A week has passed since protests broke in the capital Manama on February 14th calling for real democracy in the Kingdom. Seven men have lost their lives, with the latest martyr Abdulredha Mohammed passing away on Monday in Salmaniya Hospital after being shot by military forces on Friday.
In support of the protesters at Pearl (Lulu) Roundabout, the Bahrain Teachers Society [ar] continued their strike from Sunday despite other labor unions in the kingdom lifted their plans of holding a nationwide strike.
With the strike hitting hard on schools across the country, the Ministry of Education had no choice but to make an appeal for volunteer teachers to fill in for the striking teachers. The Minister of Education Dr. Majed Al-Noaimi appeared on national TV and announced that over 1074 people came forward to teach and run the schools.
@bahrain_bahrain #Bahrain #unitebh: Even if a unity of faith is not possible, a unity of love is.
The hashtag was lauded by Bahrain's Minister of Foreign Affairs Shaikh Khalid bin Ahmed Al-Khalifa – an enthusiastic Twitter user during a live interview on National TV.
@abdullaameer Congrats @Redbelt, @khalidalkhalifa just mentioned the #UniteBH you started on BTV!
@Redbelt So today as I typed #UniteBH I never thought it would catch on and end up mentioned on tv by our foreign minister @khalidalkhalifa! Thanks!
I implore people to stop listening to the hogwash lies being spread, done so to scare people and ensure we are divided.
Who would benefit from this divide, certainly not Bahrain's citizens?
Try looking at similarities not differences, you'll notice they far out weight the differences, make them your priority and concentrate on them when you meet your fellow Bahraini.
We can all agree to disagree, but we do not have to stop being courteous, well mannered, pleasant; or to stop talking & fight one another.
Let us instead understand the other point of view.
A rally calling for National Unity was held at Al-Fateh Mosque with unprecedented numbers of attendees with national TV announcing that there was over 300,000 people.
Many in the Bahrain Twittersphere reacted positively to Al-Mahmood's speech.
On the other hand, the live video feed to Pearl (Lulu) Roundabout has been reinstated and can be viewed here.


text:
Private Equity Steps Up in Africa — Part I
In collaboration with EY, Jul 14, 2013
Private Equity Steps Up in Africa -- Part I
http://media.blubrry.com/kw/p/d1c25a6gwz7q5e.cloudfront.net/audio/130712_EY_PE_01.mp3
GDP growth in Sub-Saharan Africa last year hit 4.4%, with a third of the countries in the region growing at a robust 6% annual rate. Many analysts believe this helps sets the stage for long-term growth, underpinned by a growing middle class and rising foreign investment. That, in turn, is helping to grow the services sector while reducing dependence on natural resources. Accompanying this growth is a pickup in private equity activity (PE), which offers more promise for economic development. To learn more about that, Knowledge@Wharton spoke with three PE experts in this first part of a two-part podcast:
Michelle Kathryn Essomé, chief executive of the African Venture Capital Association (AVCA);
Michael Rogers, global deputy sector leader for private equity at EY; and
Stephen M. Sammut, senior fellow and lecturer at Wharton.
View Private Equity Steps Up in Africa – Part II
"Private Equity Steps Up in Africa — Part I." Knowledge@Wharton. The Wharton School, University of Pennsylvania, 14 July, 2013. Web. 19 January, 2020	<https://knowledge.wharton.upenn.edu/article/ey-private-equity-steps-up-in-africa-part-i/>
Private Equity Steps Up in Africa — Part I. Knowledge@Wharton (2013, July 14). Retrieved from https://knowledge.wharton.upenn.edu/article/ey-private-equity-steps-up-in-africa-part-i/
"Private Equity Steps Up in Africa — Part I" Knowledge@Wharton, July 14, 2013,
accessed January 19, 2020. https://knowledge.wharton.upenn.edu/article/ey-private-equity-steps-up-in-africa-part-i/
What's Ahead for the U.S. Housing Market in 2020?
Low interest rates and rising demand from millennials should bolster the market in the year ahead, even while housing supply continues to run short, say experts.
Can Fintech Make the World More Inclusive?
The potential gains for the start-ups driving fintech are obvious. But the possibilities for extending financial services to the under-served are already being realized and can be extended further, notes this opinion piece.
Succeeding Against All Odds: Vanke's Songhua Lake Ski Resort
In late 2014, Vanke, one of China's largest real estate companies, embarked on a new chapter in its corporate history with the launch of a 40 billion yuan (US $6 billion) ski resort in Songhua Lake, Jilin Province. The resort[…]

redpajama_set_name: RedPajamaCommonCrawl


In order to beat bully Buford in an upcoming thumb-wrestling tournament, Phineas and Ferb must rely upon the expertise of boxer Evander Holyfield (supplying his own voice). Elsewhere, it's Perry the platypus to the rescue when Dr. Doofenshmirtz invents a machine that will place anyong who sings "Happy Birthday" under his spell--so that they will be forced to attend HIS birthday party. Song: "He's a Bully".


