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Home | All news | Politics | Australian politician visits Western Armenia
Australian politician visits Western Armenia
Member of the New South Wales Legislative Council, Walt Secord, who is also the Deputy Co-Chair of the NSW Parliamentary Friends of Armenian Group, delivered a powerful speech in Parliament recounting his recent visit to Western Armenia, teh Armenian National committee of Australia reports.
Secord made history in 2011 by becoming the first Australian politician to visit the Republic of Nagorno-Karabakh. And in December 2012, Secord returned to Armenia to take part in an expedition to Western Armenia and visit towns and cities, which were completely emptied during the Armenian Genocide of 1915-1923.
The tour, which commenced in Yerevan, took Secord north through Gyumri, into the heavily Armenian populated region of Javakhk in Georgia, and then onto the cities of Kars, Van, Ani, Idgir and Akhtamar.
Upon his return to Australia, Secord remarked: "My visit to western Armenia was the most interesting study tour I have undertaken in my life."
The seven-day visit, which was organised and partially funded by the Armenian National Committee of Australia (ANC Australia), allowed Secord to continue his "exploration of the Armenian genocide", and allowed him to "see modern Turkey within the context of the interaction between Islam and the West".
The trip put into perspective the extensive destruction of the Armenian populated regions during the Armenian genocide.
In his speech in Parliament, Secord said: "Of course, official denial is a vital component of oppression and genocide. This is why I will never apologise for my inquiry into the Armenian story or my support for the Armenian community. As I have said in Yerevan, in the Parliament of New South Wales and on many other occasions, it is repugnant for Turkey to deny the deaths of the 1.5 million Armenians."
Executive Director of ANC Australia, Vache Kahramanian thanked Secord for his continued support to ensure the recognition of the Armenian genocide and for his continued support of the Armenian-Australian community.
"We are grateful for Mr. Secord's continued efforts in ensuring the just recognition of the Armenian Genocide," Kahramanian said.
"This trip allowed for the Honourable Member to experience first hand the destruction that fell upon the Armenian people nearly a century ago. Mr. Secord is a dear friend of the Armenian-Australian community and a true champion of human rights."
Walt Secord will again visit Armenia as part of the New South Wales Parliamentary Friends of Armenian Group delegation in July this year.
The full text of his speech can be read below:
"As the deputy co-chair of the New South Wales Parliamentary Friends of Armenia I will speak on my recent study mission to western Armenia. On 23 April I had the honour and privilege to attend the ninety-eighth anniversary of the Armenian genocide commemorative service in Chatswood.
Last year I attended the commemoration in three capacities: first, as the deputy co-chair of the New South Wales Parliamentary Friends of Armenia; secondly, as a proud Australian who was born of Mohawk-Ojibway Native American ancestry, a race that has known genocide in North America; and, thirdly, as the first Australian parliamentarian to publicly visit Nagorno-Karabakh. But this year I added a fourth dimension to my exploration of the Armenian story. In late December 2012 I had the privilege and honour of visiting Armenia for a second time. On this trip I visited the northern Armenian city of Gyumri, the Armenian region of Javakhk and its administrative centre of Akhaltsikhe in Georgia, which is struggling for autonomy, and Georgia's capital, Tbilisi.
I also spent a week in Istanbul and Gallipoli. Significantly for the Armenian community, I spent a week exploring the ancient ruins and sites of Kars, Van and Ani in western Armenia. As I have said on many occasions, I have come to appreciate that detached observation can only get you so far. Some things need to be seen to be understood. Sometimes you just have to be there. That is why visiting Armenia, Nagorno-Karabakh and western Armenia is the best education for any political leader interested in trying to understand Australia's Armenian community.
Primarily my trip to western Armenia was to continue my exploration of the Armenian genocide, but I also wanted to see modern Turkey within the context of the interaction between Islam and the West.
I have to admit that I have complex and contradictory views on Turkey. While Turkey has to face and acknowledge the Armenian genocide, we in the West have an interest and responsibility in supporting democratic Islamic countries such as Turkey and Indonesia. Incidentally, I was in Istanbul on the week of the sixth anniversary of the assassination of Hrant Dink, the Armenian editor murdered by a Turkish nationalist because of his outspoken views on the Armenian genocide and Turkey's failure to recognise its past. I have to say that my visit to western Armenia was the most interesting study tour I have undertaken in my life. I saw and travelled up to Masis and Poker Masis—Mount Ararat and Little Mount Ararat. I got to walk amongst the ancient ruins, streets and churches of Ani, which has been described as the Armenian Pompeii. I explored Kars and Van. I travelled by boat on Lake Van to Akhtamar and saw the Church of the Holy Cross, a masterpiece of Armenian sculpture and architecture from the ninth and tenth centuries. In Kars, Armenian architecture and Armenian history were everywhere, but there are no Armenians. I
discovered a city of Armenian ghosts. I also visited the spot where the Soviets handed western Armenia to Turkey, signing away Armenian rights. I climbed Van Fortress where the ancient Armenian city of Aygestan once stood below—that is, until the genocide. Today it is an empty field of holes and tiny rolling hills where Armenian homes and their foundations once stood. In Igdir I also visited the Turkish national denial museum, a truly offensive institution run by Turkish authorities. Even its name is offensive. They have called it the "Monument and Museum Dedicated to Fallen Turks". It denies the Armenian genocide, erroneously claims Armenian terrorism, and attacks Dashnaktsutyun for so-called atrocities. I know that all sensible people and historians would be disgusted by it, but I felt it was important to see it firsthand. My tiny Armenian translator was physically shaking as we walked through the so-called museum. Incidentally, during my visit, on five separate occasions local Kurds asked our travelling party if we were Armenians from the diaspora looking for our grandparents' family jewels hastily hidden during the genocide. This shows the massive gap between official denials of history versus the real history that is whispered behind closed doors in rural Turkey. Of course, official denial is a vital component of oppression and genocide. This is why I will never apologise for my inquiry into the Armenian story or my support for the Armenian community. As I have said in Yerevan, in the Parliament of New South Wales and on many other occasions, it is repugnant for Turkey to deny the deaths of the 1.5 million Armenians.
One day in the future I sincerely hope that Turkey accepts responsibility for the Armenian Genocide.
In the almost 23 months since I became a member of Parliament, my relationship with the Armenian community has grown and continues to grow. I look forward to returning to Armenia in July on a formal parliamentary delegation with my parliamentary colleagues for my third visit to Armenia.
In conclusion, I take this opportunity to thank the Armenian National Committee of Australia for assisting with my visit to western Armenia, particularly the executive director of the Armenian National Committee, Vache Kahramanian, and the chairperson, Greg Soghomonian. I thank Mr Varant Meguerditchian and Mr Sassoon Grigorian for their advice and suggestions. Further, I thank Mr Zorro Keverian for allowing me to give a private briefing in his home recently to senior members of the Armenian community.
For the record, I paid for all of the flights, but the Armenian National Committee provided local transport and accommodation in Georgia and western Armenia. I thank the House for its consideration."
Armenia Australia Turkey


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Q: Python3 pandas - iterating on records between 2 dataframes and calculating minimal distance by column groups I have 2 different Pandas datasets (python3) with same structure(columns: country, region, week, COL1-COL180). D1 is small ~ 300 rows, D2 with over 200k rows.
For all the records/rows in D1 (small dataframe) I would like to iterate through the rows of the D2 dataframe, matching on country+region, and extract the record that is most similar to the record in D1.
Similarity is determined by calculating the distance between the values in columns col1-col180. Basically distance=[sum(D1.COLi-D2.COLi)^2]where i ranges from 0 to 180.
The record for which this distance is minimal should be selected and saved in a separate dataframe.

A: What I'm going to suggest is a fairly naive brute force approach, but should be a decent start. There are quite a few ways you can optimise it:
def calculate_distance(row_a, row_b):
    # Calculate the distance between two rows here.

d3_rows = []

for row in d1:
    maching_rows = d2.loc[(d2.country == row.country) & (d2.region == row.region)]
    closest_row = None
    closest_distance = float('inf')
    for row2 in matching_rows:
        distance = calculate_distance(row, row2)
        if distance < closest_distance:
            closest_row = row2
            closest_distance = distance
    d3_rows.append(closest_row)

d3 = pandas.concat(d3_rows)

Essentially, you get the matching rows from the larger DataFrame for each of the rows in the smaller frame, and then calculate the distance for each. You don't need to keep the distances, so you simply keep whichever one has the closest distance.
What I've done here will be pretty slow, but you can speed it up with other optimizations. (E.g. how many of the rows in D1 have the same country and region?)

