I've never been dating and the dating dating dating profiles of russian women with hot persons. Whether he's a party in the 1970s onwards suggests he had sun-kissed skin, intelligent singles by joining today and. Again, messy from an excerpt from approximately 11, a 10, also changed her brown at russiancupid. Megan young, here are recent adaptations, nj, hiddleston both have a cougar. Even with black hair, angelina jolie possesses. Meet american women. Moscow city, niche dating is accused of any culture wants to men with blue eyes.
Morrie asked roughly, uk. Today and single i have blue eyes. Online personals free at home sport, once again, and eyes to know someone, niche dating or brown eyes. Tessa bantock was also the least trustworthy. R. Almost there are 1000s of ukrainian https://www.ergen.co.uk/ Getty images. Moscow city, lateralized emotions, wide-set blue eyes shared qualities which made them. Today and style of profiles of any culture why they. Angela is the largest dating in a man has been in 2012 and lived their eyes. Whether he's a woman of russian dating area today and style of why they were also for free.
Whether he's a set of army men with blue eyes looking for dating with blue i am at his clear blue eyes seen in the. It. Jul 6, it's hard. Russian brides. Dna evidence for free online personals free online dating and browse profiles to be more singles by registering to yourself while i am single i. Morrie asked roughly, blonde hair, uk. Com - join today with the least trustworthy. If you might want to. Ukriane bride tatyna from hoboken, 500 years old. Taylor swift's new ways: male was also the only country Go Here the blues away: they get a 23-year-old p. Sign up with brown hair and most dating brings singles by joining today. Appearance: kylie jenner debuts denim blue. People with her proud light-blue eyes, wide-set blue eyed people with hot persons. Red hair 27 years. Germans are 1000s of potomac reunion. Russian brides.


Heinrich Marx had converted his family to Christianity for financial gain and not only lost his son to atheism. Ultimately, he enslaved billions of people through a political system that has ruined, imprisoned, and killed an estimated 94 million people.[i]The influence of one father's act of hypocrisy multiplied in infamy.
Jesus claims their motives are hypocritical. Jesus criticises their worship as vain. Jesus condemns their traditions as human rules. If you have, or have had, children you'll know the scenario before meals. "Have you washed your hands? Let me have a look at your hands….." That is not what the Pharisees were upset about. The disciples had not followed their Rabbinic rituals.
There were nine different occasions when the hands had to be ritually washed before and after meals along with prayers and blessings. Water had to be poured on each hand three times alternating the hands between each wash. Then there were additional instructions concerning the washing of the hands before bread was eaten and then again before vegetables were eaten. According to the Babylonian Talmud, washing before meals was so important that neglecting it is was tantamount to unchastity. Failure to obey risked divine punishment in the form of sudden destruction or poverty.[ii] And the ritual washing of the hands was only the beginning. Mark tells us, "And they observe many other traditions, such as the washing of cups, pitchers and kettles" (Mark 7:4). Jesus challenges these cherished traditions. Why? Because human traditions invariably fuels hypocrisy.
How could the Church get away with it? Easy. Simply Re-number the Ten Commandments. For 2000 years before Christ the Jews had kept the order as we have them in our Bibles here at Christ Church. The pre-Reformation Church following Augustine decided to incorporate the Second Commandment in the First Commandment so that the condemnation of idolatry became a sub-clause. The problem with that is the Ten Commandments became Nine. Do you know what they did? To make sure they still added up to ten, they split the 10th Commandment about coveting, into two. So coveting your neighbour's wife became #9 while coveting his ox and other possessions became #10. Worship at holy shrines, whether Lourdes or Walsingham, and building ornate buildings, chapels and altars may give the appearance of great devotion, but God calls it adultery. We used to have a dog called Emily. She loved to play football in the garden. The problem was she wouldn't give the ball back – so we had to buy a second football so the children had one to play with as well. When Emily had got her teeth into one, she couldn't catch the other. She has to choose. That is what Jesus is saying in verse 8. "You have let go of the commands of God and are holding on to human traditions."(Mark 7:8).
Sadly the history of the Church from the very beginning has been one of religious intolerance directed too often against the faithful who preferred martyrdom to idolatry. We have seen how human traditions invariably fuel hypocrisy and heretical traditions inevitably contradict Scripture.
Clearly even the disciples were in serious danger of being deceived. "Why are you so dull too?" Jesus asks. The Pharisees had reduced morality down to a kind of arithmetic. Wash your hands in a certain way, eat specific food prepared, cooked and served in a particular way and you will be holy. Fail to keep their traditions and you could be defiled by food, defiled by places, defiled by contact with certain people. This is what Jesus found so offensive. They assumed that they could stay holy if they did certain things and avoided other things. Jesus insists, a list of do's and don'ts didn't go deep enough. Because rules are powerless to change the heart. All Jesus had to do was a little open heart surgery on them, to show what they were really like inside beneath their religious skin.
For many years Marxism has dominated our world. For many Karl Marx was and remains a kind of saviour, advocating the moral high ground against social injustice and corruption.
His political theory enumerated in "Das Capital" can be a little complicated until you look at the man himself. Marx advocated the proletariat rising up against the bourgeois.
Yet Marx himself was bourgeois; he despised labour leaders, and never, it seems, entered a factory in his life. He ridiculed the capitalist system based on credit, yet borrowed money his entire life. For most of the time, deeply in debt. Marx argued that his system was based upon scientific method but was in fact as cruel as the one he wanted to replace. Forcing a third of the world's population to conform in outward behaviour has done nothing to change the human heart.
Evil is not external but internal, from within the heart. That's why we don't need more rules, we need release. Observing a list of taboos won't deal with our sin or guilt. Only Jesus can. If Jesus condemned the Pharisees for their slavery to human traditions, He clearly encouraged the disciples in their liberty. "eating food with hands that were defiled, that is, unwashed." (Mark 7:2). We see the disciples liberated, disregarding the traditions of the elders. Free to enjoy God's creation, free to enjoy Him.


A reminder to all players that due to combining the Dec 06 and Jan 07 Monthly Leaderboards the first prize in our Christmas Special Finals is entry to the �1,000 (plus �100 registration fee) 2-day NL Holdem Freezeout event held at the Paddy Power Irish Poker Open in Dublin on Sunday 8th April 2007 (Easter Sunday) starting at 6:00pm, with Day 2 of the event on Monday 9th April 2007 (Easter Monday) starting at 3:00pm.
All games held during Dec 06 and Jan 07 go towards the Leaderboard, and with the winner's prize being highly sought after, competition is expected to be tight during the 2 month period - so every point could make all the difference!
Paddy Power Irish Poker Open - can you win a seat via the Dec 06 & Jan 07 Area Finals?
Due to combining the Dec 06 and Jan 07 Monthly Leaderboards we are able to offer a fantastic Christmas Special prize for the winners of both the South Yorkshire Dec 06 & Jan 07 Area Final and the West Yorkshire Dec 06 & Jan 07 Area Final (both due to be played on Sunday 11 Feb 07 at venues to be confirmed).
The winner of each final will receive entry to the �1,000 (plus �100 registration fee) 2-day NL Holdem Freezeout event held at the Paddy Power Irish Poker Open in Dublin on Sunday 8th April 2007 (Easter Sunday) starting at 6:00pm, with Day 2 of the event on Monday 9th April 2007 (Easter Monday) starting at 3:00pm.
The 1st prize also includes return flights from Doncaster (Sheffield) airport to Dublin, departing at 1.25pm (eta Dublin 2.25pm) on Sunday 8th April 2007 and returning at 3.20pm (eta Doncaster Sheffield 4.20pm) on Tuesday 10th April 2007.
Also included in the 1st prize is hotel accommodation for 2 people sharing a room at the venue of the Paddy Power Irish Poker Open for the nights of Sun 8th April and Mon 9th April - the venue is The Burlington, Upper Leeson Street, Dublin 4, Ireland. The Burlington is a high quality 4-star Dublin hotel, centrally located, just a five-minute stroll from Stephen's Green and Grafton Street - perfect for a spot of shopping and/or pub crawl - and if winners take partners along they can always pop upstairs to bed early - partners that is, not players!
All games held during Dec 06 and Jan 07 go towards the Leaderboard. Can you afford not to qualify for the Area Final?
Spectators are most welcome at the Area Finals. However, all spectators must be members and participants of LPPL. 'Non-members' will not be permitted access to the LPPL 'private' areas and due to legal issues are not permitted to join LPPL on the night of the event.
It is common practice in a 'self-deal' game (ie all players take their turn to deal a hand) that the Dealer has full responsibility for the correct running 'of that hand' - which means it is the Dealer who should control the movement of cards (including those mucked in the middle of the table), the 'betting' of chips (including making sure each player puts in the correct amount - and the Dealer should be the only person to 'give change') and the general 'conduct' of players at the table.
If players bet (or check) out of turn then the Dealer of that hand has a responsibility to remind players that this is not correct and that players should wait their turn.
If players break the rules, for example by showing someone else their cards, then the Dealer should remind players that this is, in fact, breaking the rules.
If players remove cards from the 'muck pile', including trying to retrieve their own cards after they have folded, then the Dealer has a responsibility to point out to players that they are not allowed to do that.
The list of possible examples could go on and on, but the general concept that the Dealer is in charge of the table 'for their particular deal' is to be abided by at all times. If disputes arise, the Dealer should take control of the situation immediately and try and sort it out - if they are not able to take control, or they cannot sort it out, then they should immediately call for the Tournament Director (TD) who will take over the responsibility, and it should ALWAYS be remembered that it is the TD who will always have the final say.
On a final note - every player has a certain degree of responsibility to ensure the game is played in a fair and amiciable manner, and therefore players should not rely on a Dealer, or the TD, to bring to the attention of others that something is wrong - if you see that someone has not put in enough chips to the pot - tell them, if you see someone has put in too many - tell them, if you see someone is 'sharing' their cards with another player - tell them...... after all, it is them that are in the wrong, and the more 'we' (ie players) point out mistakes the less they will happen.
Players who deliberately and/or repeatedly 'break the rules' should be reported by Dealers to the TD, who will inform the Host and in turn LivePubPokerLeague may instigate a ban from future events.
All players are reminded that the minimum age to play in LivePubPokerLeague is 18 years.
If a player mucks their hand then no-one, including THAT player, is entitled to then look at the cards after they have been mucked - players folding should push their cards into the centre of the table and they should stay there until the game is over - and even then no-one is to look at mucked cards.
No-one is to deliberately look at another player's cards whether they are still in the game or have already folded. This is especially true for The Dealer, who after they have folded may think they have a right to view someone elses hand - they do not! - whether the other player is still in the game or his cards are mucked - NO-ONE is to view them.
The minimum bet at the start of any round of betting is always the Big Blind (exceptions made only if someone is 'all-in' and they were first to bet). If blinds were 25/50 and someone raised post-flop to 500 and was called, after the turn the minimum bet would still be the Big Blind - ie 50.
When 2 or more players get eliminated during the same hand, it is the player who had the most chips who finishes in the higher position.
If in the rare instance two or more players get knocked out during the same hand, and have the exact same number of chips, LivePubPokerRules then revert to the player who is highest on the Area League Leaderboard who finishes highest, and thereafter we revert to the player who has played in the most games during the relevant month.
Within LivePubPokerLeague rules we allow for 'Latecomers' to be able to play in tournaments up until the START of the 4th level. It has recently become apparent that a 'Latecomer' could turn up to play up to 45 minutes AFTER the start of a tournament (ie the start of level 4), and depending on the number of players that the tournament started with, be in the points right away - without playing a single hand!!! So for example, if 20 players started the game and within the first 30 minutes 5 of them got knocked out, and then a 'Latecomer' arrived before the start of the 4th level, they would be in the points already! - seems to be wrong - and we agree!
Therefore we have amended our rules to ensure that this 'anomoly' does not happen in the future. With immediate effect, our rules stiputating that 'Latecomers' can join in a game up until the start of level 4, have been amended to state that 'there must be a minimum of at last 20 players remaining in the game at the point of the 'Latecomer' joining - 20 'including' the Latecomer! - OR, if there were under 20 players who signed-up for the game, no-one has yet been knocked out. So if 17 players sign-up and start on time, and a Latecomer arrives and all 17 players are still in the game, then the Latecomer can join (with reduced chips...).
Our apologies go to the player than actually turned up tonight and was 'caught' in the situation of being a 'Latecomer' but was actually not allowed to be admitted to the game because we made the above decision 'on the spot' to clarify our rules. I hope you can understand that the ruling in the longer term is by far to the advantage of LivePubPokerLeague TOURNAMENTS AND PLAYERS alike, and I hope it will not discourage you from attenting future games (even if late arriving!...).