text:
DS (motorfiets), een historisch motorfietsmerk
 Citroën DS, een type auto
 DS Automobiles, een automerk, afsplitsing van het merk Citroën
 Nintendo DS, een draagbare spelcomputer
 easyJet Switzerland, aangeduid met de IATA-luchtvaartmaatschappijcode DS

 Dominee, afgekort ds.
 Droge stof (ook wel DS)
 de lengte van een infinitesimaal stukje van een kromme; zie Booglengte

 Darmstadtium, een chemisch element

 De Standaard, een Belgische krant
 De Sitter-metriek (), een begrip uit de algemene relativiteitstheorie

redpajama_set_name: RedPajamaWikipedia


text:
Q: VS Code no me ejecuta un programa con librerias propias Tengo 3 archivos, un main.cpp y dos librerias, una .h y una .cpp, al momento de depurar y ejecutar, Visual me dice que no reconoce la clase de mis librerias, me aparece el siguiente error:

C:\w64devkit-1.17.0\w64devkit\bin/ld.exe: C:\Users\admin\AppData\Local\Temp\ccpsbWrr.o: in function main': D:/Nikolas/Programacion/Proyectos code/Project_0001_Expo/main.cpp:13: undefined reference to Time::toUniversalStringabi:cxx11 const'
C:\w64devkit-1.17.0\w64devkit\bin/ld.exe: D:/Nikolas/Programacion/Proyectos code/Project_0001_Expo/main.cpp:14: undefined reference to Time::setTime(int, int, int)' C:\w64devkit-1.17.0\w64devkit\bin/ld.exe: D:/Nikolas/Programacion/Proyectos code/Project_0001_Expo/main.cpp:18: undefined reference to Time::setTime(int, int, int)'
collect2.exe: error: ld returned 1 exit status

En otros editores como SublimeText funciona con normalidad.

#include <iomanip>
#include <stdexcept>
#include <iostream>
#include "time.h"
using namespace std;

int main() {
    Time t;

    cout<<"Tiempo actual: ";
    t.toUniversalString();
    t.setTime(13,27,6);

    try {
        t.setTime(99,99,99);
    } catch (invalid_argument& e) {
        cout <<"Excepción: " << e.what() << "\n\n";
    }
}

redpajama_set_name: RedPajamaStackExchange


text:
Ronnie Janecka
District: Harris County
Administrative: Communications, Communications - Secretary
Legislative: Criminal Justice, Criminal Justice Vice Chair
I am a 6th generation Texan and a 1st generation native Houstonian. In 1966 I received a Bachelor of Fine Arts degree from the University of Houston, Main Campus with emphasis on technical theater.
One has to be skillful in supervising difficult people when stage managing, and give appropriate attention to reducing tension to take prompt measures in preventing performance and behavior problems before they become irreversible.
Some of the plays I stage managed were: "Caligula" by Albert Camus, "Thieves Carnival" by Jean Anouilh, "Skin of our Teeth" by Thornton Wilder, "William and Mary" by Jan de Hartog, just to name a few.
"Macbeth" by William Shakespeare, "The Country Girl"by William Inge effectively displayed my skills as sound technician.
After graduation from college, I took pride in contributing to The Alley Theater's Merry-Go-Round drama school for children and teens, sometimes writing my own scripts and producing them at mid semester. At the end of each semester "The Yellow Brick Road" was produced and directed by the drama staff and their students.
From 1984 to 2013, I was dedicated to Continental Airlines as a Flight Attendant, both domestic and internationally. In 1988 a company leave of absence was offered to collaborate my leadership skills to work with Continental Airlines and The Light House of Houston. There had never existed before a Passenger Safety Information book that had been transcribed and brailled into five languages: German, French, English, Spanish, and Japanese. Truly this endeavor was a labor of love!
In 2005 I volunteered to fly Operation Iraqi Freedom in fighting the global war on terrorism. For this I was awarded the CRAF medal, Certificate of Appreciation and recognition from the United States Air Force.
Organizations I serve with pride are: The Colonial Dames of the Seventeenth Century, Daughters of the American Revolution, Daughters of the Republic of Texas and United Daughters of the Confederacy.
The Judah P. Benjamin Certificate of Award is given by the UDC in memory of the contributions of the Confederate statesman, Judah P. Benjamin. This award honors individuals for their outstanding civic, conservation, educational and patriotic endeavor for exhibiting love of country and commitment to make our nation great. This Certificate reads: "for volunteering as a flight attendant three round trips flights in support of Operation Iraqi Freedom and her assistance with bringing home of returning troops the remains of wounded and the remains of American Patriots"..11June2011.
The Jefferson Davis Historical Gold Medal and certificate are awarded to those who have been instrumental in promoting the goal of the UDC thru essays, declamations, and other areas of special achievements. It remains one of the most prestigious awards given by the organization. This award reads: "for outstanding contributions to the preservation of Confederate history by researching and sharing the story of my Confederate ancestor, JOHN F GISCH, and the artwork he drew while a Prisoner of War at Rock Island ,Illinois"..20Jun2015
"History Detectives" was a PBS series (and the forerunner of genealogy programs) where investigators crisscrossed the country delving into legends, folklore and personal histories to discover truths about these artifacts. John Gisch was my personal story I shared. Speaking engagements were always available to draw attention from my presentation and then I would captivate the audience with the 18 minute power point video from History Detectives where John Gisch's G-granddaughter appeared.
In October, 2021, I will travel to Moss Point, Mississippi for the 9th Annual Historic Griffin Cemetery Tour as the presenter for gravesite of John Gisch and his family.