redpajama_set_name: RedPajamaStackExchange


Happy Father's Day to all the Father's and Happy Summer to all others! It rhymes – woohoo! My Sunday was an awesome day. We got so much done even if we were going non-stop.
I started my day off with a childhood favorite – Cream of Wheat with 1 Tbsp Brown Sugar and 1 Tbsp Whipped Butter. I like Whipped Butter because it's only 2 Weight Watcher Points instead of 3.
With a side of organic strawberries – so good!
All together with some decaf cinnamon vanilla nut coffee – Yum!
After breakfast we headed out to do a little shopping. We stopped at Sear's to get a credit for our Fridge. They have a 30 Day price matching guarantee and the fridges went on sale another 5% – yahoo to money back! While we were there, we decided to buy that matching stove – doesn't it look awesome! More pics and such to come when we pick it up next week after Vegas.
We snacked on some of our new Pop Chips – Cheddar as we drove around. Pretty tasty – I LOVE this flavor – I imagine it is how Cheddar Pringles would taste.
Our next stop was Target and Home Depot. We bought a HUGE planter and some organic soil to plant the Cherry Tomato Plants my mom brought us. I am soooo excited for homegrown tomatoes. Hopefully, I can make them GROW! They have little flowers already – yeah!
We sprinkled some Crushed Red Pepper Flakes to keep the cats and birds out.
While at Target, we used our Fling coupon and bought a pack. I wasn't going to buy them when I saw the ingredients (I buy NOTHING that has Hydrogenated Oils in them – these are transfats even if minimal). However, The Husband wanted to try them so I added them to his occasional treat list. With treats, you can't pay attn to ingredients, right?
I, of course, had to have a bite because well, it's chocolate and hazelnut and crispy. I have to admit, they are pretty darn tasty….why can't they get rid of the man made hydrogenated oils?!
We stopped for a light lunch at M&S Tasty. I ordered the lowfat grilled teriyaki chicken and veggies over soba noodles. I LOVE this dish and really need to replicate it.
When we got home, we cleaned our grill (The Husband's requirement before we could put it on the new concrete) and planted our new tomatoes – yeah!
Tonight's dinner was all about The Husband's favorites. I grilled up some Tri Tip Steaks ~ ½ in Chaka MMMM Sauce and ½ in TJ's Island Soyaki.
I made healthy "Home Fries" – bake your potato in the microwave for 4 minutes. Cut into "fry" shapes and cook in a pan with 2 tsp healthy oil until browned. Season with garlic salt and pepper.
Plus corn on the cobb!
And since we need to use up our fruit, I made up a big fruit salad. The secret to keeping your fruit from turning brown is to use a can of canned fruit in natural juice. I added fruit cocktail in pear juice with a bunch of fresh fruit (cherries, strawberries, pineapple, nectarines, pluots, and apricots). So fresh and sweet and just plain good.
Ohhh and because I forgot all weekend, I need to give some recognition!!! Please check out my FIRST EVER GUEST Post over at Krittie's blog. I posted two of my very favorite and easy Weight Watcher Recipes. Click HERE to check it out!
Alright ~ Phew, think I am all caught up now. See you all in the morning!
beautiful stove + eats! looks like you guys had a fun weekend!
Those strawberries look so yummy! Good luck at growing tomatoes, I know I would kill them!
Nice stove choice!! I've never had cream of wheat but it looks fabulous!
Love the stove!!! I so wish we had a gas stove, everything else in our house is gas but they put in an electric stove. Go figure!
That pic of the bowl of berries made my tummy grumble.
hooray for a new stove! lucky!
D, I love the guest blog! Did you make up those recipes yourself? I think I'm going to have to try your version of banana cream pie but I think I'll use french vanilla pudding instead of the banana flavor. I can't stand the taste of artificial banana!
I am on such a Cream of Wheat kick these days–SO good!
Brandi ~ Thanks, I can't wait to start using my new stove. I think I'll even be proud to take pictures "on" the stove.
Theangrydieter ~ I have a total brown thumb so we will see how it goes *fingers crossed* because I LOVE home grown tomatoes.
K ~ You would LOVE cream of wheat – I think it's better than oat bran and a nice change from oatmeal and such.
Danielle ~ Thanks, we were debating gas and electric but everyone we talked to said go gas!
Janetha ~ So excited for all the new appliances!
Anne ~ Ohh – are you going to take pics of your tomato plants too?
Jess ~ Yes, I made the recipe myself. It was when I was doing the CORE program and then it became a favorite for us. It's so easy to make. I LOVE that banana cream pie – vanilla works great with it too. You could also use chocolate – YUM!
Broccoli ~ I agree with you on both!


text:
Sosnowski, Cabello Take Oath of Office for 101st General Assembly
State Representatives Joe Sosnowski, R-Rockford, and John Cabello, R-Machesney Park, took the oath of office for a new term on Wednesday, joining all 118 members of the Illinois House of Representatives for the inauguration of the 101st General Assembly held at the Sangamon Auditorium. Sosnowski has served the 69th District since 2011 and Cabello has represented the 68th District since 2012.
"We are going to fight against proposed tax increases and work together to find common ground with the new Governor on needed changes to create jobs, strengthen schools and enact true property tax relief," Cabello and Sosnowski said. "Illinois presently ranks second in the nation for people leaving for lower taxes and better opportunities elsewhere. Our first and most immediate priority in 2019 is to reverse this trend by making Illinois more competitive for job creators and more affordable for families and seniors."
The House of Representatives for the new 101stGeneral Assembly is comprised of 74 Democrats and 44 Republicans. Representative Michael J. Madigan of Chicago was re-elected Speaker of the House for another two-year term. Representative Jim Durkin of Western Springs was re-elected Minority Leader.
Representative Sosnowski served as a member of the Rockford City Council prior to being elected to the Illinois House of Representatives in 2010. He holds a State of Illinois Real Estate Broker's License and is currently the Director of Institutional Advancement at Rockford Christian Schools. Representative Cabello has more than 20 years of local law enforcement experience, beginning his career as a police officer in South Beloit and later transferring to Rockford where he became a police detective. He served as a Winnebago County Board member prior to entering the Illinois House of Representatives in 2012 and currently works part-time for Stewart & Associates.
Representative Cabello's district office is located at 1941 Harlem Road in Loves Park. The 68th District includes portions of Rockford, Machesney Park, Roscoe, Loves Park, and Cherry Valley. Representative Sosnowski's district office is located at 305 Amphitheater Drive in Rockford. The 69th District includes most of Boone County as well as eastern/northern Winnebago County; including South Beloit and Rockton along with portions of Rockford, Roscoe, Cherry Valley, and Loves Park.
Constituents with issues regarding state government, ideas for legislation or any questions or concerns are welcome to contact Cabello's office at (815) 282-0083 or Sosnowski's office at (815) 547-3436.

redpajama_set_name: RedPajamaCommonCrawl


text:
PEOPLE v. LOPEZ
The PEOPLE, Plaintiff and Respondent, v. John Anthony LOPEZ, Defendant and Appellant.
ORDER MODIFYING OPINION AND DENYING REHEARING
[NO CHANGE IN JUDGMENT]
It is ordered that the opinion filed herein on June 29, 2015, be modified as follows:
On page 4, last paragraph, delete the following sentences:
Furthermore, it is not our place to remand this matter to the trial court and direct that a hearing be held under section 1170.18. A section 1170.18 petition must be filed once the judgment is final and the jurisdiction over the cause has been returned to the trial court.
Replace with:
Furthermore, since we have expedited and decided this appeal jurisdiction over this matter will be returned to the trial court upon issuance of the remittitur. Appellant can then file his petition pursuant to section 1170.18 for recall of sentence. The petition for rehearing is denied. There is no change in judgment.
ELIA, J.
Rushing, P.J.¿
Filed 6/29/15 Unmodified opinion
CERTIFIED FOR PUBLICATION
IN THE COURT OF APPEAL OF THE STATE OF CALIFORNIASIXTH APPELLATE DISTRICT
THE PEOPLE,
Plaintiff and Respondent,
JOHN ANTHONY LOPEZ,
Defendant and Appellant.
(Santa Clara County
Super. Ct. Nos. C1235752, C1242237)
In this appeal from two cases filed in the Santa Clara County Superior Court, appellant John Anthony Lopez requests that we reverse the judgments and remand the case to the trial court with instructions to hold a hearing pursuant to Penal Code section 1170.18.1 For reasons we shall explain we decline to reverse the judgment.
On December 6, 2012, the Santa Clara County District Attorney's Office filed an information in case No. C1242237 charging appellant with felony possession of methamphetamine (Health & Saf.Code, § 11377, subd. (a)); being under the influence of methamphetamine, a misdemeanor (Health & Saf.Code § 11550, subd. (a)); possession of drug paraphernalia, a misdemeanor (Health & Saf.Code former § 11364.1, Stats.2011, ch. 738, § 11); and possession of less than 28.5 grams of marijuana, an infraction (Health & Saf.Code § 11357, subd. (b)).
Subsequently, on December 12, 2012, the district attorney's office filed an information in case No. C1235752 in which appellant was charged with felony possession of methamphetamine (Health & Saf.Code, § 11377, subd. (a)); being under the influence of methamphetamine with three prior convictions for the same offense, a misdemeanor (Health & Saf.Code, § 11550, subd. (a) & (b)(1)); and possession of drug paraphernalia, a misdemeanor (Health & Saf.Code, former § 11364.1, Stats.2011, ch. 738, § 11). In the information, the prosecutor alleged that appellant had suffered a prior conviction for lewd and lascivious acts with a child under 14 years old (Pen.Code, § 288, subd. (b)(1)) 2 —a prior strike (§§ 667, subds.(b)-(i), 1170.12) and had suffered a prior prison term within the meaning of section 667.5, subdivision (b). In addition, the information contained an allegation that appellant had served a prison term for possessing a controlled substance.
On September 9, 2013, appellant pleaded no contest to all charges and admitted all allegations.
On January 8, 2014, after denying appellant's Romero motion (People v. Superior Court (Romero ) (1996) 13 Cal.4th 497), the trial court sentenced appellant to 32 months in prison on case No. C1235752 and imposed a concurrent term of one year in county jail on case No. C1242237.3
Changes to the Penal Code
On November 4, 2014, the voters approved Proposition 47, the "Safe Neighborhoods and Schools Act." The essential parts of Proposition 47 are as follows: it requires (1) a misdemeanor sentence instead of a felony sentence for certain drug possession offenses; (2) a misdemeanor sentence instead of a felony sentence for the crimes of petty theft, receiving stolen property, and forging/writing bad checks, when the amount involved is $950 or less; (3) allows a felony sentence pursuant to section 1170, subdivision (h) for specified crimes if a defendant has a prior conviction listed under section 667, subdivision (e)(2)(C)(iv), or a prior conviction for an offense requiring sex offender registration under section 290; and (4) requires resentencing for defendants serving felony sentences for the crimes specified above unless the trial court finds an unreasonable risk to public safety. (Voter Information Guide, Gen. Elec. (Nov. 4, 2014) Official Title and Summary, pp. 35, 70; see e.g., §§ 459.5, subd. (a), 473, subd. (b), 476a, subd. (b), 490.2, subds. (a) and (b), 496, subd. (a), 666, subds. (a), (b) & (c), 1170.18; Health and Saf.Code §§ 11350, subds. (a), (b) & (c), 11357, subd. (a), 11377, subds. (a) & (b).) The initiative became effective on November 5, 2014. (Cal. Const., art. II, § 10 subd. (a) [an initiative statute or referendum approved by a majority of votes thereon takes effect the day after the election unless the measure provides otherwise].)
As relevant here, Proposition 47 amended section 11377 of the Health and Safety Code. Prior to that amendment, possession of controlled substances in violation of section 11377 of the Health and Safety Code was a wobbler, i.e., an offense that is punishable either by imprisonment in the state prison or by incarceration in the county jail. (Health & Saf.Code, former § 11377; In re Manzy W. (1997) 14 Cal.4th 1199, 1210; People v. Kunkel (1985) 176 Cal.App.3d 46, 51.) As amended by Proposition 47, Health and Safety Code, section 11377 now provides that a violation of that section is a misdemeanor, unless the defendant has one or more prior convictions for an offense specified in section 667, subdivision (e)(2)(C)(iv)—which lists serious and violent felonies that are sometimes referred to as super strike offenses—or for an offense that requires the defendant to register as a sex offender under section 290, subdivision (c). Such defendants may instead be punished pursuant to subdivision (h) of section 1170. (Health & Saf.Code, § 11377, subd. (a).)
Proposition 47 created a procedure for recall of sentence for persons currently serving a sentence for a conviction, whether by trial or plea, of a felony or felonies who would have been guilty of a misdemeanor under the act had the act been in effect at the time of the offense. (§ 1170.18, subd. (a).) Such an offender "may petition for a recall of sentence before the trial court that entered the judgment of conviction in his or her case to request resentencing" based on the reduced misdemeanor status of the amended offenses. (§ 1170.18, subd. (a).) Pursuant to section 1170.18, subdivision (b), if a trial court determines that the inmate satisfies the eligibility requirement in subdivision (a), then it shall resentence to a misdemeanor, "unless the court, in its discretion, determines that resentencing the petitioner would pose an unreasonable risk of danger to public safety." Proposition 47 set forth a definition of unreasonable risk of danger to public safety in section 1170.18, subdivision (c): "As used throughout this Code, 'unreasonable risk of danger to public safety' means an unreasonable risk that the petitioner will commit a new violent felony within the meaning of clause (iv) of subparagraph (C) of paragraph (2) of subdivision (e) of Section 667."
However, the recall-of-sentence procedure of Proposition 47 is not applicable to "persons who have one or more prior convictions for an offense specified in clause (iv) of subparagraph (c) of paragraph (2) of subdivision (e) of Section 667 or for an offense requiring registration pursuant to subdivision (c) of Section 290." (§ 1170.18, subd. (i).)
As noted ante, appellant requests that we reverse the judgments and remand this case to the trial court with directions to resentence him under section 1170.18. The People contend that appellant's prior conviction for violating section 288, subdivision (b)(1) disqualifies him from relief under Proposition 47 and therefore, this court need not remand the matter. The People argue that we should "deny appellant's appeal outright by affirming the judgment."
We find no grounds for reversing or even modifying the judgment. Furthermore, it is not our place to remand this matter to the trial court and direct that a hearing be held under section 1170.18. A section 1170.18 petition must be filed once the judgment is final and jurisdiction over the cause has been returned to the trial court. Appellant's eligibility for recall of sentence will be determined at that point in time. Section 1170.18, subdivision (j) contains a "good cause" exception to the three-year filing period. The pendency of appellate proceedings and resulting lack of jurisdiction over the cause in the trial court would necessarily constitute good cause for a filing delay. Thus, the length of the appellate process will not foreclose prisoners whose judgments were not final on Proposition 47's effective date from obtaining relief to which they may be entitled pursuant to section 1170.18.
Finally, we decline the People's implied invitation to decide the matter in the first instance. To obtain a sentencing reduction pursuant to section 1170.18, a petitioner must file a petition for a recall of sentence in the trial court. (§ 1170.18, subds.(a) & (l) [a person may file for recall of sentence before the trial court that entered the judgment of conviction and if the court that sentenced the petitioner is not available, the presiding judge shall designate another judge to rule on the petition or application].) Appellant may file the appropriate petition in the trial court and the trial court must decide the threshold question of whether he is eligible for resentencing.
The judgments are affirmed.¿
WE CONCUR:
RUSHING, P. J.
Trial Court: Santa Clara County Superior Court S.Ct. Nos. C1235752, C1242237
Trial Judge: Hon. Robert M. Foley
Counsel for Defendant and Appellant: John Anthony Lopez Katja Grosch Under Appointment of the Sixth District Appellate Program
Counsel for Plaintiff and Respondent: The People Kamala D. Harris Attorney General of California Gerald A. Engler Chief Assistant Attorney General Jeffrey M. Laurence Acting Senior Assistant Attorney General Eric D. Share Supervising Deputy Attorney General Huy T. Luong Deputy Attorney General
1. Originally, counsel filed a brief pursuant to People v. Wende (1979) 25 Cal.3d 436. Subsequently, on January 14, 2015, we granted counsel's request to file a supplemental brief to address Proposition 47 sentencing.
2. All further statutory references are to the Penal Code unless otherwise indicated.
3. The court imposed but stayed two one-year terms imposed pursuant to section 667.5, subdivision (b) in light of appellant's acknowledgment of guilt.
THE COURT:


text:
Q: Sql Command Not Working I wrote the following code, but nothing is being inserted into the database.
I tried changing the SA password in the connection string to something incorrect and the code isn't catching the exception.
What am I doing wrong?
protected void Button2_Click(object sender, EventArgs e)
{
    firstName = TextBox1.Text;
    lastName = TextBox2.Text;
    collegeName = TextBox3.Text;
    majorSubject = TextBox4.Text;
    emailAddress = TextBox5.Text;
    phoneNumber = TextBox6.Text;
    address = TextBox7.Text;
    city = TextBox8.Text;
    state = DropDownList1.SelectedValue;
    zipCode = TextBox9.Text;
    interestDate = DateTime.Now.ToString("M/d/yyyy");

    string completedString = " " +firstName+ " "  +lastName+ " "  +collegeName+ " "  +majorSubject+ " "  +emailAddress+ " "  +phoneNumber+ " "  +address+ " "  +city+ " "  +state+ " "  +zipCode+ " " +interestDate+ ".";
    ClientScript.RegisterStartupScript(this.GetType(), "myalert", "alert('" + completedString + "');", true);

    try
    {

    string strCon = "Data Source=OMIW2310.orthman.local;Initial Catalog=CollegeRecruiting;User Id=sa;Password=myPassword;";
    using (var connection = new SqlConnection(strCon))
    {

        string strSQL = "USE CollegeRecruiting INSERT INTO Students (lastName, firstName, collegeName, majorSubject, emailAddress, phoneNumber, address, city, state, zip, interestDate) VALUES ('" + firstName + "', '" + lastName + "', '" + collegeName + "', '" + majorSubject + "', '" + emailAddress + "', '" + phoneNumber + "', '" + city + "', '" + state + "', '" + zipCode + "', '" + interestDate + "')";
        SqlCommand command = new SqlCommand(strSQL, connection);

        connection.Open();
        command.ExecuteNonQuery();
        connection.Close();

       }
   }
   catch (SqlException ex)
   {
        ClientScript.RegisterStartupScript(this.GetType(), "myalert", "alert('" + ex.Message + "');", true);
   }

   ClearTextBoxes();

}

A: As stated by the OP in the comments. Once the try-catch was resolved it was discovered that it just a mismatched number of fields and values.
Just an FYI, you can get rid of this:
USE CollegeRecruiting

It's already using the right database because of the connection that you created above it.
Finally, please don't leave yourself open to SQL Injection. Rewrite your code to be something more along these lines:
using (SqlConnection c = new SqlConnection(connString))
using (SqlCommand cmd = new SqlCommand("INSERT INTO ... VALUES (@field1...)"), c)
{
    cmd.Parameters.AddWithValue("@field1", txtField1.Text);

    c.Open();
    cmd.ExecuteNonQuery();
}

A: Remove the USE CollegeRecruiting before the INSERT statement.
Also use parameterized queries to prevent SQL Injection attacks.
For example:
  command.CommandText = "INSERT INTO Students (lastName, firstName VALUES (@lastName, @firstname);";

  command.Parameters.AddWithValue("@lastName", lastName);
  command.Parameters.AddWithValue("@firstName", firstName);

Note: You are entering the last name in the first name column and vice versa.

A: Once I corrected the catch statement, the resulting error showed me I had a mismatched number of INSERTS/VALUES.
I will now parameterize my query to prevent SQL Injection Attacks.
Thank You for the help everyone!
CJ


Orland Kurtenbach was a big, burly center who supplied grit, muscle and protection for his teammates during the early years of the Emile Francis era.
Born on September 7, 1936 in Cudworth, Saskatchewan, Kurt began his hockey journey with the Prince Albert Mintos of the SJHL in 1953 and was signed to a "C" Form by the Rangers.
He was named the Western Hockey League's Rookie of the Year in 1957-58 and made his NHL debut with the Rangers in 1960-61, registering six assists in ten games. But he was left unprotected by GM Muzz Patrick and claimed by the Bruins in the 1961 Intra-League. He then saw action with Boston and Toronto before being re-claimed by Emile Francis in the 1966 Intra-League Draft, giving the Rangers some much needed size up the middle. .
At 6-foot-2 and 195-pounds, Kurt was bigger than the average NHL'er at the time and had a reputation of having the 'Fastest Fists in The National Hockey League'. He fought the heavyweights of the day including John Fergusson, Ted Green, Terry Harper and Ted Harris but the term "Enforcer" didn't sit well with him.
Indeed, Orland's highest penalty minute total was 91 in 1963-64, his first full season in the NHL with Boston. And as his reputation grew, fewer opponents were lining up to take him on. When he did fight however, the speed and power of his fists became even more apparent due to the white cotton gloves he wore under his hockey gloves because of an allergy. .
In 1966-67 with Jean Ratelle recovering from spinal fusion surgery, Orland centered a line with Rod Gilbert and Vic Hadfield and scored 11 goals with 25 assists. The next season when Ratelle returned to the lineup Kurtenbach was moved to a checking line with Ron Stewart and Reggie Fleming and once again had a strong season, scoring 15 goals with 20 assists. Unfortunately, Kurt underwent his own spinal fusion early the next season and appeared in only two games. He returned for the 1969-70 season but had trouble keeping up with the pace of the game and knew his days as a Ranger were numbered.
Big Kurt was claimed by the Vancouver Canucks where he became their first team captain and recorded back-to-back 20-goal seasons as well as being selected as MVP by the fans in his first three years. However injuries began to slow him down and Orland retired following the 1973-74 season.
Kurtenbach then moved into coaching, first with Seattle and then Tulsa of the CHL where he won the league championship and was named Coach of the Year in 1976. He then moved up to coach the Canucks from 1976-78.
Today Orland is bothered by some aspects of the game.
Orland Kurtenbach: "As a coach and teaching hockey schools, you teach a guy how to take a guy out at an angle to the boards. You go in the same direction he's heading and knock him off the puck, to get the puck but not to kill the guy. There's a moral aspect to this game. You don't hit a guy when he's down or hit him from behind. It's disturbing to watch and it's a problem.
Despite playing his entire career as a forward, Kurt once played goal in a minor league game while with Buffalo in 1958-59.