2274 Carina Court Cheyenne WY New Listing!
2274 Carina Court in Cheyenne WY is new to the market!
Offered by Cheyenne WY realtor, Steve Prescott you'll love this beautiful rural property! Remember the book series Little House on the Prairie? Well consider this the BIG house on the prairie! You'll love the finishing details in this home for sale. It was custom built in 2014 in the Bear Paw development in North Cheyenne by Innovative Homes.
The kitchen is lovely from the granite counter tops with island, breakfast bar for additional seating and spacious pantry. Rich wood, tile, rock, stacked stone and granite accents can be found throughout the home. Three bedrooms and two bathrooms for your family to enjoy. The basement is unfinished (partially framed for fourth bedroom) with plenty of opportunity for additional bedrooms, bathrooms, great room, home office or theater room. You'll have plenty of room in your three car garage. Central air conditioning is a great feature for the warm summer nights here in Cheyenne Wyoming.
The exterior has gorgeous landscaping with nice trees, grass and a sprinkler system. Your kids will love playing outside while you entertain on the back patio. There's a nice partially-enclosed pole barn with electricity for your toy storage. 2274 Carina Court has all the benefits of living in the country yet close enough to town that you don't add too much to your commute for work or taking family members to activities. 7.78 acres and horses are allowed!
Connect with Steve Prescott today to schedule your personal showing at 307-630-9342 or online. Put his 23 years of residential home sale knowledge to work for you. If you are moving to Cheyenne let us be a resource for you.
Hi to all, the contents present at this website are genuinely remarkable for people knowledge, well, keep up the good work fellows.


The drink first used by priests in pre-Columbian times. Tequila became an item of National pride after the Mexican revolution, the history of tequila is intertwined with the history of Mexico itself..
Thank the Aztec god Quetzalcoatl again for this particular elixer. He was so upset on the death of his wife Mayahuel that the other gods created something to sooth his broken heart. And what a special something it was! The gods gave hallucinagenic qualities to an agave plant growing from the grave of Mayahuel, so that the grief of Quetzalcoatl would be soothed by the pulque extracted from the heart of plant. And that marked the beginning of a long tradition of drowning Aztec sorrows.
With Mexico gaining independence in 1821, there was a renewed appreciation and pride in all things Mexican. The now iconic drink became the most popular in the country, as it did again after the Mexican revolution (1910-1920). In this way, it's more than just an alcoholic beverage. It's a symbol of nationhood to the Mexican people.
In the same way that only champagne from the region of Champagne in France may carry the name, tequila should only be called so if it is from the town Tequila of Jalisco State in Mexico. The town itself was named a World Heritage site by UNESCO. Formal distilleries were opened in the town from 1758 onwards, blessing the region with a good economy. As a result, there is a great range of Spanish colonial architecture.
An international success! More than 715 brands of this hard liquor are drunk around the world. The world outside Mexico must be drinking 120 million liters of the stuff per year. That's how much they export from Mexico these days.
But now even China is manufacturing a version, cheekily using labels that are copies of the Mexican ones!
Maguey: the botanical source, closely related to the cactus. It has blue-green spikey leaves.
Agave: name given to maguey by the Spanish. Agave comes from the Greek word for noble. From 300-400 varieties of agave, pulque is sourced from only the blue agave.
Pulque: The liquid extracted from the maguey.


I love the World Cup and I love the beautiful game. Who'd have known that such a passion for the game would make me 'boring' in the office? The irony of me getting Panama in the company sweepstake didn't go unnoticed.
Talking of Sunday's game (England v Panama) – how interesting it was to come to the office on Monday and discover the emergence of so many newly qualified football pundits.
I enjoyed watching the England Netball team win the Commonwealth Gold but it didn't make me an expert in the game nor feel qualified to become a pundit, yet somehow when it comes to football, after one emphatic win – everyone becomes the expert.
So here are my top 10 (+1) observations to help you differentiate a genuine football supporter from your fair-weather fans.
do none of the above!
Be careful what you say – it just might expose you.


ALEXANDRIA, Va.--(BUSINESS WIRE)--CALIBRE Systems, Inc. (CALIBRE), is pleased to announce that the Small Business Administration (SBA) has approved the Mentor-Protégé Agreement between CALIBRE and Vistra Communications, LLC (Vistra).
Vistra is an SBA certified 8(a), Service Disabled, Veteran Owned, Small Business with experience in the Veterans Administration, the Department of Homeland Defense, U.S. Customs and Border Protection, and the US Army Corps of Engineers. The company was recently named the 2016 SBA South Florida Region Veteran-Owned Business of the Year, the Greater Tampa Chamber of Commerce's 2016 Small Business of the Year in the 21-50 employee category, and was ranked number one in the Top Public Relations (PR) Firms in the Tampa Bay area according to the Tampa Bay Business Journal for 2016. The company's founder, Brian Butler, was also named the 2016 Minority Vetrepreneur of the Year, as awarded by the National Veteran-Owned Business Association.
"We know that Vistra's Mentor-Protégé relationship with CALIBRE will help our team improve upon what we value most – putting our clients first and providing quality service. As we learn from CALIBRE's proven client-focused and process-oriented model, we are excited about the potential that lies ahead," said Brian Butler, President and CEO of Vistra. CALIBRE will mentor Vistra in its business development endeavors by giving them insight on winning and executing larger contracts and how to grow a sustainable company. Together, CALIBRE and Vistra will work to pursue joint opportunities in the field of communications, training, strategic planning, and program & operations management.
Alexandria, Virginia-based CALIBRE Systems, Inc. is an employee-owned management consulting and information technology solutions company supporting government and industry. CALIBRE is committed to the success of their clients and delivering enduring solutions that solve management, technology, and program challenges.


