish. Any addresses you upload will be saved in your Address Book, so you can easily add them again later.
Hit the Complete Order button to finalize your order.
To upload a spreadsheet of addresses to your Address Book, log in to your account and click on the Account icon near the top of the screen and then select "My Account" from the drop-down options. From there, click on the Address Book link on the left side of your Dashboard. Then select the Import Contacts tab and then the Browse button to find the file on your computer. Select your file and hit Import when you're ready.
* Please note that for the file to upload correctly, the headers have to match our downloadable sample CVS file perfectly.