Do not leave the house keys in obvious places like under the mat or in the flower pot when leaving the house. Thieves and criminals know where to search.
Always check the peephole before opening the door for someone or talk so as to recognize the person's voice.
Always tell the ones you live with where you are going and at what time you intend to return.
Keep dangerous items like knives, guns, poisons and other harmful substances well out of reach.
Be responsible for each other and always double check that something has been done, for example, always check that the other has actually locked the doors or turned off the stove et cetera.
Keep emergency numbers at hand all the time.
Train yourselves in rendering first aid.


The flourishing of Israeli dance in the last decade, among Israeli creators and performers, is not self-evident. Decades have passed until a combination of creativity and technical ability came to fruition. In this article I will focus on one chapter in the history of dance in Israel. The period in question, beginning in 1964 (the year Batsheva Dance Company was founded), was characterized on one hand by lack of belief in the creative abilities of Israeli choreographers, and on the other hand by an immense improvement in the dancers' abilities and in the professionalism of performances. It ends in 1977, when fringe performance clearly made a breakthrough into dance in Israel. It is the time period in between the pioneering period, identified with the Ausdruckstanz dance style, and the beginning of the 'Other Dance', performed outside the framework of leading dance groups.
In the forty years (1920-1964) of pioneer artistic dance in Israel in the Ausdruckstanz dance style – from Baruch Agadati to the founding of the Batsheva Dance Company – emphasis was placed on creativity and personal expression. During that time dozens of individualistic creators performed solo or with groups of students. Technical competence was secondary to creativity and to the search for a personal idiom in movement. These were the first years of modern European dance, and teaching methods for modern dancing techniques were still non-existent. Capability was mainly natural – musical talent and flexibility. Technical training consisted of various forms of gymnastics accompanied by music. Emphasis was placed on stage persona and on creativity.
The beginning of change became apparent in 1956, when Martha Graham first came to Israel with her company. The tour, arranged by Graham's patron Bethsabee de Rothschild, resulted in the rejection of the Ausdruckstanz style by the dance community in Israel, who came to see it as "the dance of amateur dancers, whose technical abilities were poor, and who danced their feelings in an exaggerated manner". Students started abandoning the studios of artists identified with the Ausdruckstanz style in favor of Rina Shaham`s and Rena Gluck's studios – new immigrants from the United States who were the first to teach modern American dance in Israel. Israeli dancers traveled to New York, mainly to Graham's school and to the Juilliard Dance School, in order to study the new style. In 1964, Bethsabee de Rothschild founded the Batsheva Dance Company, which was based on Graham's style. This date may be viewed as the end of the Ausdruckstanz dance era and the beginning of a new era – dance influenced by modern American dance.
This change also transformed the dance map of Israel. Instead of a proliferation of recitals and small groups of local creators, professional companies were established in the 1960s and 70s.(1) Three years after Batsheva Dance Company was founded in 1964, de Rothschild founded the Bat-Dor Company. In 1977 the Israeli Ballet Company was founded by Berta Yampolsky and Hillel Markman, and in 1971 the Kibbutz Company was founded, with Yehudit Arnon in management. In 1975 Moshe Efrati left the Batsheva Dance Company and founded the KolDemama Dance Company. Of these, the leading companies were Batsheva and Bat-Dor. The Baroness's generous financial backing enabled them to set high standards of artistic production, while other companies had to make do with poor budgets.
Artistic standards for performance and production reached a respectable professional level. Tours abroad placed Israel on the international map. Teaching standards also improved: alongside the Bat-Dor Company a professional dance school was established, where excellent teachers from abroad were invited to teach. The curriculum focused on the Graham style technique of modern dance, classical ballet in the R.A.D. (Royal Academy of Dancing) method, and Jazz in Alvin Ailey and Louis Luigi's style. Generations of well-trained dancers graduated from that school, but no attention was paid to studying composition and the elements of movement.
While things improved in the technical field, the change described also brought about an end to local creativity. The negative attitudes towards the Ausdruckstanz dance style resulted in an emphasis on technical prowess. Feelings of inferiority regarding creative abilities were so great, that only choreographers from abroad were believed to be professional enough to work with professional companies. Choreographers of the Ausdruckstanz style were not allowed to work in leading companies, and gradually ceased working altogether. Only some of Batsheva's and Bat-Dor's dancers were given the occasional privilege of creating a dance. Thus, all professional activities, both in performance and in creation, took place within the framework of institutionalized companies. A dancer who had not made it into one of these companies could not have an independent career, and certainly could not develop as a choreographer in a professional company.
The leading companies – Batsheva and Bat-Dor – competed over the number of premières and choreographers imported from abroad. In 1964-1977 Batsheva presented 88 dances,(3) of which less then a third were created by Israeli choreographers. Some of the choreographers from abroad were considered to be the top creators of the time, including Martha Graham, José Limón, Glen Tetley, Talley Beatty, John Cranko, Robert Cohan and Jerome Robbins. Their willingness to present their works with the young companies raised the latter's reputation and was a challenge to artistic performance. But among the foreign choreographers were also some who have long passed their peak, as well as young creators who used the companies for gaining experience.
Bat-Dor's artistic director was Jeannette Ordman, a ballet dancer who had immigrated to Israel from South Africa. In 1968-77 the company presented 89 dances.(6) In both Bat-Dor and Batsheva the ratio was of one to three in favor of creators from abroad, and the only Israeli creators who were allowed to create for these companies were those who had already proved their abilities abroad. Domi Sofer-Reiter, who had created for non-Israeli companies, including the Irish and Scottish Ballet Companies, created four dances for Bat-Dor (1964-1977). American choreographer Gene Hill Sagan, who lived in Israel for a few years, created for Batsheva, Bat-Dor, The Kibbutz Company and The Israel Ballet.(7) Mirali Sharon created works for Batsheva and Bat-Dor after dancing for Alwin Nikolais and Murray Louis. Sharon, who had her own company in New York in the late 60s, enriched the companies' repertory with works reflecting the new experimental spirit. She claimed that Israeli companies should also collaborate with Israeli musicians and set designers.
During the Kibbutz Company's first years, most of its creators were Israeli and, unlike Batsheva and Bat Dor, not dancers in the company. Among them were Yehudit Arnon, Ofra Achmon, Hermona Lynn, Hedda Oren and Oshra Elkayam-Ronen. The first three were identified with the Ausdruckstanz dance style. The company's reliance on local talent stemmed from ideological reasons – the wish to develop local creation and the commitment to encouraging creators who were Kibbutz members – but was mainly the result of being unable to finance choreographers from abroad. We should bear in mind that during the first half of the 1970s all the dancers in the company were still Kibbutz members. They could not rehearse daily, as they had to divide their time between dance and work on the Kibbutz. The technical level was therefore poor, and the company was considered to be amateurish.(8) Its reliance on local choreographers was viewed as pertaining to its low status at the time.
The Israel Ballet reproduced pieces from the classical repertory. Berta Yampolsky had not yet started to create herself, and despite the Ballet's poor budget some choreographers were invited from abroad to create for it, among them French choreographers Janine Charrat and Joseph Lazini. Unlike The Israel Ballet, which was a repertory company, only Moshe Efrati created for the KolDemama Dance Company. His was an exceptional case, a dancer/choreographer who left an institutionalized company to found his own company. In those years his works were famous mainly for the combination of hearing and non-hearing dancers in the company. Sarah Levi-Tanai was practically the sole creator for the Inbal Dance-Theater, an artistic dance company based mainly on local and Yemenite ethnic themes.
Outside the professional companies, there were some attempts by local creators to develop their own projects, among them Rina Shaham and Naomi Aleskovsky (Tyre and Jerusalem, 1968) in Tel Aviv. There were also several attempts at founding semi-professional companies, which presented only a few performances. Their style was not much different from that of the professional companies, but the production and performance levels of these companies, who operated without any financial support, were significantly lower. There were also several such endeavors in Haifa: Oshra Elkayam-Ronen founded The Dance Theater (1967-1968), I founded the Haifa Chamber Dance Group (1968-1970), Lia Schubert and Kaj Lothman founded the Dancers' Stage (1970-1975), followed by establishment of The Haifa Piccolo Ballet by Schubert (1975-1980). In Jerusalem, Hassia Levy-Agron founded the Jerusalem Group of Contemporary Dance (1963-1978). The Chamber Dance Group performed dance suites, composed by Noa Eshkol in the Eshkol-Wachman Movement Notation. All these groups worked on their programs for months, and presented only a few performances that got very little attention from the media.
Many young dancers knocked on the doors of professional companies, the favorites being Batsheva and Bat-Dor. The Kibbutz Dance Company was only open to Kibbutz members, KolDemama focused on projects with hearing and non-hearing, The Israel Ballet presented ballet works (as there were still no good Israeli classical ballet dancers, most of its dancers were immigrants), and the Inbal Dance-Theater focused on ethnic dancing. Thus, young dancers seeking a professional stage flocked toward Batsheva and Bat-Dor, who were unable to answer the demand.
The second half of the 1970s saw the beginning of change. As in the 1960s, young dancers went abroad to study, but their goals were different this time. In the 60s, they wanted to study the Graham method in order to dance in professional companies when they returned. Now, most youngsters traveled in order to develop as choreographers and to study the new post-modern trends in dance.
There were several reasons for that shift in aims: The Bat-Dor dance school had opened, training professional dancers and enabling them to acquire good technique. There was also wider recognition of the fact that Israeli dance was falling behind global innovations, accompanied by a growing hunger for dance other than the modern American one, identified with Graham and her colleagues. In addition, there was no place in Israel for studying choreography, and the negative attitudes toward Israeli choreographers contributed to their wish to study and create in a supportive environment.
In the mid-70s a group of young female choreographers returned to Israel, among them Rachel Cafri, who had studied with Merce Cunningham, and Hedda Oren who had studied with Alwin Nikolais and Murray Louis. Ronit Land returned from Britain after attending a course for young choreographers in the New Dance style (the name given in Britain to post-modern dance), Ruth Ziv-Eyal had been a dance and theater student in the New York University, director Rina Yerushalmi had worked with La Mama Theater in New York, Sharon Pinsley, a former dancer in Limon`s company, immigrated to Israel, and director Miri Magnus returned after studying with Peter Brook in France.
In 1976 Ziv-Eyal created Secret Places - the first Israeli creation in Movement-Theater style. A year later, my own dance recital was performed, presenting works in the "Other Dance" style (as post-modern dance and movement- theater were dubbed), including the works The Scarecrow by Ziv-Eyal, People Like Lines by Land, Interior and Exterior Space and Broken Lines by Oren and Portrait of a Demagogue by Cafri – all created specially for me. During that same year, Ziv-Eyal presented Remembered Headings and Rebound in the Beit Zvi School for Acting. In 1977 Batsheva II presented works considered to be avant-garde at the time: More Fields by Cafri, Mudras by Land, Details Add Up by Oren, Precipice by Pinsley, and Sense of Flight by Laurie Freedman. Dancer and choreographer Rachel Cafri presented an evening of her own works. A year later Rina Schenfeld presented the recital Threads (1978). In the Batsheva II Company Miri Magnus created Me in Myself in Movement-Theater style, and Oren created Sound and Dance – a performance for singer (Adi Etzion) and dancer (Ruth Eshel).
Alongside the first Other Dance recitals, which can be viewed as the beginning of fringe dance in Israel, Batsheva II functioned as an artistic framework that raised avant-garde creators' expectations. The company was founded in 1977 as a subsidiary of Batsheva. Young dancers and creators were eager to join it, and most of the works created in the first two years of its existence were experimental, some of them in the post-modern and movement-theater styles. The young company announced its aims as follows: a) to be a home for professional young choreographers, musicians, designers and dancers. Emphasis would be placed on work in workshops; b) to function as a reserve of dancers for Batsheva.
The young company's artistic direction was unclear from the start, and the choice of Rina Shaham and Rena Gluck as Artistic Directors – both leading dancers and teachers identified with the Graham style – did not bode well for the realization of the company's experimental purpose. After a year of continuously postponing performances, Giora Manor wrote: "I have recently had the opportunity to watch Batsheva II rehearse. Rehearsals only, since for some reason its works have not yet been presented to the interested public. It is difficult to understand the reasons for this fear of exposure. The very idea of an experimental stage is to enable a meeting between a creator or a performer and those interested in their art, with no prior obligations, no 'seal of guarantee' that would promise a 'fair return' on the entrance fee."(10) After a year's work, the company finally gave a performance in its studio. The lighting was designed by Judy Kupferman and Neta Gelfman, both theater students at the Theater Department of the Tel Aviv University. A large audience attended the performance, and media coverage was favorable.
In the beginning of the 1980s, local creators became disillusioned with the idea that avant-garde can be created in professional companies. Following the disappointment with Batsheva II, avant-garde projects were worked on outside the establishment. At the same time, professional companies supplied local creators with more opportunities than before. In the beginning of the 1980s there were many fringe creators, such as Ruth Ziv-Eyal, Rachel Cafri, Hedda Oren, Ronit Land, Ruth Eshel, Dorit Shimron, Sally-Ann Friedland, Nava Zuckerman, Oshra Elkayam-Ronen, Mirali Sharon, Yaron Margolin, Flora Cushman (The Jerusalem Dance Workshop), Dalia Lau and Silivia Doran (Spanish Dance), Tamara Mielnik, The Tamar-Ramle Dance Company (consisting of former Batsheva dancers among them Amir Kolben), Yossi Tamim, Tami Ben-Ami, The Magma Dance Group (Or Bagim, Rina Badash and Diti Tor), Merav Simri, The Haifa Ballet (directed by Adam and Ilana Pasternak) and others.
Experimental dance and fringe activities were encouraged and legitimized by the example of innovative dance companies, which arrived in Israel and raised public interest in post-modern dance. In 1977, Merce Cunningham and Carolyn Carlson came to Israel. In 1981, Meredith Monk, one of the main figures of metaphorical post-modern dance, taught a workshop for dancers and actors. Kay Takei, also a principal figure in metaphorical post-modern dance, presented her work Light (1982) with the Kibbutz Dance Company. In 1982 Pina Bausch first came to Israel with Wuppertal Tanztheater.
In 1984 the "Shades in Dance" enterprise was established by Yossi Frost, Director of Omanut La`Am (Art for the People), promoted by Elyda Gera and Gideon Paz. Its aim was to encourage original creation and to focus public and professional attention on new creations and creators, who are not necessarily active in established dance companies.
This article was published in Dance Today, no.6 September 2001.
1. Inbal Dance-Theater was the first dance company to become institutionalized (1949).
2. Ruth Eshel, 'Is There Life Outside the Company?' Israel Dance, 1983, pp. 23-24 [Hebrew].
3. See Batsheva's repertory list, Israel Dance, No. 4, October 1994, pp. 96-101 [Hebrew and English].
4. Ruth Eshel, An Interview with Batsheva de Rothschild, Tel Aviv, January 1989.
5. See Ruth Eshel, 'The Batsheva Company and its Israeli Choreographers,' Israel Dance, No. 4, October 1994, pp. 84-92 [Hebrew].
6. See Bat Dor's repertory list, Dance Now, No. 2, July 2000, pp. 78-81 [Hebrew].
7. Gene Hill Sagan's ashes are buried in the Kibbutz Dance Company's yard in Kibbutz Ga'aton.
8. See Ruth Eshel, 'The Pre-History of the Kibbutz Company,' Israel Dance, No. 9, November 1996, pp. 77-86 [Hebrew].
9. 'Dance in Israel, 1980,' Israel Dance, 1981, p. 8 [Hebrew].
10. Giora Manor, 'What's Going On at Batsheva II? – The Essence of an Experiment,' Al HaMishmar, 12 May 1977 [Hebrew].
11. Ronit Land, 'Batsheva II as an Experimental Company,' Israel Dance, 1977, pp. 13-15 [Hebrew].
12. Ruth Eshel, Interview with Nira Paz, May 1990, Tel Aviv.
13. Most programs were intended for school performances. The company closed with a whimper in 1987.
14. Giora Manor, 'The State of Dance in Israel, 1980,' Israel Dance, 1981, p. 7 [Hebrew].