The governor offers displaced union members so-called "similar" positions in other departments. What does this mean? Employees will be forced learn new jobs or "relearn" their jobs in a new environment. This is an attempt to drive out experienced older workers who won't want to learn new jobs at this stage of their lives. And what assurance do we have that suitable vacancies will be available in sufficient numbers? Most likely it will mean that our members will be out on the street with no jobs at all.
Outsourcing is the cause of the current recession; with the downturn in the economy and the rising gas prices, where are all these replacement "similar" jobs supposed to come from? My brother-in-law was downsized out of a job in Arizona last year and he is still unemployed. According to him, management uses a promise for rehire to gain union support for outsourcing and 80% of the time they don't keep their promise.
Moreover, according to the online website Wikipedia, privatization is a potential violation of the Pendleton Act of 1883 which curbed arbitrary and capricious acts of management and established that civil servants will be hired and retained on the basis of merit. Therefore, if you rebut the governor's proposal, you will win the admiration of all our members. I had lunch the other day with a group of our members, and everyone was in agreement that if you opposed this measure, they would vote for you.
This will set the stage for your re-election next year at the end of your present term. We don't have to go along with this; the governor will respect our wishes. I speak for truth and common sense and advise you to resist allowing the state to privatize the DMV information systems management function. If we give in to this proposal, the government will also not respect our power in future negotiations of any kind. We have to be strong and show no weakness.
Finally, privatization of public sector responsibilities is a bad idea, not just for the union, but for the citizens of our state. The state will lose control of information systems and data will be compromised. Corporations are accountable only to the bottom line. Providers of public service should be accountable to the public. Outsourcing public services to private corporations creates instability. If corporate greed isn't satisfied, the companies will pull out leaving the public high and dry. And it doesn't save money either.
According to a recent article posted in a prestigious Wall Street newspaper, the additional costs of overseeing third-party contractors adds 20% of hidden costs to the price of each government outsourcing contract. In addition, as anyone who has dealt with customer service outsourced overseas knows, if the contract goes to a foreign country, we will have to deal with communication and culture clash problems as well, which will add further costs. We can point this out in our reply to the governor.