This morning the children had a wonderful time outside in the conservation area on a gloriously sunny clear morning, listening out for the woodland bird calls.They then worked as a team to play the various parts of the structure of a tree which was very interesting and somewhat hilarious too!
The tree formed a stage in the life of a particle which we followed along it's life journey from "The Big Bang" through various ecosystems to it's place in the soil today. We also thought about where our particle might end up next.
After lunch we used our newly gained wildlife knowledge to identify tracks and signs of the mammals who live at Stubbington, including long tailed woodmice, badgers, deer and foxes. The children then spent time making inviting "hotels" for the wood mice which we left in special tunnels in the conservation area. Tomorrow morning we will see whether any of our small local furry friends decided to make use of their free accommodation!
After tea we spent some time together as a year group and played the Bat and Moth game, that we had learnt earlier, again. The children then played a game called Pirates, the teachers dressed up as pirates and hid around the site. The children had to hunt them down by torchlight in order to work out who had stolen the treasure and decide who did not have a solid alibi. The winning team consisted of Archie, Dylan, William.
The day ended with our visit to the Hide. This evening as the children were exceptionally quiet, we were very lucky to see foxes and badgers. The children were delighted to see these animals up close and were enthralled by how cute and cuddly they looked!
We have focused on teamwork today with the activities we have completed.
We then took part in an activity called 'Eggstreme', in which the children took part in team building activities as pictured below in order to win counters. These counters were then used to purchase materials such as bubble wrap, newspaper and butter pots. They had to come up with a design within their budget that would protect their eggs when it was throw from a catapult. All staff, including that at Stubbington mentioned how well the children worked together and showed their enthusiasm towards all parts of the task.
In the afternoon, we took part in various activities based around trees. We first collected a range of natural things in a variety of colours to represent the rainbow then compared that to a range of greens from the environment. The children were then blindfolded with a partner and had to feel the features of one tree, then guess which tree it was after the blindfold was removed. The last activity focused mainly on learning about what trees needed to grow, the children then searched the surrounding area for clues- pictured below to answer a quiz together.
As our evening activity we looked at our shells we collected yesterday under microscopes and sketched them. Then we took part in a Stubbington quiz, and crowned a winner. Finally to end our evening we had an enthralling display and discussion from wildlife photographer Dennis Bright. The children were laughing and cooing at all of the cute pictures of foxes and owls.
Miss Lewis will be taking over from me tomorrow but will continue to update the blog.


text:
Biografia
Giorgio Vasari scrive che il Taddei possedette un bassorilievo di marmo scolpito da Michelangelo e rappresentante l'effigie della Madonna. L'opera, detta Tondo Taddei, si trova oggi a Londra presso la Royal Academy of Arts.

Il Vasari afferma, inoltre, che Raffaello, ospite del Taddei nel palazzo situato al numero 19 di via de' Ginori (oggi Palazzo Tolomei-Biffi), oppure nel Palazzo Taddei al numero 15, donò allo stesso due quadri raffiguranti soggetti religiosi: si tratta della Madonna del Prato oggi al Kunsthistorisches Museum di Vienna e della Sacra Famiglia con palma, oggi alla National Gallery of Scotland di Edimburgo.