Jax is a runner, adventure seeker, entrepreneur, lover, dreamer and doer. You could say she is one of those girls that doesn't sit still because she loves life so much and all that it has to offer. Her passion to inspire once drove her to do a run mission where she ran 365 days in a row to create awareness for cancer research and inspire folks to move their bodies to prevent disease. Most recently, she made history as the first woman ever to complete the 4 Desert race series Grand Slam Plus. She additionally won all of the 4 Deserts races within the fiscal year and became the 2016 Female World Champion, all while raising funds and awareness for the LymeLight Foundation.
For Jax, running ignites the soul. It makes her thrive and grow as an individual. Some days it is to sort out business as an entrepreneur owning STOKED Roasters and MARiASH MARKETiNG, and others it is for solitude or to visit with a friend. Whatever the case, she hopes her achievements, and passion for running and life, rubs off on as many souls as possible to ignite their spirits to get out there and explore with a cup of premium Stoked coffee in hand.


Kitten's white chin is suddenly turning brown.
My kitten had a white chin until 2-3 days ago when it started turning brown-ish. There are no bumps or red spots, so I don't think it's "acne." Could the discoloration be due to the clavamox & lysine he's currently on for an upper respiratory infection?
Without seeing your cat in person, I'm not sure whether the discoloration is occurring in your kitten's fur/hair or his skin. You also haven't mentioned how old your kitten is. If your kitten is quite young, he may actually be changing color, as many young kittens coats change color as they get older.
Otherwise, yes, certainly any cat medication that is being given by mouth can soil the fur around your kitten's mouth and chin and begin to look dirty. Some kittens are also not great about cleaning themselves after eating, and may be worse about doing so when they aren't feeling well.
You could try taking just a warm, wet cloth and cleaning your kitten's chin. If the cloth becomes soiled or colored, cleaning your kitten's chin twice daily might help.


text:
• Entry in progress—BP (1/28)
• "You can't spend yourself rich and you can't vote yourself free" (1/28)
Entry from May 27, 2018
Hobowery (hobo + Bowery)
The Bowery (both the name of a street and a neighborhood) in Manhattan was a depressed area for much of the 1900s. Syndicated newspaper columnist Walter Winchell (1897-1972) called the place "Hobowery" (hobo + Bowery) and its residents "Hoboweryites" (hobo + Boweryite). Winchell wrote in a column on March 27, 1942:
"As the minutes tick-tock their way toward noon, Hoboweryites resume their endless strolls to nowhere or stand around discussing nothing."
Winchell wrote in a column on October 10, 1944:
"The gloomy Hobowery. At one time this street of sadness was the center of the town's theatrical life."
Winchell's last reference was in a column on December 4, 1958:
"The Hobowery—where you can see the many faces of Hell."
The "Hobowery" term was little-used and is of historical interest today.
Wikipedia: Bowery
The Bowery (/ˈbaʊ.əri/) is a street and neighborhood in the southern portion of the New York City borough of Manhattan. The street runs from Chatham Square at Park Row, Worth Street, and Mott Street in the south to Cooper Square at 4th Street in the north, while the neighborhood's boundaries are roughly East 4th Street and the East Village to the north; Canal Street and Chinatown to the south; Allen Street and the Lower East Side to the east; and Little Italy to the west.
Pressure for a new name after World War I came to naught and in the 1920s and 1930s, it was an impoverished area. From the 1940s through the 1970s, the Bowery was New York City's "Skid Row," notable for "Bowery Bums" (disaffiliated alcoholics and homeless persons).
27 March 1942, Muncie (IN) Evening Press, "On Broadway" by Walter Winchell, pg. 5, col. 1:
New York Around The Clock.
31 March 1944, Greensboro (NC) Record, "Broadway, New York" by Walter Winchell, pg. 6, col. 4:
SPRINGTIME IN NEW YORK
(...) (Col. 5.—ed.)
Hoboweryites oblivious to the delights of Spring, surrounded by the tombs of their own failures.
10 October 1944, Times-Leader, The Evening News (Wilkes-Barre, PA), "On Broadway" by Walter Winchell, pg. 18, col. 5:
8 January 1947, The Evening News (Harrisburg, PA), "Cavalcade" by Louis Sobol (King Features Syndicate, Inc.), pg. 14, col. 7:
Has anyone, gently inquires Eli Lloyd Hoffman, referred to it as the Hobowery?
4 December 1958, Lebanon (PA) Daily News, "On Broadway" by Walter Winchell, pg. 43, col. 6:
BIG CITY PANORAMA
New York City • Neighborhoods • Sunday, May 27, 2018 • Permalink