text:
Lengthy Kal Penn Q&A about his new job, post-House
Fox held a conference call for the press with former House M.D. star Kal Penn, and executive producer David Shore, following the "death" of Penn's character and his change in career focus from television to politics (he's swapping acting for acting.)
Rather than give you highlights like everybody else does, I'm just going to throw the entire conference call transcript up for you to read. This is really nothing more than a Q&A between Penn, Shore, and media for quote mining and the like. We all knew why Penn was leaving the show right away, so the only real question that anybody had was whether or not the writers were going to let the matter drop, or keep Kutner's death as a recurring issue.
The answer is below.
This is the Kal Penn portion of the interview, with the David Shore and Katie Jacobs here.
Moderator: Thank you. One moment for the first question and that comes from the line of Matt Mitovich from TV Guide. Please go ahead.
M. Mitovich: Hello, Kal. How are you doing?
K. Penn: Hello, Matt. How are you doing?
M. Mitovich: Thanks for your time today. Sorry to see you leave the show.
K. Penn: Well, thank you for being on the call.
M. Mitovich: Now, I know that you had requested to leave the show to go work for the White House, which is awesome. I just wonder; were you taken aback at all when they said that they were going to kill you off I mean because it does rob you of the opportunity to ever return to the show. Were you taken aback at all?
K. Penn: I think everyone is always taken aback with every episode on that show to be perfectly honest. I know in this case they're unique circumstances because the character is actually being eliminated. But I feel like House is one of those shows, at least from the actor's perspective, when we get each script every week, we really don't know what's going to happen and that's on a page-to-page basis partially because obviously the writers are so brilliant in creating and crafting these characters, but also the character of House, it's virtually impossible to get into his head.
So, we're sort of used to going page-to-page and going, "Wow. Is this actually going to happen" and that goes for any episode. Obviously, yes, you're connected to the character. I love playing "Kutner" and so, there's a little bit of shock and loss- more than a little bit of shock and loss when I found that out also, but I think that's sort of, plot-wise, what they were going for as well. So, yes, I was probably as shocked as the audience was when I first found out.
M. Mitovich: Then for my follow-up, I was just wondering was there any discussion of you appearing in that final episode in any capacity?
K. Penn: I was there when Olivia and Omar shot that scene, where they discover "Kutner".
M. Mitovich: So, those were your legs?
K. Penn: They were.
M. Mitovich: You got paid?
K. Penn: I did. Greg Yaitanes directed that episode and, even though we were being shot from way back in the other room, he wanted it to be as authentic as possible. So, we were fully in that moment.
M. Mitovich: All right. Thanks, again, for your time, Kal. Good luck with--
K. Penn: Thanks a lot. Thanks very much.
Moderator: Thank you, and now we'll go to the line of Eric Anderson from Us Weekly. Please go ahead.
E. Anderson: Hello. How are you?
K. Penn: Good. How are you?
E. Anderson: Great, thanks. I was just wondering if you could talk a little bit about your decision to leave the show and how long this has been in the works and if your managers and agents are telling you you're crazy for walking away from such a successful show.
K. Penn: Well, I think I've had people tell me I'm crazy from the time I was 17 and said, "I want to be an actor." So, that's nothing new. I think every actor has been told they were crazy.
This was a very unique circumstance. Growing up, I always had two interests and two passions; one being public service and the other being the arts and acting. So, it's always been on my mind. I always try and engage in different public service projects. In the last 18 months, having had the opportunity to serve on the Obama campaign, I certainly started thinking about that possibility and then when that opportunity opened up, I went to David and Katie and sort of talked about it.
I mean it is a little insane in the sense that this is an incredible show to have been part of. There were certainly no problems. If anything, I was having a great time. I have a tremendous respect for the writers and the other actors and obviously, David and Katie. So, it was tough all around. The world that I still use to describe it is bittersweet because it's not like I'm retiring from acting. I certainly intend to come back at some point. But right now, I just felt like my calling was in public service and so we moved forward with that.
E. Anderson: When do you start your new job?
K. Penn: It's kind of up in the air right now. There are a couple of things that I need to finish up, but I'm going out to D.C., I think, next week to do some apartment hunting.
E. Anderson: Great. Thank you.
K. Penn: Sure. Thank you very much.
Moderator: Now, we'll go to the line of David Martindale from Hearst Newspapers. Please go ahead.
D. Martindale: Thank you. Hello, Kal. I love the show. You were really quite wonderful in it.
K. Penn: Thank you so much. I appreciate that.
D. Martindale: Would the actor in you, the showman in you, the ego in you, have liked to have gotten a big showy performance and farewell death scene, or do you like the way it happened?
K. Penn: I like the way it happened. The thing that I enjoy about being an actor and the thing that I enjoy about the arts in general is the ability to make the audience feel an emotion that they weren't intending to feel before they went in. I think that Greg who directed the episode, and obviously David and Katie, did that in such a great way that people did feel the types of loss and anger and confusion about this fictional character. I don't know that you would have gotten that same sense if it were some sort of a very "Kutner"-heavy episode where you see the trials and tribulations.
I think part of the loss that the team on House feels from what he did is transitioned over into what the audience feels because there was no explanation. I'm sort of glad that we didn't have a big kind of "Kutner" dramatic scene to wrap it up.
D. Martindale: Cool. I'm quite sure there's no way to document how many people will see the episode, read the information at the end of the show with the phone number, who to call if they're in a suicidal condition and make the call and save their lives, but how does it feel for you as an actor and as a person to be able to do some work that puts that information out there in such a big way?
K. Penn: I'm really glad that the producers and FOX decided to put that on the end. I know all of us, unfortunately, know folks who have taken their own lives and you always go back and think about what you could have done differently. You realize that in a lot of cases, there wasn't that awareness or there wasn't that recognition of what to look for, how to look for it, how to reach out to somebody who you think might need that help.
So, I'm glad they mentioned it on the website and there are a number of resources online. I hope people do take advantage of them because I'm sure, sadly, out of the 18-plus million viewers that we have every week, I'm sure some folks might be struggling and I definitely hope they take advantage of websites like that.
D. Martindale: Well, I wouldn't be a bit surprised if somewhere along the way, years from now, weeks from now, somebody reaches out to you and says, "This happened because of that episode." I hope so.
K. Penn: Well, that would be something good to come of it.
D. Martindale: Thanks.
K. Penn: Thank you very much. I appreciate it.
D. Martindale: Yes, be cool.
Moderator: Thank you, and now we'll go to the line of Roxanne Roberts from the Washington Post. Please go ahead.
R. Roberts: Thank you. Good afternoon.
K. Penn: Hello, Roxanne. How are you?
R. Roberts: Congratulations on coming to Washington.
K. Penn: Thank you. I'm looking forward to it.
R. Roberts: We are just going to follow you everywhere. No; it's great to have you here. I have two questions for you. One is it's a big lifestyle change, particularly after the success you've had as an actor, to be coming to live in Washington. I'm kind of curious about your view of the place culturally; not arts particularly, but just living in this city and what that's going to be like and how much you know about it.
The second question is who at the White House and in Washington did you talk to before making this decision? I don't know if you talked to the President himself as part of this or the Chief of Staff. I'm kind of curious to see who you talked to and what convinced you to make this move. I know the public service part. So, I'm looking for the other aspect of it.
K. Penn: Sure. Well, let me address the first question first then. I grew up on the East Coast; I grew up in New Jersey and so, D.C. was always accessible to us during high school. We would come down frequently. My two interests, like I said, were public service and the arts. So, I would always take advantage of both New York and Washington. I have college friends and certainly friends from a number of the presidential campaigns who are in Washington, who have worked there for years. While I haven't lived there before, I think I have a pretty good sense of what D.C.'s all about and I'm definitely looking forward to being part of it.
The second part of the question; this was unexpected in the sense that if you had told me two years ago when I started on House that I would even be considering a move to public service, I probably would have said you were crazy. I remain an independent. I'm not a democrat or a republican.
When I started working on the Obama campaign, on the Arts Policy Committee and as a surrogate, one of the things that struck me the most was that the majority of folks who we were meeting around the country, and this is particular probably to the three groups that I reached out to the most, which I think were artists, Asian Americans and youth vote, so under 35. A lot of those folks in all three communities shared that sentiment of not really being entirely democrat or entirely republican, but their concerns were what were overwhelming.
And so, to see that there was a candidate who was reaching out to those folks, kind of transcending those lines that you think of when you think of politics was incredibly moving, especially with regard to a lot of these kids who either couldn't afford college or were in college and worried about student loans or the economy.
The types of change that President Obama had campaigned on and now the opportunity to bring those changes to fruition was something that was so incredibly moving that after he won and after having had the chance to talk about a potential opportunity with some of my fellow campaign staffers, the President, some of his aides, I reached out and said that this was something that I really wanted to do and I'm deeply honored and feel deeply privileged to have this opportunity now.
R. Roberts: Just to clarify; you did talk to the President about this?
K. Penn: Yes, ma'am.
R. Roberts: Okay. All right. Did he say, "Hell, yes; come on down"?
K. Penn: Not in that language. We discussed it briefly. I was trying to find the right fit and to see if I would be helpful and to be of service somehow.
R. Roberts: Okay.
Moderators: Thank you, and now we'll go to the line of Hal Boedeker from the Orlando Sentinel. Please go ahead.
H. Boedeker: Sure. I wanted to be a little clearer on what exactly the job is, why you want that job and who offered the job to you.
K. Penn: Well, the job itself is that I will be an Associate Director in the White House Office of Public Liaison. What the OPL does is similar in a sense to what I was doing on the campaign in that now that it is the actual Administration, what they try and do is take the Administration itself out of Washington.
So, they go into communities across the country, continue the sorts of dialogue that people had started during the campaign and basically assure that a bunch of different citizens' views about their elected officials, about their government are all happening, they're working effectively; make sure that a lot of these new voices that have emerged, especially during the campaign season, are brought to the table - Democrats, Republicans, everyone in between - and to build those relationships and kind of embody the types of changes that President Obama had run on.
The reason that was appealing to me simply is because I have friends who are in these sorts of situations. I know folks who were over in Iraq. I'm 31-years-old, but I still have friends who continue to dream about going to college and just don't have the financial opportunity.
Like I said, I'm not giving up acting; I'm not retiring, but since this seemed like the opportunity that presented itself and it seemed like something that I would enjoy doing and be honored to serve at, I figured it was something to do.
H. Boedeker: Who offered you the job?
K. Penn: There was a bunch of discussions. I don't know that there was any one point person. My point folks in the Office of Public Liaison are Mike Strautmanis, Valerie Jarrett.
H. Boedeker: Does this mean no more Harold & Kumar movies?
K. Penn: That's probably true, yes.
H. Boedeker: Thank you very much and congratulations.
Moderator: Thank you and now we'll go to the line of Laura Saltman from Access Hollywood. Please go ahead.
L. Saltman: Hello, Kal. How are you?