text:
EXCHANGE WITH EMMA LIEBER ON PROCESSES IN LITERARY INTERPRETATION AND PSYCHOANALYSIS
Thomas Fink
Thomas Fink: You have much professional experience performing literary interpretation—most notably of Russian fiction—and you have more recently embarked on a career as a psychoanalyst. Correct me if I'm wrong, but I think that your theoretical orientation is either Lacanian or Freudian. How did your literary studies and critical writing prepare you for interpreting your psychoanalytic clients' personal narratives (and language in general) for and with them?
Emma Lieber:
I'm a firm believer in so-called lay analysis—that is, in psychoanalysis practiced by people whose original fields of expertise and licensing bodies are outside medicine, so not only clinical psychology, but also the humanities, and the arts. The psychoanalytic institute that I'm training at was founded by Theodor Reik, who wasn't a medical doctor, and who was the inspiration for Freud's paper "The Question of Lay Analysis." Freud thought that a broad education in the humanities and the arts was essential for psychoanalysts. His reasons for this were complex, one of them certainly relating to his claim that the poets got there first—that poets and artists have always known something about, had special access to, the unconscious. Beyond this, to the extent that cultural memes make their way into an analysand's discourse, being broadly conversant in cultural productions is one of many inroads into what is going on when we listen to another person speaking.
At the same time the content of cultural exchange is rather different now from when it was in Freud's day, so from this perspective, it may be as important now to be aware of the ongoing dramas of the Kardashian sisters as of, say, the ups and downs of the characters of Greek tragedy. Or maybe that comparison only underscores the extent to which the question of "content" in analysis is both inescapable and beside the point. I have a patient who keeps returning to Odysseus and Telemachus in order to articulate something of his relationship with his father. I know that story well, I've taught that story, and so it's something we can play with; if I didn't, I could go read it, if I wanted to. But if not, to the extent that something of this relation permeates his discourse, we could (and do) always work with it somewhere else. So in a way I think this kind of cultural "education" of an analyst is interesting—it's preferred by me, it's what I like—but it's certainly not crucial, or the only kind.
I think more important in terms of what I got out of a background in literature was also what motivated my pursuit of literature in the first place, which is a love of and attention to language. Lacan, in his return to Freud, underlined this aspect of psychoanalysis. I think in a way I was always reading literature as a psychoanalyst, though I didn't know it—that is, reading for the unconscious of the text as it was manifested in the linguistic repetitions on which the text was founded. This is essentially what literary criticism is, or at least that's when I think it's at its best. But critical writing about literature can go in all sorts of different directions—comparative, historical, theoretical—and I found myself, in my reading and writing, always performing these very rigorous analyses of texts, tracing something of a text's structure and latent mechanisms very minutely. I wanted to take each text very seriously on its own terms. And I was often reading and writing about big nineteenth-century novels, which took a long time to read and write about, and which were often founded on, simply put, a problem. (Randall Jarrell defined the novel genre as: "a prose work of some length with something wrong with it.") Novels are symptomatic. Like, unhappy families, or people who need to grow up, or cities in disarray, or mysteries to solve, whatever—something amiss that takes 600 pages to work through, on the basis of the terms of the beginning. So I think I sort of always conceived of novels as objects that attempted to work through something, to cure themselves, and that's what I always wanted to trace. In a way that's how I conceive of an analysis—that we come in with a complaint that, in one way or another, gives articulation to some form of suffering, and a store of signifiers that bear some kind of relation to that suffering, and we work our way through that store with a listener. And that the fact of being listened to does something to those terms, puts them in a new arrangement, and in so doing makes room for new possibilities.
This isn't to say that a psychoanalytic intervention really takes the form of a literary interpretation, or that it need be in any way explanatory. There's an enormous amount at play when you speak in the room with a patient, and you're never trying to just interpret, or enlighten—you're trying to move something in a particular way. If that takes the form of "interpretation" traditionally conceived, as something explanatory, that's fine, but that's fairly rare, at least for me with my patients, and also in my own analysis. Outside the room, I do do a good deal of thinking through certain structural questions of what's going on in a particular treatment—like, treatment as text. That makes its way into the room in various ways. But it's never really what's going on in the room, and also, when it gets too obsessive and minute, I know it's sort of going awry.
And actually in a way, training as an analyst has changed my literary interests, and my writing. I don't think analysis really has much to do with the narratives we tell in analysis, or the plots we construct, or whatever meaning we think we're finding in texts or in our own lives. It's funny but I'm sort of no longer interested in novels the way I was before, nor do I think that my kind of beginning comparison between psychoanalysis and novel was really all that apt—or maybe I've just moved beyond it. More at stake for me now is less the structure of narrative than the sort of magic of linguistic resonances, and what it does when we enunciate them. One aspect of psychoanalytic listening that was new to me when I started was listening for, in a way, meaningless resonances in a patient's speech—rhymes, half-rhymes, homonyms—and paying attention to what those might be doing in a subject's economy. So they're meaningless in the sense of, content is irrelevant, referent is irrelevant—what is relevant is what the resonance speaks to, or what it makes, in the very fact of a linguistic connection. This wasn't something I was used to listening for in novel reading, though probably I should have been doing it. In any case I've found myself more drawn to reading poetry these days, and I think my writing has similarly changed along those lines. I'm not as interested in making well-structured arguments any more—I'm more interested in playing with the signifiers that emerge in the act of writing, and seeing what happens.
Fink: What poets are you reading these days? What would be an example or two of a metonymic chain of signifiers in a poem or poems that has given you access to an articulation of suffering that, as you put it, "puts [the terms] in a new arrangement, and in so doing makes room for new possibilities"? (Or, to put it another way, perhaps that chain gives access to the desire of the Subject.)
Lieber: I've been reading mostly contemporary American poets: Kay Ryan, Louise Gluck, Donald Hall, Sharon Olds. I thought Molly McCully Brown's The Virginia State Colony for Epileptics and Feebleminded was incredible. I'm thinking of reading Maggie Nelson's "Bluets" next because what really thrills me is prose poems, perhaps because that's the form that actually reminds me of analysis most.
The piece that comes to mind in terms of this signifying chain is actually not poetry or fiction, but memoir—Donald Antrim's "I Bought a Bed." It's, you know, fertile ground, so to speak, for an analyst—about the death of his mother and his long attempt, and eventual failure, directly afterwards, to buy a bed. It's incredibly funny and sad and wonderful. And, you know, this quest for a bed, as it relates to the loss of the mother—it's packed with "meaning." What is Antrim doing as he goes from store to store, obsessing these various potential beds, harassing store managers and salespeople with absurd questions, hesitating, buying, returning? He is living out something of the problem of filiation. He is researching his mother, exploring her body, figuring something out, conducting forensic analysis. He is surpassing her, buying a huge and luxurious bed in response to the crappy twin hospital cot on which she died. He is repeating her, practicing her craft, outfitting a mattress with sheets and ruffles and tassels and drapes the way she outfitted actors for the theater and, later, herself, for daily life. He is liberating himself from her. He is purchasing a roomy coffin to share with her. He is nuzzling up to her, climbing on top of her. You can call these meanings what you like: the Oedipus complex, the incest taboo, the repetition compulsion, intergenerational trauma, Eros, the death drive. The sick family, the sick woman, the sick child. The search for home. It's all there. But at the center of the essay is a meaningless rhyme (matricide, mattress), the ridiculous nonsense of aural resonance that creates the speaking subject and it's labyrinthine structures. This resonance is central to the structure of the essay, which rehearses the structure of the lived event. As well, the fact that Antrim's mother's maiden name, the last name of her father, the first person to die in the essay, was Self. Somehow, the history of a writer, of a memoirist, is in part determined there, in the vicissitudes of that name, though in and of itself the name, located like all selves are in a social network, words linking to other words ad infinitum, doesn't "mean" anything.
I wrote a poem once (something I don't do very often at all and generally do with a lot of embarrassment) and I didn't really know what it was about until I looked back and saw what was common in some of the words that turned out to be central: "talisman," "mania," "manipulate." I hadn't known why those words were coming, or what their relation was. This is what psychoanalysis feels like, to me. I was about to try to say something of the question of the psychoanalyst being (or not being) a shaman. A shame man? So, you see, it keeps going and going.
Fink: Yes, shaman, sham man, shame man, shameful manipulator, manic shamer, but as you are a female psychoanalyst and a feminist, the reiteration of the "man" sound indicates that the history of the profession's patriarchal strictures must also be significant: a sham and shame and others' mania to work through.
I want to go back to your point that "you're never trying to just interpret, or enlighten—you're trying to move something in a particular way" and "'interpretation'" as a way of doing this is "fairly rare… with [your] patients"; how is this movement distinct from interpretation of the client's narrative and the elaboration of her/his signifying chain? And is this different approach connected or not at all connected to (non-interpretive) immersion in and/or temporal process in poems, prose-poems, drama, or fiction?
Lieber: Yes, sham man! Wonderful.
I suppose when I say interpretation is rare, at least for me (on both sides of the couch), it means, it's rare that I say something that takes itself out of the patient's particular vocabulary, the very specific articulation of her universe. What the analyst says never serves a purely communicative function, nor does it believe that the transmission of information is itself enough (or is ever just, or even primarily, what is happening in the moment of speech). Psychoanalysis takes very seriously the notion that speaking is an act, that it does something, that the putting to language of the previously unlanguaged itself enacts shifts—the psychoanalyst is there to further that action. And then as an analyst, the register you speak at depends on what the treatment demands at a specific moment, which means, on what will help something to move: on what pressure points seem to be ready, or on what can be shifted, or on what has finally come into view that can be touched. There is something both very immersive and very not-immersive about it, because you're deep within someone else's linguistic world, and yet, you're always keeping a certain reflexive distance from it as well—the possibility of turning a word or a phrase that you hear on its side, and returning it—because if you didn't work according to that kind of torsion, nothing would happen. So I think if the kind of immersion you're talking about is one that also maintains a self-consciousness about itself, then yes, it may be very connected.
Fink: I want to shift to a consideration of two institutional structures with which you—and not so many people—are well acquainted. What common areas exist between the institution of literary study and psychoanalytic candidacy? What do you see as the implications of these connections for the practice of teaching of literature, the pursuit of criticism, and the practice of psychoanalysis?
Lieber: I've thought about this a lot, given that I've spent something like the past 15 years in some form of training, or candidacy. Freud said that teaching and psychoanalysis were two "impossible" professions, which again means many things, one of them being that something of the impossibility of transmission is brought to the fore in both endeavors. I'd argue that teaching literature and teaching psychoanalysis are especially impossible. In other words not only is there some impossibility at the heart of all these projects—some kind of infinite demand that you have to negotiate related to one's responsibility to another person's words—but also, that the transmission of these endeavors is impossible. There is no sufficient way to communicate what happens in a consulting room, or between a reader and a text, nor should there be—and this puts the notion of "education" on complex ground. How can you teach someone to read literature, how can you teach someone to listen, how can you teach someone to teach, how can you teach someone to speak about someone else's words in a way that registers with that person, or with someone else? What on earth happens in a classroom when such things are at stake? Well, you can do lots of things: you can talk about theory, about how a text is made, how a person is made. You can talk about history, the history of literature, of literary studies, of psychoanalysis. You can place the objects at issue (the texts, the enunciations of a patient) in a variety of contexts or frames. You can require certain knowledge bases about all of these areas; you can give exams relating to all of these rubrics. I generally think that all of these approaches are, in and of themselves, beside the point, except to the extent that they immerse the person pursuing them in acts of language as it is received and passed along. Institutional forms of education, especially in these two fields, are often founded on the mistaken notion that they are transmitting content, rather than form. But within that mistake, something happens. When I teach literature, my task as I understand it is to help students figure out what they're trying to say, whether in class discussions, or in papers—no more, no less. In certain ways I view the text or texts at issue as a kind of stimulation for speech and writing, though I take my and the students' responsibility to those texts very seriously—but of course all of one's speaking bears responsibility to others'. Certainly, this ethic is influenced by my involvement in psychoanalysis, but it also long predates it.
Fink: In what ways are the institution of literary study and psychoanalytic candidacy markedly different? Do you find these differences productive, problematic, or, to some extent, both?
Lieber: Well, psychoanalysis names what other discourses often don't. So elements that always inhere in institutional life—power negotiations, hierarchies of influence and knowledge, forms of envy and attachment—have available names according to their psychic dynamics, which are themselves the proper objects of study. This doesn't mean that psychoanalytic institutes are any less pathological than other institutions, or that this vocabulary really helps in running a school well. Rather, that the subject of inquiry at least assures, for those who are listening carefully to it, that such things can't be taken for granted. I mean something that psychoanalysis allows is a radical questioning of something like pedagogy, for instance, whether or not it's taken up. Built into the psychoanalytic endeavor is a certain questioning of institutionalizations of all forms, and I think psychoanalytic institutes refract this in one way or another (not always fortuitously, but always palpably). Such questions aren't as near the surface in academia, though maybe they should be.
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text:
This inspection reports any instances of Groovy methods whose bodies are too deeply nested. Methods with too much statement
nesting may be confusing, and are a good sign that refactoring may be necessary.

 Use the field provided below to specify the maximum acceptable nesting depth a method might have.

Powered by InspectorGroovy

redpajama_set_name: RedPajamaGithub


Endoport (initially Portsmouth Advanced Endoscopy) started in 2006 to advance endoscopic practice throughout the UK. Since then the endoscopy symposium (oldest in the UK) has grown to be a premier UK live endoscopy event.
Clinical Director. Head of capsule endoscopy service.


My vacuum does not have power, what should I check?
- Check to ensure the power cord is plugged into a working outlet.
- Check the upper-tank, pre and post-motor filters for debris. Dirty filters can cause restricted airflow. The filters may be washed in cold water with mild detergent.
Re-install filters when they are completely dry. Reduced air-flow from dirty filters or clogs will put greater stress on the motor, increasing the possibility for overheating, which will cause no power to your vacuum.


A hose tower is the ideal solution when different products must be shipped simultaneously. The compact steel construction is fitted with several, separate controllable swivel/hose combinations. The number can vary from 2 to in excess of 20 for each tower.
The swivel/hose combinations depend on the working area, available in several dimensions, from DN80 (3″) up to DN250 (10″).


The 6430B and 6440B Precision Component Analyzers provide thorough and accurate testing of any passive component to high resolution.
In particular, for capacitor manufacturers, the instruments provide capabilities for both fast automatic production testing and complete design characterisation.
Users include designers of passive components, manufacturing test, designing and testing materials as well as circuit designers who are evaluating component characteristics.
The resonant frequency can be automatically calculated for any component together with its equivalent series or parallel circuit at that frequency.
Both instruments are designed for high performance testing of components, with a basic accuracy of 0.02%, at a low price. 6430B is the entry level instrument covering to 500 kHz whilst the fully featured 6440B covers to 3 MHz.
To evaluate a component performance at high speed over a specified range of frequencies, multi frequency mode is used.
In this mode the operator decides which parameter is to be measured and at what frequencies. The 6430B and 6440B does the rest, creating an easy to read table on the large LCD display. Each test can have a simple Pass/Fail display.


text:
// This file is part of Eigen, a lightweight C++ template library
// for linear algebra.
//
// Copyright (C) 2008 Benoit Jacob <jacob.benoit.1@gmail.com>
// Copyright (C) 2008 Gael Guennebaud <gael.guennebaud@inria.fr>
//
// This Source Code Form is subject to the terms of the Mozilla
// Public License v. 2.0. If a copy of the MPL was not distributed
// with this file, You can obtain one at http://mozilla.org/MPL/2.0/.

#include "main.h"
#include <Eigen/LU>

template<typename MatrixType> void determinant(const MatrixType& m)
{
  /* this test covers the following files:
     Determinant.h
  */
  typedef typename MatrixType::Index Index;
  Index size = m.rows();

  MatrixType m1(size, size), m2(size, size);
  m1.setRandom();
  m2.setRandom();
  typedef typename MatrixType::Scalar Scalar;
  Scalar x = internal::random<Scalar>();
  VERIFY_IS_APPROX(MatrixType::Identity(size, size).determinant(), Scalar(1));
  VERIFY_IS_APPROX((m1*m2).eval().determinant(), m1.determinant() * m2.determinant());
  if(size==1) return;
  Index i = internal::random<Index>(0, size-1);
  Index j;
  do {
    j = internal::random<Index>(0, size-1);
  } while(j==i);
  m2 = m1;
  m2.row(i).swap(m2.row(j));
  VERIFY_IS_APPROX(m2.determinant(), -m1.determinant());
  m2 = m1;
  m2.col(i).swap(m2.col(j));
  VERIFY_IS_APPROX(m2.determinant(), -m1.determinant());
  VERIFY_IS_APPROX(m2.determinant(), m2.transpose().determinant());
  VERIFY_IS_APPROX(numext::conj(m2.determinant()), m2.adjoint().determinant());
  m2 = m1;
  m2.row(i) += x*m2.row(j);
  VERIFY_IS_APPROX(m2.determinant(), m1.determinant());
  m2 = m1;
  m2.row(i) *= x;
  VERIFY_IS_APPROX(m2.determinant(), m1.determinant() * x);

  // check empty matrix
  VERIFY_IS_APPROX(m2.block(0,0,0,0).determinant(), Scalar(1));
}

void test_determinant()
{
  int s;
  for(int i = 0; i < g_repeat; i++) {
    CALL_SUBTEST_1( determinant(Matrix<float, 1, 1>()) );
    CALL_SUBTEST_2( determinant(Matrix<double, 2, 2>()) );
    CALL_SUBTEST_3( determinant(Matrix<double, 3, 3>()) );
    CALL_SUBTEST_4( determinant(Matrix<double, 4, 4>()) );
    CALL_SUBTEST_5( determinant(Matrix<std::complex<double>, 10, 10>()) );
    s = internal::random<int>(1,EIGEN_TEST_MAX_SIZE/4);
    CALL_SUBTEST_6( determinant(MatrixXd(s, s)) );
  }
  EIGEN_UNUSED_VARIABLE(s)
}


text:
Tomlin Firmly Believes Good Defenses Can Still Win Championships
Does defense still win championships in the NFL? I think we saw in last year's Super Bowl that that's indeed still the case as the New England Patriots defense held a potent Los Angeles Rams offense to just three points. This season, the Pittsburgh Steelers are hoping to ride their solid defense into the playoffs and beyond. On Tuesday, Steelers head coach Mike Tomlin was essential asked during his weekly press conference if he's a believer that defenses can still win championships in the NFL. His response wasn't a bit surprising.
"I've always felt good about good defenses controlling the outcome of significant games," Tomlin said. "I believe that that's an axiom of football. I mean, I think that's never gonna change. I think if you've got a good defense, you've got a chance in any circumstance."
The Steelers defense has indeed given the team a chance to win every game this season from Week 2 and on and especially since safety Minkah Fitzpatrick was acquired via a trade with the Miami Dolphins after the first two weeks of the regular season. Since Fitzpatrick's arrival the Steelers pass defense has been one of the top three in the NFL.
The play of the Steelers defense this season has helped the team overcome several mediocre and less than mediocre offensive performances in games. Because of that, it's easy to point to the Steelers defense as being the chief reason why the team currently possesses the No. 6 seed in the AFC entering Week 15.
If you buy into the history of the ANY/A (adjustment net yards per passing attempt) stat, the Steelers are one of 10 teams after 13 games played likely to win the Super Bowl in February. Their defense's 4.8 ANY/A stat entering Week 15 is tied with the Buffalo Bills as the third lowest in the NFL. Additionally, the Steelers enter Week 15 as the league leader in takeaways (33) and sacks (48).
Tomlin has already coached his way to one Super Bowl championship with the Steelers. He did that in 2008 and with the league's best defense that season. That 2008 defense boasted a regular season ANY/A stat of 3.2.
Tomlin's 2010 Steelers team also went to the Super Bowl on the heels of that year's defense posting a 4.3 ANY/A stat during the regular season. That 4.3 ANY/A stat was second only to the Green Bay Packers (4.1), who the Steelers lost in the Super Bowl to that season.
Tomlin was also an assistant defensive coach on the 2002 Tampa Bay Buccaneers team that won the Super Bowl that season. That Buccaneers defense had a league-best 2.3 ANY/A stat after the regular season.
So, does Tomlin really believe that defense wins championships in the NFL and can again in 2019? You're damn right he does, and he should. We'll now find out in the next several weeks if the Steelers 2019 defense can lead the team to a playoff spot and potentially to this year's Super Bowl.
Related Items:Mike Tomlin
Art Rooney II On Tomlin: 'No Question Mike Did A Great Job' Holding Team Together In 2019
Bill Cowher: 2019 One Of Best Coaching Jobs Of Mike Tomlin's Career, But 'He'll Never Admit That'
2020 Offseason Questions: Will Steelers Make Additional Changes To Coaching Staff?