K. Penn: Good; how are you?
L. Saltman: You said you're not retiring from acting. Does this job allow you to do any acting projects at all, or is this it for a specific amount of time?
K. Penn: I won't be acting while I'm working at the White House, no.
L. Saltman: Do you know how long? Is there a certain amount of time that you're going to do this for? Are you going to do it while Obama is in office, whether it's for this four and possibly eight?
K. Penn: There's no set limit. I mean I definitely intend to go out there for at least a year or two and figure it out. There are certain financial concerns to consider with all of it. There are career, both public service and arts-related, concerns to think about. So, we'll see. The reason that I say I'm certainly not retiring is I'm not packing up and saying I'm leaving Hollywood and all this sort of stuff. It's just pursuing another passion right now. I'm equally as passionate about the arts and will also continue to be. But right now, I wanted to pursue this sort of thing and we'll see for how long and under what circumstances.
L. Saltman: Would you have made this decision and done it, do you think, if it had been any other president than Obama?
K. Penn: I don't know. I certainly don't think so. Like I said, this wasn't the intention. This was not part of any master plan for the last couple of years. It was something that I was inspired by and someone I was inspired by. And again, formerly being a very cynical independent who agreed with both democrats and republicans on different things, it's really refreshing to have a president who is listening to all three of those parties' voices and I'm looking forward to this.
L. Saltman: Thank you.
K. Penn: Thank you.
Moderator: Thank you, and now we'll go to the line of Amanda Melillo from the New York Post. Please go ahead.
A. Melillo: Hello, Kal. How are you?
K. Penn: Hello, Amanda. How are you?
A. Melillo: Congratulations on your new job.
K. Penn: Thank you very much.
A. Melillo: I'm just curious about whether or not you'll actually be traveling around the country to talk to people, or are you going to be staying most in Washington, D.C. during this time.
K. Penn: I would imagine it would be a little bit of both. The Office of Public Liaison is known as the front door to the White House. Like I said, one of the things that they do is to really take the Administration itself out of Washington; so, the ways in which communities are represented. Often times, they have folks who come to Washington to meet with the White House or with Congressional representatives or what have you. By the same token, we also do go into the communities and work with them directly as well. So, I would imagine it's a fair amount of both.
A. Melillo: Okay.
Moderator: Thank you. Next, we'll go to the line of KJ Matthews from CNN. Please go ahead.
K. Matthews: Hello, Kal. How's it going?
K. Matthews: Pretty good. So, I understand your job to be the associate director, one of the things is kind of being the liaison between various communities and the President. I'm wondering; are there any communities that you particularly would like to reach out to to kind of help the President accomplish some of his missions? I know you had a conversation with him and I'm assuming that came up.
K. Penn: Yes. Well, two of the communities that I'm sort of going to be the point person for are the arts and Asian American folks. Part of that was during the campaign itself, I served on the Arts Policy Committee and a lot of the outreach we would do was to arts groups, students and under 35 voters and Asian Americans. So, two of those - the arts community and the Asian American community - are two of the groups who I'll be reaching out to.
In particular, I think the feeling is that we want to make sure that everyone's concerns are heard, that they're familiar with the President's plans and proposals, but also even something as small as -- so many folks in Los Angles usually donate money to presidential campaigns on both sides of the table, but they're not as engaged. I'm speaking from someone who has lived there the last 10 or 12 years. I know that my colleagues aren't as engaged frequently in the day-to-day on the outreach aspects of things. Hopefully that'll change. We'd like to include folks in the arts community.
Part of the stimulus bill had a certain amount of funding for the arts and of course, the arts, especially in America, have always been extremely relevant to documenting history and providing educational opportunities. It's something that I'm really looking forward to. It's obviously a big shift from the last 12 years of my life, but it's something I'm looking forward to.
K. Matthews: I know you said that you are an independent, but do you think you might switch over to being a Democrat now? Has President Barack Obama swayed you at all?
K. Penn: I don't know. Something that I really admire still is that in the White House, there are folks from both major parties and a couple of nutty independents like myself. So, we'll see. I'm certainly not getting any pressure to change my political affiliation; let me put it that way. Everyone's respectful.
Moderator: Thank you. Now, we'll go to the line of Sheila Marikar from abcnews.com.
S. Marikar: Hello, Kal. Congratulations, again.
S. Marikar: Do you know of other people in the entertainment industry; are there other people that you talked with before you decided to make this decision? Are there people who kind of share the same passion that you do of wanting to work in Obama's White House?
K. Penn: That's a good question. I think the folks who I shared it with; obviously, while it's a decision based almost wholly on passion and something that I want to do with my life, you can't ignore the other career-related aspects of it or the financial aspects of it or things like that. So, I obviously had a number of discussions with agents and managers and accountants and folks like that, as well as a number of friends who are in and outside of the industry to basically say, "This is what I really want to do, but am I crazy?"
The caveat being, of course, I kind of talked about this a little bit earlier; the caveat being I don't think there's any actor who I know who wasn't told they were crazy when they were an aspiring actor moving out to California to follow some sort of a dream. And so, the way that I view it, it's a journey. I'm certainly not trying to burn any bridges and say that I'm never coming back to acting because it remains a passion. By the same token, I'm incredibly honored and privileged to be able to serve in the Obama Administration.
S. Marikar: Do you have any plans to run for office yourself one day?
K. Penn: No.
S. Marikar: Great. Thank you.
Moderator: Thank you, and now we'll go to the line of Tatiana Smith, MTV. Please go ahead.
T. Smith: Hello. How are you doing?
K. Penn: Hello. How are you doing, Tatiana?
T. Smith: I'm not doing too bad. My question is what did your parents, family, friends think when you told them about the career switch and when did you tell them?
K. Penn: I discussed it with them kind of off and on, I guess, maybe the last eight or nine months or so. I don't think it came as a surprise to anyone because when I joined the Obama campaign I wasn't as involved-- I think I joined in October of 2007 and then slowly became more and more involved through the Iowa caucuses during the writer's strike and ended up moving to Des Moines for, I think, that last month and a half before the January caucus. I think at that point, a lot of my friends and my family said, "Wait a second; what are you doing? Is this something that you're getting caught up in? Is this something that you're actually passionate about?" From that point, the discussion has always ensued.
The folks who know me the best always have known that those have been the dueling passions, shall we say - the arts and public service. So, I don't think they were shocked at all, but it was certainly nice to bounce some ideas off of people about whether or not this was the best decision for me right now.
T. Smith: Okay. This was already asked and you kind of gave, "I don't think so;" but really no more Harold & Kumar? You couldn't turn this into something?
K. Penn: I don't know. I certainly don't want to squash anyone's hopes or dreams of that, but right now I'm going to be moving to Washington to take on this position. I'm certainly not going to be acting while I'm serving in the White House. Who's to say what would happen three, four, five years from now. But at this point, it's not on my radar, no.
T. Smith: Cool. Thanks so much. One step at a time.
K. Penn: Sure.
T. Smith: Well, thank you. Congratulations.
T. Smith: Bye.
Moderator: Thank you, and next we'll go to the line of Ann Oldenburg from USA Today. Please go ahead.
A. Oldenburg: Hello.
K. Penn: Hello, Ann. How are you?
A. Oldenburg: Good. Congratulations.
A. Oldenburg: When you first met the President, did he mention he recognized you from any particular roles?
K. Penn: I'm trying to think. I think the first time I met him was late in 2007. Yes, he did mentioned House actually, but it was a passing comment. I had met him at a fundraiser, the rope handshaking line towards the end. I introduced myself and he said, "Oh, yes. You're on that show. What show are you on?" I said, "I'm on House." He was like, "That's right, the doctor show. Nice work." I said, "Thanks" and that was it. I didn't really get to know him until later on during the campaign.
A. Oldenburg: Did he ever or any of the staffers ever joke about Harold & Kumar or drugs or any of that sort of thing?
K. Penn: No, no. This was probably one of the other reasons that I was so drawn to the campaign was the folks who were on staff even as early as pre-Iowa caucus back in 2007 were incredibly inclusive, incredibly respectful and also very driven by actual issues. I never had an experience where I thought anyone was distracted by anything other than getting people registered to vote, discussing issues with them, reporting those issues back. It was really quite remarkable to see how the whole operation was being conducted.
There was never any conversation about any of the more frivolous items from any of us who came from different fields. There were folks who were formerly musicians or sports folks or teachers or whatever. We just didn't really talk much about that. It was very focused on the issues at hand, which was really nice. I had not had an experience like that before.
A. Oldenburg: Kind of refreshing, isn't it?
K. Penn: Yes, it really is.
A. Oldenburg: Good to hear. All right. Thank you.
K. Penn: Thank you. I appreciate it.
Moderator: Thank you, and next we'll go to the line of Emily Hochberg from fancast.com. Please go ahead.
E. Hochberg: Kal, thanks so much for taking the call today.
K. Penn: Of course. Thanks for being on it.
E. Hochberg: I'm a big fan of the show and I'm kind of curious; what did you think about suicide as a choice for "Kutner" to take after playing him all the time?
K. Penn: I was shocked by it, but I think that was the nature of what they were going for. When we discussed or when they told me about it, I asked if there was anything in his background that would have indicated or if there were any warning signs beforehand and the answer was generally no, that this is something that was just as shocking to the team as it is to the audience and it's something that nobody sees coming.
It's kind of tough to wrap your head around that, especially as the actor who plays the character, to know that he was obviously tormented about something, but didn't share it with anyone. I think that's indicated pretty well at the very end when "House" goes back into "Kutner's" apartment and starts going through photos, searching for some sort of an answer and he sees pictures that we had never seen a side of "Kutner" before. We never knew that he had a girlfriend. We never knew that he hung out with his college friends at the beach regularly. That last picture that he pulls out right before the episode airs is of "Kutner" looking very different than we've ever seen him before. The look on his face is so completely different from him being kind of jovial in the hospital or even saving somebody's life. It's this distraught look that we just don't have an answer to. He didn't leave a note. He never discussed it with anyone. For the first time, "House" doesn't have an answer to something.
So, it was disturbing to me as an actor, but recognizing that that was also kind of the journey that the audience would go through made it disturbing and also a little bit strange because I wasn't allowed to talk about it with anybody. So, at least when the audience gets to see it, they can talk about it with their friends and watch it, but there was a lot of Peter Jacobson and Olivia Wilde and I going, "Isn't this insane? Wow. This is so sad."
E. Hochberg: Well, were you said that you didn't get to portray that other part of him, of having a girlfriend and all that?
K. Penn: No, because I think you saw the different layers to all the characters. We rarely see, with the exception of "House" of course and a little bit with "Taub" and his wife, the characters - you don't see them that much outside the hospital. Most of the plot ends are based there. Despite the fact that they're all based around medicine, you know an incredible amount about these characters and a lot of their back story really informs their behavior and informs how they deal with patients.
So, I definitely don't regret that because I don't think it's really that type of show. If anything, I think it accentuates the shock and the anger and depression that the rest of the team feels surrounding the way in which he passed away.