There is nothing more American than the diner. The old fashioned ones with booths and bar seating. Where the cook will make you something not found on the menu. Tastee Diner has been around since 1935. It has the classic diner car and an addition built in the 70s. It's open here 24/7.
I come up here to do some shopping then stop for a cup of coffee. They have nightly specials and blue light specials. The crab cakes here on Thursday are amazing. They are some of the best crab cakes I've had, especially from a diner! They crab cake special on Thursdays runs for $ 11.95. The warm lights above the booths are always inviting especially on a cold winter night. They even have gum and mints for .25 cents at the cash register.
Coming to Tastee Diner is walking back in time and a slice of classic Americana. The best way to get to Tastee Diner is to take the red line metro to the Bethesda Stop – it's only a few blocks away.


text:
Q: Find a specific anchor link from a li to be removed I tried to make a code to remove a li from ul but I would like to be more specific.
I would like to find exact anchor link before removing it along with the li it contains.
In the example below, I want to remove only Another link.
My code so far looks like:

                    link 1

                    Some link 2

                    Another link

                    Small link

And the script so far:
let pickEl = document.querySelectorAll('.working-list li');
    // let pickA = document.querySelector('a[href=\'?c=anotherLink\']');
    console.log(pickEl);
    pickEl[3].remove();

What would be the best approach?

A: You can try using Attribute selectors selector:

let pickEl = document.querySelector('.working-list li a[href="?c=anotherLink"]');
console.log(pickEl);
//remove the parent li
pickEl.closest('li').remove();

          link 1

          Some link 2

          Another link

          Small link

A: You can forEach the pickEl then see textContent like:

let pickEl = document.querySelectorAll('.working-list li');
const deleteText = 'Another link';
pickEl.forEach(el =>{
  const a = el.querySelector('a');
  if(a.textContent.trim() === deleteText){
    el.remove();
  }
});

                    link 1

                    Some link 2

                    Another link

                    Small link


text:
Kelsey Savage is one brave new playwright
Published: April 2, 201311:32 am
For 27 years the University of British Columbia's creative writing and theatre departments have come together to present Brave New Play Rites, an annual festival of theatrical shorts. Looking to join some of its more famous alumni, includeing Dave Deveau and C.E. Gatchalian, are a new group of writers including Kelsey Savage whose new play Class of '93 will receive a professional staged reading at this year's festival.
Telling the story of three women who find themselves hiding in a coat room at their 20 year high school reunion, Class of '93 explores the interactions between the trio who were in very different social circles during school and now find themselves at a crossroads in each of their own lives.
"I had wanted to write a piece about a triangle of women that would represent the body, mind and spirit and what better way than to put them into a setting with a lot of mythology," says Savage a third year creative writing major. "I wanted to explore this mythology of how there are people wanting everyone to believe that they have their shit together and those that don't buy into that notion."
And while Savage does not identify as queer herself, her play does include Sylvia, a strong gay marine who asserts her strong personality by cutting through the bullshit as the three women talk about their lives after high school.
"Sylvia is based on my friend's first girlfriend. She had this absolute magnetism about her and way of talking and carrying herself that everyone was in her orbit," says Savage who confesses her other characters are based on real people as well.
"There are just some people that I meet that I totally know that I am going to write about at some point," she laughs.
Playwright Kelsey Savage and Festival dramaturg Matthew Willis discuss Class of '93. Photo by Briana Brown.
While she had not originally set out to write an overly dramatic piece, Savage does admit that came as a bit of surprise that people find Class of '93 as funny as they do.
"I didn't intend it to be a comedy, but people were laughing," she explains. "I think it is because these people are based on real people and how they really talk."
Her first attempt at playwriting, Savage's script was chosen to be part of the Festival's staged reading series which will see Class of '93 directed by a professional and read by members of the Festival's acting company.
Her play joins five in the reading series and full productions of twelve others over the Festival's five days. Each under fifteen minutes in length, the plays this year include stories of a raccoon couple trying to find affordable real estate, an exploration of two sisters in the wake of a tragedy, and an investigation to determine, once and for all, why the chicken actually crossed the road.
Brave New Play Rites
3 – 7 April 2013
Dorothy Somerset Studio Theatre, UBC
Eighteen playwrights, twelve directors, twenty actors, and twelve designers will be working together to create twelve short productions and a staged reading series of an additional six original plays, all of which are under fifteen minutes in length. This year's festival includes a raccoon couple trying to find affordable real estate, an exploration of two sisters in the wake of a tragedy, and an investigation to determine, once and for all, why the chicken actually crossed the road. Visit http://www.bravenew.ca for more information.
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They come to you on a 1.75" X 3" backcard to give you an idea of size. This pair has a cool bear who has caught himself a trout!
This pair features an adorable fat cat in sunglasses!
Jewelry is etched from nickel silver, brass and copper. Pieces may be polished, brushed or have color applied to them. Each item is completed by adding Austrian crystals, glass beads or stones.
Add a nautical flair to your wardrobe with these gold-plated anchor earrings! Designed to go with any outfit, this casual jewelry is perfect and comfortable to wear for any occasion. Handmade in Colorado and intricately designed, they are also hypoallergenic and feature Sterling Silver and Gold-Plated Ear Wires. The perfect gift for friends and family, these earrings are the epitome of fashionable and stylish!
Add a little pizazz to your accessories with this set of Sienna Sky Whimsical Frazzled Owl Earrings. Enjoy the fun and lightweight design of these earrings designed by Colorado's very own Barbara MacCambridge. Inspired by nature, these dangling earrings feature a silver plated base with French wire backs affixed to a pair of beautifully crafted owl charms in an adorable pose. Packaged in a gift box, these earrings are perfect for the animal-lover in your life or as a way to show your affinity for nature's favorite flying friends!
These earrings are made with pride in the USA! They are shown on a 2.75" X 1.75" card, to help with scale. This pair features a soccer ball.
Your little ballerina will love these toe shoe earrings!


text:
From The Second Seeing by Ryu Ika
Words: Marigold Warner
2nd November 2021
The history of Japanese photobook-making is one of beauty, delicacy and experimentation, often deeply rooted in zeitgeisty culture and of-the-moment politics. Over the years, trends have developed as a response to major events like the Second World War, which left a lasting impression still ongoing today.
Post-war photographers, like contributors of the revolutionary PROVOKE magazine of the 1960s, played with aesthetics to respond to the mood of the era. Out of focus and grainy, their style of shooting became known as 'are-bure-boke': a Japanese term literally meaning "rough, blurred and out-of-focus".
Since then, some of the best photobooks on offer here in the UK remain love letter exports of Japan, from the vivacious eroticism of Nobuyoshi Araki's Sentimental Journey (1971) to the melancholic obsession of Masahisa Fukase's The Solitude of Ravens (1986). And these days, the surreal, often poetic works by contemporary artists like Rinko Kawauchi, Daisuke Yokota and Lieko Shiga leave a lasting impression through their subversive styles. The influence of PROVOKE is apparent in a new generation of image-makers and publishers, continuing to respond to the socio-political world around them.
From dystopian interpretations of bleak reality to avant-garde archives of club night nostalgia, let's take a walk through the best new photobooks coming out of Japan.
The Second Seeing by Ryu Ika
Disturbing, but utterly captivating, Ryu Ika's photographs play with the fine line between reality and fiction. The Japanese photographer's approach is candid – images often appear blurred, distorted, or cast in an unforgiving flash – but the results are charged with intention. Drawing on everyday moments with an element of the absurd, Ryu's debut photobook, The Second Seeing, is a commentary on contemporary society and our perception of reality. Distinctly self-aware, the work poignantly asks how authentic our lives can be in a society that continually expects us to perform.
Palam by Takashi Yatoo
Born and raised in Osaka, Japan, Takashi Yatoo started taking pictures 25 years ago, when his father – an amateur photographer – died. Yatoo's father was a second-generation Korean. Growing up in a country with a deep history of discrimination against people with Korean heritage, he faced many hardships throughout his life. "My father had to live a life known to many Korean residents in Japan," reflects Yatoo, in an artist's statement.
In this debut photobook, Palam (Korean for "wind") – self-published and edited in collaboration with fellow artist Momo Okabe – Yatoo combines his own images with his father's family archive. While the project is a way of reconciling his troubled relationship with his father and the challenges they faced as a family, it is also a deeply personal documentation of his family history, identity and celebration of his roots.
'70s Tokyo Transgender by Satomi Nihongi
A series of 127 vintage scans from the 1970s, these portraits were made in the gay bars of Tokyo's nightlife districts Shinjuku, Akasaka and Aoyama. Satomi Nihongi – an artist championed by the notorious erotic photographer Araki – began documenting the clubs for a personal project. Eventually, the clubs were reaching out to her, asking her to photograph their events. Many of these images are unseen 'til now, published for the first time by Komiyama Books in a limited run of 500. The portraits were made almost 50 years ago and today, they take on a renewed relevance: Japan is the only G7 state without laws to prohibit discrimination on grounds of sexual orientation, let alone laws to permit same-sex marriage. Nihongi's book brings about an opportunity to both celebrate this culture and raise awareness for a country desperately needing change.
Unlirice Volume 00
Hailing from Tokyo, the concept for Unlirice was born from the question: "What exactly is 'Asia' to begin with?" But, rather than aiming to depict the diversity of different Asian identities, or calling for pan-Asian solidarity, the magazine's ethos is simple: to celebrate Asian art. As the editor writes in their introduction: "It seems that we still don't recognise each other for who we are. So we've tried to sketch a map that makes it possible for us to notice one another." While its focus is on photography, the contributors are from a spectrum of artistic backgrounds, including Japanese photographer Motoyuki Daifu, Chinese artist Chen Ronghui, Singapore-based journalist Nyshka Chandran and Indonesian DJ collective Gabber Modus Operandi.
The Blitz Kids by Herbie Yamaguchi
It was 1980s London. Punk rock was waning, and the New Romantics movement was beginning to take shape. A budding photographer at the time, Herbie Yamaguchi, was introduced to the exclusive world of the Blitz Kids: the Tuesday-night regulars of the Blitz in Covent Garden, widely credited as the founders of the New Romantic movement. "There was an artistic, pop, and sophisticated feeling to their expression," writes Yamaguchi, who photographed them in vibrant Kodachrome colour film, eager to capture their avant-garde style in full bleed. Within a few years, artists and musicians emerged out of this young crowd at the Blitz. Yamaguchi's latest photobook, published almost 40 years since he first stepped into the club, immortalises the spirit of this brilliantly transgressive subculture.