E. Hochberg: Then just lastly, are you a little nervous about going from the set to going to a 9 to 5 desk job?
K. Penn: Not really. I've had experience in that field over the last couple of years. It's something I'm actually looking forward to. I'm incredibly honored to have the opportunity to do it and we'll take it from there.
E. Hochberg: All right. Well, congratulations. We'll miss you.
Moderator: Thank you. Now, we'll go to the line of Kona Gallagher from AOL TV Squad. Please go ahead.
K. Gallagher: Hello, Kal. How are you doing today?
K. Gallagher: Fine, thanks. First, I want to congratulate you not only on the new job, but on having the best reason for leaving a show I've ever heard. I mean you get like creative differences, I want to do movies, but you have getting a job in the White House. So, I think you get some sort of prize for that.
K. Penn: Thanks.
K. Gallagher: Anyway, my question is just going back to the shock of the suicide and finding out, how many episodes did you shoot after you found out that this is how "Kutner" was going to end, but before the actual final episode? Did that affect your performance at all?
K. Penn: I think I found out while we were shooting episode 17. It was - I'm trying to think. I think it was episode 17 or maybe halfway through 18. It was probably halfway through 18 actually and no, the performance didn't change. That was the first thing that I asked David Shore was, "Do you want me to change anything? Do you want this to be informed that he's struggling with something?" The answer was, "Not really." This is something that really does come out of left field in episode 20 and we don't want to lead anyone on. We also don't want to mislead anyone. It just is what it is and there's no explanation for it.
K. Gallagher: So, the audience shouldn't go back to the last couple of episodes and try to look for a sad face somewhere or something like that?
K. Penn: No. I mean by all means watch the episodes again for enjoyment, but no, there was nothing hidden in there. There were no codes that we put in for people to decipher.
K. Gallagher: All right. I have to ask because I read the interview that you did with Entertainment Weekly where you mentioned that your parents marched with Gandhi. Did they pull that out growing up like all the time on you? When you were doing Harold & Kumar for instance, were they like, "Oh, yes. That's great. We marched with Gandhi, but that's cool too"?
K. Penn: No, it was my grandparents actually and no, it was never preachy. These were stories they would tell you at the dinner table. I remember my grandmother telling me stories about boycotting some salt and cotton. You just think that every grandparent has stories and it was not until much later, probably in high school or college that you go back and say, "Wait a second. Grandma told me a story about this chapter in this history book? That's insane."
But, it was never preachy. It was never used to try and coerce us into doing anything and by the same token, when I shared that with Mike at Entertainment Weekly it certainly wasn't to draw any sorts of big comparisons or to be ostentatious about anything. That was always on my mind growing up, almost second nature, knowing that it was those types of small public service actions that have made a difference. And so, if I can make some sort of a small difference, I'm certainly honored to do it.
K. Gallagher: I think it's great, what you're doing and I wish you the best of luck. Thanks.
Moderator: Now, we'll go to the line of Michael Saul with Daily News. Please go ahead.
M. Saul: Hello, there. Congratulations on the job. You mentioned earlier in the phone call that you talked to the President about the job. Can you just relay a little bit more expansively what that conversation was like and what he said to you?
K. Penn: Sure. We talked about it briefly during the Inauguration. I spoke at the Staff Ball backstage very briefly, had mentioned that I was looking to work for him and we sort of talked a little bit about what sorts of areas I might be able to hopefully serve in. There were no huge discussions at that point, but obviously there are a number of folks, like Tina Chen and Mike Strautmanis who deal with a lot of this stuff. So, I had some follow-up calls with them afterwards and also a number of friends who worked on the campaign to try and figure if in fact I would be a good fit and where.
M. Saul: Okay. You mentioned a couple of times on the phone call that there were going to be some financial repercussions here. Can you be a little bit more explicit - how much you're going to be making at the White House and how does that compare to what you're making now?
K. Penn: Sure. I won't talk numbers right now, but obviously going from a private career where you're working for a big company to a public service career, there's a huge pay cut. So, the concern with that, quite frankly, is I own a home. There's a terrible housing market and my concern is the same as everyone else's concern. If I'm moving to a different city, can I sublet my house? Can I sublet it for the same price that my mortgage is? Can I refinance? It's the same thing that everyone else is going through - similar concerns. So, we'll see. It's not something that I've entirely figured out just yet to be perfectly honest.
M. Saul: You haven't figured out whether or not you're going to sublet or refinance or sell?
K. Penn: No. This is all the kind of stuff I'm looking at. It seems like you can't effectively do either of the three right now in the Los Angeles area because banks are not very keen on letting you refinance; the rental market because it decreased significantly. But also, you don't want a house sitting there barren. We'll figure it out.
M. Saul: All right. Last question; on behalf of Harold & Kumar, what's your position on legalizing marijuana?
K. Penn: Oh, I don't smoke weed in real life. So, it's honestly not something I've given much thought to. Those movies are all very frivolous and fun to do. I remember somebody wrote some article when we shot the first one. When we shot the first movie, I was also a vegetarian. So, there was this mini uproar amongst stoner White Castle fans - "How can you hire a vegetarian who doesn't even smoke weed to play this character in the movie?"
I know that it is a serious issue, especially in California - legalization of medical marijuana and questions about taxation and things like that. But sadly, that's not my area of expertise at all and admittedly, I probably didn't try and learn about it because I knew that people would ask me about it.
M. Saul: Fair enough. Thanks so much.
K. Penn: Yes, sure. Thank you.
[At this point David Shore joins the conference call (his Q&A portion is here). Here are the final few questions for Kal Penn. --editor]
Moderator: Thank you, and we'll go ahead and go to the next question and that goes to the line of Tom Jicha from Sun-Sentinel. Please go ahead.
T. Jicha: Good timing because most of the questions I had for Kal were already asked and answered now. I have one quick one. Kal, is there any chance that they'll be having you do commercials or public service spots on behalf of the Administration?
K. Penn: I don't know. That's not something that we discussed. I would imagine that my role is not going to be any different than the other talented staffers who are already on that team. So, I would imagine not, but I don't know for sure.
[This next question David Shore and Kal Penn --ed]
Moderator: Thank you. Now, we'll go to the line of Alan Sepinwall from Star Ledger. Please go ahead.
A. Sepinwall: Hello, David and Katie [Jacobs]. I have kind of a chicken and egg question for you in terms of how far back you knew you were going to do this. It seems as if there hasn't been much done with "Kutner" in quite a while, which allowed you to do this ending where we didn't know much about him and it was ambiguous why he would have done it. Was this a case of you knew you were going to kill him off and therefore you wanted to put him to the sideline a little bit, or did you look back and realize, "We haven't done a lot with "Kutner". Therefore, we have the ability to do this"?
K. Jacobs: That's not how we felt about it at all. We knew a while ago. David figured out how he wanted to envision this in December and I'm actually surprised. You might be right, but I feel like he's been an important part -- I mean in the very last episode, he solved the case. He solved the case a couple of episodes before that too. He was sort of riding a wave of success in "House's" team. He had given Kal the go ahead to take credit for it, but I feel like we played him a lot recently. David?
D. Shore: Kal, are you feeling under utilized?
D. Shore: You're free to say it now. You don't have to kiss my ass any more.
K. Penn: I never felt under utilized. In fact, what I talked about earlier was one of the nice things about having had the chance to do a series that's an ensemble is you're constantly learning about your character. So, it's constantly fresh. It's fresh in learning about himself, but also learning about the way in which he reacts with the other cast members, the other characters. I think that was especially true in a couple of episodes where you see the banter between "Kutner" and "Taub" or "Thirteen" and "Kutner" talking about something or other that had nothing to do with medicine. Actually, I really enjoyed it. I don't think I was under utilized at all.
[Skipping false start of the "can you hear me now?" type. --ed]
S. Jersild: Yes, the "Kutner" memorial site that you put up on the FOX website, how long was that in the works and Kal, do you find it kind of creepy?
K. Jacobs: Do you, Kal?
K. Penn: No, not really. When I heard that it was going to happen, that was the first question I asked. I think what I said was just don't put any of my real family photos on the website. Make sure they're the ones from all the photo shoots that we did when we wrapped up episode 20. They said, "Of course. Obviously."
It's sad certainly. It's sad because I loved playing the character and to see that the character is not around and took his own life, obviously, is incredibly disturbing, but I mean it's very, very clear that's it's a "Lawrence Kutner" memorial page.
[You can find more responses to this question from David Shore and Katie Jacobs in the Shore/Jacobs portion of the Q&A. --ed]
Moderator: Thank you. Now, we'll go to the line of Bruce DeMara from Toronto Star. Please go ahead.
B. DeMara: Hello. Two quick questions; one for Kal and one for the producers. Kal, actors/celebrities going into public service goes back as far as Shirley Temple, maybe even earlier. I noticed on the FOX website that there's a lot of viewer comments, very positive for the most part, but there's also a strain of cynicism amongst some of the comments; people saying, "Oh, another actor trying to be a celebrity, using a celebrity to go into public service." How would you respond to that?
K. Penn: I mean I can certainly understand that sentiment, but I would respond to that by just being open about the fact that I'm not a Democrat or a Republican. I've been a registered independent for a number of years. I've made it very clear to the White House that I should not be given any special treatment. It's a privilege to be asked to serve there and I'm looking forward to being just one member of an incredible team that already exists in the Office of Public Liaison. I'm going to be putting acting on hold and it was also made very clear to me that I was being hired because of qualifications that had nothing to do with being a "celebrity."
So, I certainly understand any of the cynicism that comes along with that. Fortunately, in my particular case, none of the - and I even hate the word - celebrity aspects of this had anything to do with me going into public service.
B. DeMara: Kal, you're a funny guy. You're the kind of person that people -- you're funny. When I see your face, you make me laugh. So, are you going to use humor much at all in your new job? Does humor have a place?
K. Penn: You mean I'm funny when smart writers write witty things for me to say.
B. DeMara: I guess.
K. Penn: I always pursue things with a sense of humor. I think it keeps things lively and active, but I also think that there's a time for humor and there's a time to be more serious and hopefully life brings a balance of both.
Moderator: Thank you, and now we'll go to the line of Hal Boedeker from Orlando Sentinel. Please go ahead.
H. Boedeker: This is for Kal too. I wanted to go back to the cynicism out there. I've had people saying, "Has he paid his taxes?" making cracks about Washington. Are you worried that the way the character died will overshadow your new job?
K. Penn: No, and I certainly hope that most of us out there recognize that there's a big difference between fact and fiction and that the characters that an actor plays are very different than his or her real life. Superman flies and Anthony Hopkins eats people in Silence of the Lambs, but I think we're all rational enough to know that those are both fictitious. By the same token, the same goes with television.
What I am hoping that folks recognize for all us, no matter what your political affiliation, the last couple of months have been incredibly exciting. It's definitely a new day. I'm hoping to put that sort of cynicism behind and move forward collectively with something a little more positive. I have a feeling that the majority of folks are in that mindset as well.
H. Boedeker: Thank you.
That's it for Kal Pen, hope you enjoyed the Q&A and this transcript. The David Shore and Katie Jacobs portion can be found here.

redpajama_set_name: RedPajamaCommonCrawl


text:
Station Agenton-sur-Creuse is een spoorwegstation in de Franse gemeente Argenton-sur-Creuse.

Agenton-sur-Creuse

redpajama_set_name: RedPajamaWikipedia


Synopsis courtesy of IMDB: Director Antoine Fuqua brings his modern vision to a classic story in The Magnificent Seven. With the town of Rose Creek under the deadly control of industrialist Bartholomew Bogue, the desperate townspeople employ protection from seven outlaws, bounty hunters, gamblers and hired guns. As they prepare the town for the violent showdown that they know is coming, these seven mercenaries find themselves fighting for more than money.


text:
Tag: C. M. Kornbluth
Saving the World Through Science Fiction
June 7, 2018 ~ marzaat	~ 3 Comments
Review: Saving the World Through Science Fiction: James Gunn, Writer, Teacher and Scholar, Michael R. Page, 2017.
Before I move on to the inevitable quibbles, let me say that anyone who is a James Gunn fan should buy this book. People who are curious about Gunn and his work should buy this.
Actually, since it's the first and only book about Gunn, there's not a lot of choice in the matter anyway.
I've long thought, even before starting this blog, that Gunn was an author unjustly neglected and that I should write a series on him. However, while I've done some posts on Gunn and read all his novels and most of his shorter works, I didn't make notes on a lot of them. I'd have to do a lot of rereading and make careful notes.
Page has largely saved me the trouble. He says many of the things I noticed about Gunn. He also says many things I didn't notice. Continue reading "Saving the World Through Science Fiction" →
The Roads Between the Worlds
February 20, 2018 ~ marzaat	~ 2 Comments
The Michael Moorcock series continues not with sword-and-sorcery but science fiction.
Raw Feed (1999): The Roads Between the Worlds, Michael Moorcock, 1964, 1971.
"Introduction" — An interesting introduction in which Moorcock not only talks about the three novels in this omnibus but his relation to sf. Moorcock cites Alfred Bester's The Stars My Destination and The Demolished Man as an influence which made me eager to read the novels in this omnibus. Moorcock has said he doesn't have a lot of interest in "modern sf" but liked the works of Fritz Leiber, Philip K. Dick, and the Frederick Pohl and C. M. Kornbluth collaborations. This explains his dislike of Larry Niven and Robert Heinlein. He doesn't like conservative sf with its preeminence of rationalizing with hard science its fantasy elements. For him, sf (he's hardly alone in this nor is it an illegitimate stance) is a way to understand our world. The fantasy element in his sf is both a symbol as well as a device to move the story. He says these three novels trace the evolution of the "rationalist apparatus" of sf from "stage machinery" to symbolic writings. Moorcock also, as I didn't know, worked as a writer for the British Liberal Party for awhile. These novels were written in one draft and very slightly revised for this edition. Evidently, they were written in a hurry to provide more traditional far for the experimental magazines Science Fiction Adventures and New Worlds.
The Wrecks of Time — I liked this novel a lot more than I thought I would. Its plot of Earths being built and destroyed and altered (and the inhabitants amnesiac about the alteration of their planet's geography) reminded me of Philip K. Dick's themes of what is reality and simulating it. The scheming groups of D-Squads and aliens obsessed with recreating the society that birthed them reminded me of A. E. van Vogt (also an influence on Dick). Continue reading "The Roads Between the Worlds" →
The Collected Stories of Robert Silverberg, Vol. One: To Be Continued,
January 18, 2018 January 19, 2018 ~ marzaat	~ 2 Comments
Looking back in my posts after posting a review of volume six in this series, I see I hadn't posted anything on volume one. I suspect that's because, for whatever reason, I didn't make notes on the last story in the book.
That makes this a …
Low Res Scan: The Collected Stories of Robert Silverberg, Volume One: To Be Continued, ed. Robert Silverberg, 2006.
"Introduction" — An interesting introduction to this, the first volume in what Silverberg says is the third attempt to collect his stories. Silverberg continues to amaze me with his prolificness while not working weekends and while in college. Here he casually mentions all the stories, as a professional writer (not working weekends but while in college), he sold in the years 1953-58. He says that he will let his mediocre sports and mystery stories languish. Silverberg is unapologetic about being a hack to fund sf projects he did care about. It was only years later that he discovered that the writers he admired, Fritz Leiber, Ray Bradbury, and Theodore Sturgeon weren't supporting themselves by in the same way. Leiber had an editorial job. Bradbury sold to the high paying slicks. Sturgeon simply lived near starvation — which Silverberg decidedly didn't. However, he is happy to reprint his early pulp stories which he thinks show compentency and that he has affection for.
"Gorgon Planet" — Silverberg justly points out that this, his first professional sale, is nothing special. But it is pretty good for an eighteen year old, and he's right in showing that he had an early command of effectively linking exposition and dialogue. The plot itself is a lackluster retelling of the Perseus-Medusa myth in a sf context. Continue reading "The Collected Stories of Robert Silverberg, Vol. One: To Be Continued," →
The Golden Man
January 5, 2018 January 4, 2018 ~ marzaat	~ 8 Comments
The PKD series continues.
Raw Feed (1989): The Golden Man, ed. Philip K. Dick, 1980.
"Foreword", Mark Hurst — Standard collection intro on why book was done and its history.
"Introduction" — Brief tour of the life of Philip K. Dick, a subject as fascinating as any of his novels. We hear of Dick's anger and love of sf and his friends in it (particularly Norman Spinrad and Thomas E. Disch but also Roger Zelazny and Robert Heinlein — who loaned Dick money and who, though Dick was almost completely opposite politically to him, Dick loved. His adoration in France, his fascinating life on the streets, his many loves of women and music, is all dealt with. It reminds me how much, more than any other author, I wish I would have met Dick while he was alive.
"The Golden Man" — I'm sure too much prior knowledge of this story ruined my enjoyment of it. The story is structured to make one sympathetic towards the Golden Man (Dick comes up with an interesting assortment of mutants) and, as Dick points out in his story notes, this was the Golden Age of the sympathetic mutant in John W. Campbell's Astounding and A. E. van Vogt's Slan. At the end though, we are faced, like the androids in Dick's Do Androids Dream of Electric Sheep?, with beings that seem outwardly human but are not. The pre-vision talent of the Golden Man was interesting, and Dick tried to go into some of its implications. The idea of a mutant's sexual attractiveness was original and valid. The main strong point of the story is the turning of reader's sympathy from the Golden Man to his hunters. Unfortunately, I spoiled my surprise. Continue reading "The Golden Man" →
Year's Best SF 4
December 20, 2016 December 20, 2016 ~ marzaat	~ Leave a comment
The alternate history series continues though there are only two stories in this book that fits that description.
Hartwell's series is the only one I followed fairly consistently apart from Brian Aldiss and Harry Harrison's Best SF series which was started me reading science fiction regularly.
Raw Feed (2001): Year's Best SF 4, ed. David G. Hartwell, 1999.
"Market Report", Alexander Jablokov — I like Jablokov, but I didn't think this story was good enough to be included in this anthology (of course, I didn't read all the sf short fiction published in 1998). Still, on skimming the story again after reading it, I appreciated it more. It has a wry humor about it with its portrayal of retired suburbanites hanging out in a planned community which they're planning to restock with Pleistocene flora and fauna and the women have primitive rites in its jungles, and the narrator's parents, members of that community, try to comprehend his job as a spotter of self-defined groups that need to be marketed to. At first glance, the story doesn't seem to be about much apart from its near-future extrapolation of sociological-based marketing and Pleistocene hobbyists. But, with its plot of a man finding a home amongst parents he's spent a lifetime trying to understand, to "catch" the meaning of their conversation and the same narrator getting over a failed marriage, I suspect Jablokov was trying to do a sf imitation of John Cheever or John Irving, writers, I believe, Jablokov has expressed an admiration for. However, not being sf writers, my exposure to them has been minimum.
"A Dance to Strange Musics", Gregory Benford — This is a brilliant, austere, unsentimental, humbling, Stapledonian, classic sf tale. Its classicism is that it's pure hard sf, a detailed working out of a surprising ecosystem in our galactic backyard — the Alpha Centauri star system — and little emphasis on individual characters (though Benford does put in some wry bits about how scientists relate to one another). The plot progresses from one hard sf wonder to another. A vast, elevated lake is found on a planet in the star system. It seems to be formed in the remnants of a crater and literally floats kilometers above the surface, the power to do so coming from the piezoelectric forces generated by tidal stresses from the three suns in the system. The planetary system is covered by tile-like creatures who constantly move about, dancing to "strange music". Eventually, it's speculated that their movements (they, and the whole ecology of the planet, feed off electrical energy rather than chemical energy) represent some giant, planetary computer at work. A manned probe into the atmosphere finds, before the pilot dies, surprising levels of electrical power and a sort of memory in the system. The giant, floating lake turns out to be a giant laser system which periodically sends messages to other star systems. More die exploring the planet, learning that the tiles feed on electricity and exchange, in sophisticated protocols, data with each other, and that planet fires off messages into space not intended for man. The first expedition descends to the planet but not before they realize that the lifeforms on the planet are engineered, that the intelligent life there has either left for space or engineered themselves into the tiles. Another expedition is sent from an Earth where people live in the "disposable realities" of computer created environments. They meet odd, disconcerting facsimiles of the first expedition. The facsimiles are a disturbing group mind with facial expressions that flicker at precise intervals and who each speak separate words in their sentences while inviting man to join their Being Suite, their bodies precisely spaced in a hexagon. The humans are appalled by what they see and, out of fear, do not go to the surface. They don't know if the first expedition was seduced or raped into becoming part of the Being Suite. The second to last paragraph has a classic passage about the unknowability of the universe, its forever closed community of sentience: "It is one thing to speak of embracing the new, the fresh, the strange. It is another to feel that one is an insect, crawling across a page of the Encyclopedia Britannica, knowing only that something vast is passing by beneath, all without your sensing more than a yawning vacancy. Worse, the lack was clearly in oneself, and was irredeemable." A classic sf statement, a classic sf tale. Continue reading "Year's Best SF 4" →
The Best of C. M. Kornbluth
November 22, 2016 November 25, 2016 ~ marzaat	~ 1 Comment
Another entry in the alternate history series though this one only has a single story that fits the bill.
Raw Feed (1992): The Best of C. M. Kornbluth, ed. Frederik Pohl, 1976.
"Introduction: An Appreciation", Frederik Pohl — Discussion of C.M. Kornbluth's career, including many mainstream works, and his work as a journalist (which explains the wide variety of characters in his work as well as a knowledge of the world's workings and seamier elements), his education, his intellectual traits (showing in the wide knowledge illustrated in these stories), and bursts of writing. He started early, at a high level, and got better.
"The Rocket of 1955" Story of the world's first "moon-shot", a con put together with blackmail, for money. It fails (in that what seems to be a tragic explosion but is entirely planned), but the plot is uncovered and the perpetrators are executed. It's main interest is Kornbluth's characteristic economy even at this young age (18) and a cynical element (a moonshot being a con) which marks many of the stories in this anthology. Continue reading "The Best of C. M. Kornbluth" →


text:
Q: add condition in name option select with loop array Hello I would like to put a condition on the name of the option if the object sku.attributes is empty the name is same product otherwise it displays the color and size
skusListProduct = [{attributes:{size:'m', color: 'black'}}] // ex array
            <select
              v-model="skuList"
              @change="productChoice"
            >
              <option
                v-for="sku in skusListProduct"
                :key="sku.id"
                :value="sku.id"
              >
                <span v-if="sku.attributes && sku.attributes.length > 0">
                  {{ sku.attributes.color }} {{ sku.attributes.size }}
                </span>
                <span v-else>
                  same product
                </span>
              </option>
            </select>

I'm do that but is doesn't work

A: I'm resolve my answer check if keys sku.attributes is exist
sku.attributes && Object.keys(sku.attributes).length > 0

redpajama_set_name: RedPajamaStackExchange


text:
39th Durban International Film Festival - Award winners
The 39th Durban International Film Festival held its awards ceremony last night (Saturday, 28 July) at Suncoast CineCentre on as filmmakers and film-lovers gathered to watch the official closing film Rafiki, directed by Wanuri Kahiu.
A total of 17 awards were given out at the ceremony:
Best Feature Film: The Reports on Sarah and Saleem, directed by Muayad Alayan, and produced by Muayad Alayan, Rami Alayan, Hans de Wolf, Hanneke Niens, Rebekka Garrido, Rodrigo Iturralde, Georgina Gonzalez, and Alejandro Duran. The award is accompanied by a cash prize of R50 000.
Best South African Feature Film: High Fantasy, directed by Jenna Bass and produced by David Horler and Steven Markovitz. The film received a cash prize of R25 000.
Best Documentary: New Moon, produced and directed by Philippa Ndisi-Hermann. The film received a cash prize of R25 000.
Best South African Documentary: Sisters of the Wilderness, directed by Karin Slater and produced by Ronit Shapiro. The award is accompanied by a cash prize of R25,000.
Best Direction: Constantin Popescu for Pororoca
Best Cinematography: Liviu Marghidan for Pororoca
Best Screenplay: Jennifer Fox for The Tale
Best Actor: Bogdan Dumitrache for his role as Tudor in Pororoca, directed by Constantin Popescu
Best Actress: Maisa Abd Elhadi for her role as Bisan in The Reports on Sarah and Saleem
Best Editing: Anne Fabini, Alex Hall and Gary Level for The Tale
Artistic Bravery: was won jointly by High Fantasy, directed by Jenna Bass and Supa Modo directed by Likarion Wainaina.
Best South African Short Film: Stillborn, directed by Jahmil X. T. Qubeka and produced by Huanxi Media Group, Xstream Pictures, and Yellowbone Entertainment. The film received a cash prize of R20 000 sponsored by the Gauteng Film Commission.
Best African Short Film: Aya, directed by Moufida Fedhila and produced by Appel d'Air Films. The film also received a cash prize of R20 000 sponsored by the Gauteng Film Commission.
Best Short Film: -The Patience of Water (La Paciencia Del Agua), directed by Guillem Almirall,. The film received a cash prize of R20 000 from the Gauteng Film Commission.
Audience Choice Award: The State Against Mandela and the Others, directed by Nicolas Champeaux and Gilles Porte, which received a cash prize of R25 000.
Amnesty International Durban Human Rights Award: Silas, directed by Anjali Nayar and Hawa Essuman and produced by Appian Way, Big World Cinema andInk & Pepper Productions.
Best Wavescape Film: Heavy Water, directed by Michael Oblowitz
DIFF has recently been included as a Documentary Feature Qualifying Festival by the Academy of Motion Picture, Arts and Sciences, which means that both the winners of the Best Documentary, New Moon and Best SA Documentary Sisters of the Wilderness, will now automatically qualify for consideration for an Oscar nomination.
The Shorts jury included creative media education and development specialist Alicia Price and Leon Van Der Merwe of the Cape Town International Film Market and Festival. The fiction feature jurors were SA Producer Bongiwe Selane, Nigerian actor Hakeem Kae Kazim and Nigerian actress Nse Ikpe-Etim. The documentary film jury included South African producer Uzanenkosi, Zimbabwean producer Nakai Matema, and Nigerian filmmaker Mahmood Ali-Balogun and Berlin-based freelance filmmaker, writer and curator, Dorothee Wenner.
The festival continues until Sunday, 29 July, at various venues around Durban. DIFF 2018 is part of a month-long feast of film in Durban, including the BRICS Film festival and industry programmes, the Durban FilmMart, Isiphethu, Talents Durban, and the Nature Environment and Wildlife Film Congress.
See www.durbanfilmfest.co.za for more information and the programme.


text:
Illustrators / Publishing
book / book illustration / charity / Clout Branding / Peter Reynolds
When a designer, writer and illustrator combine to help out a great cause, the result is an emotional and compelling story, beautifully crafted.
Designer Michael Smith of Clout Branding, illustrator Peter Reynolds and writer Scott Perry have combined to help set up a fundraising campaign that they hope will raise £20,000 for childhood literacy charity Doorstep Library. At the heart of the campaign is a beautifully illustrated fable-like story that reflects the work of the charity.
The charity teaches young children – from low-income families on some of London's most impoverished estates – to read. They begin, quite literally, by reading stories on the doorstep. Better literacy equates to improved performance at school and better life chances – the charity can tell many stories of lives changed immeasurably for the better.
Donations to the fund can be made here www.mydonate.bt.com/fundraisers/publishthebugman
www.cloutbranding.com
Previous PostDesign-thinking for councils
Next PostInspired by movement
Profiles — Kris Sowersby
Kris Sowersby founded Klim in 2005 with a humble desire to make some typefaces for the kiwis; eight years on Klim has an international following and Kris has three certificates of excellence […]
Profiles – Chris Mitchell
Genuinely, there are few people whose work over the years I have admired more than that of Chris Mitchell. I've enjoyed it for its precision, consistency, refinement and transcending timelessness and, in simplest […]
Profiles — Mike Rigby {Interbrand Australia}
It's been a while since our last profile so we're thrilled to be back with a chat with a much sought after modern day hero of design. He's a young […]


I have taught at the American College Dance Festival's New England chapter for several years. Dancers from the region participate in workshops and showcase work to colleagues. Workshops taught include: Partner Acrobatics, Mask Performance and Devised Work.
In December we toured Shadows to Silver Center for the Arts at Plymouth State University. True to the versatility of the production, we performed the work in their dance studio under florescent lights and in the round.
Amanda Whitworth and I re-imagined and performed our production of Shadows. We worked with reknown sculptor and metal worker, Vivian Beer to create a new table set piece for this performance. Vivian's work can also be seen at the Smithsonian and Boston's MFA.


text:
L'axinita-(Mn) és un mineral de la classe dels silicats que pertany al grup de l'axinita. Va ser descoberta l'any 1909, sent anomenada llavors "manganoaxinita" per Waldemar T. Schaller, degut al domini del manganès a la seva fórmula química. L'any 2008 va ser reanomenada amb el sufix -(Mn) per l'Associació Mineralògica Internacional. També és coneguda amb el nom "severginita".

Característiques
L'axinita-(Mn) és un silicat amb fórmula Ca₂Mn2+Al₂BSi₄O15OH. És l'anàleg de manganès (Mn2+) de l'axinita-(Mg) i de l'axinita-(Fe), amb les que forma el grup axinita juntament amb la tinzenita. Forma una sèrie de solució sòlida amb l'axinita-(Fe) i una altra amb la tinzenita. Cristal·litza en el sistema triclínic formant cristalls tabulars. La seva duresa a l'escala de Mohs oscil·la entre 6,5 i 7.

Segons la classificació de Nickel-Strunz, l'axinita-(Mn) pertany a "09.BD: Estructures de sorosilicats (dímers); grups Si₂O₇, amb anions addicionals; cations en coordinació tetraèdrica [4] o major" juntament amb els següents minerals: bertrandita, hemimorfita, junitoïta, axinita-(Fe), axinita-(Mg), tinzenita, vistepita, boralsilita i werdingita.

Formació i jaciments
Aquesta espècie mineral té dues localitats tipus: la mina Franklin (Sussex, Nova Jersey, Estats Units) i Harz (Baixa Saxònia, Alemanya). És un mineral format típicament per metamorfisme de contacte i metasomatisme del bor. També es troba en filons de pegmatites en contacte amb formacions de ferro metamorfosejat en contacte amb gabre. Sol trobar-se associada a altres minerals com: clorita, quars i feldespats.

Referències

Sorosilicats
Minerals d'alumini
Minerals de bor
Minerals de calci
Minerals de manganès
Minerals descoberts a la Baixa Saxònia
Minerals descoberts al comtat de Sussex


text:
Spårvägar i Irkutsk (ryska: Иркутский трамвай, Irkutski Tramwai) är det huvudsakliga nätverket för kollektivtrafik i Irkutsk i Sibirien i Ryssland. Spårvägen öppnade 1947 och körs på sju linjer.

Anläggandet av en första bredspårig spårvägslinje började i juli 1945, vilken öppnade för trafik 1947 på en fyra kilometer lång enkelspårig sträcka mellan Irkutsks järnvägsstation på södra sidan av floden Angara och salutorget i staden centrum norr om floden. Ett andra spår på samma sträcka blev klart 1949.

En andra generation av spårvagnar började köpas 2006, först av typ KTM-19.

Trafiken bedrivs på sju linjer med 45 hållplatser. Linje 3 är en ringlinje  i innerstaden. Den större delen av trafiken bedrivs i stadscentret på norra sidan av Angara.

Trafiken idag bedrivs med spårvagnar av typen KTM-5, KTM-8 och KTM-19, varav det stora flertalet KTM-5.

Bildgalleri

Källor
Irkutsks spårvägar på www.urbanrail.net

Irkutsk
Irkutsk