Baccio d'Agnolo, come afferma il Vasari, fece ancora la casa de' Taddei a Taddeo di quella famiglia, che fu tenuta comodissima e bella, quella situata appunto al numero 19.

Note

Bibliografia
 Antonio Fredianelli, I palazzi storici di Firenze. Dalle austere dimore dei banchieri e dei mercanti agli splendori degli edifici rinascimentali, dai capricci del Barocco all'eclettismo dell'Ottocento e oltre, Roma, Newton Compton, 2007. ISBN 978-88-541-0920-9

Voci correlate
Famiglia Taddei
Palazzo Taddei
Palazzo Tolomei-Biffi
Via Taddea


text:
/** @file
 * @brief Bluetooth Link Layer shell functions
 *
 * This is not to be included by the application.
 */

/*
 * Copyright (c) 2017 Nordic Semiconductor ASA
 *
 * SPDX-License-Identifier: Apache-2.0
 */

#ifndef __LL_H
#define __LL_H

int cmd_ll_addr_get(const struct shell *shell, size_t argc, char *argv[]);

int cmd_advx(const struct shell *shell, size_t  argc, char *argv[]);
int cmd_scanx(const struct shell *shell, size_t  argc, char *argv[]);

int cmd_test_tx(const struct shell *shell, size_t  argc, char *argv[]);
int cmd_test_rx(const struct shell *shell, size_t  argc, char *argv[]);
int cmd_test_end(const struct shell *shell, size_t  argc, char *argv[]);
#endif /* __LL_H */

redpajama_set_name: RedPajamaGithub


text:
This on-line exhibit encompasses all aspects of the Irish and Irish Americans in American entertainment. This exhibit is also one of our popular touring exhibits.
We provide a picture of the artist and a brief paragraph on their career plus links to other sites to help you learn more about these great artists.
WIMA Hall of History
Bandleader
A Leitrim-born uilleann piper, Patrick Fitzpatrick recorded this set of jigs back in 1917.
One of Paddy Killoran's band members and collaborators, Jack Healy had one foot in the jazz world and the other in the 1930s New York Irish music scene.
Bunny Berigan
Berigan's uninhibited jazz style inspired and dominated every group with which he played.
Chieftains
The original traditional Irish folk band, as far as anyone who came of age in the 1970s or 1980s is concerned, is The Chieftains.
Dan Emmett
Besides "Old Dan Tucker" and "Dixie," other famous songs credited to Emmet are "Turkey in the Straw," "The Blue Tail Fly," and "De Boatman's Dance."
Born John Florence Sullivan, Fred Allen is best known today for his radio shows of the 1930s-40s.
Gracie Allen was one of the great comediennes of the twentieth century.
The career of John Ford lasted 51 years and he directed 136 films.
Huston's long career included directing 44 films and acting in 37
Michael Whitey Andrews
One of the first guitarists in Irish music, Michael Whitey Andrews is primarily known for his recording work with Michael Coleman and Paddy Killoran in the 1930s.
A frequent collaborator of Paddy Killoran in the 1930s and John O'Neill in the 1950s, Paul Ryan was a multi-instrumentalist, known for playing fiddle, viola, clarinet, and accordion.


text:
How is Spyware different from a virus?
In short, spyware is a specific type of unwanted software that covertly collects your information. A virus is a specific way software can be covertly distributed, often by e-mail. Both spyware and viruses can cause damage to your computer or cause you to lose important data.
How is SQL executed? order of execution of sql query.
What is the difference between spyware and virus?
What's the difference between a virus a worm a Trojan and spyware?
What is the difference between spyware and spam?
How is Spyware different than the other security threats?
Is spyware considered a virus?
What is a spyware virus?
What are examples of spyware?
What is the difference between spyware and worm?
What is difference between spyware and adware?
Is Spyware also known as adware?
Is Trojan Horse A malware?
Are spam and virus the same?
Does malware protect against viruses?
Is a Trojan worse than a virus?
Is anti spyware and antivirus the same?
Can antivirus detect spyware?
How can spyware be prevented?
Can spyware be detected?
What is spyware and its types?
Why is spyware considered to be a security threat?
What is spyware and how does it operate?
What are the three kinds of spyware?
What are the four types of spyware?
What is spyware in simple words?
What is network virus?
How are viruses different from worms?
Is Macro A virus?
What is the difference between spyware and adware Class 9?
What is the relationship between hackers and viruses?
What is the primary function of spyware?
Are common threat to computer and the Internet as a whole?
Can you get spyware from visiting a website?
What is the most damaging computer virus?
Was the Trojan War real?
What is a logic bomb virus?
How does a computer get infected with a virus or spyware?
Does Malwarebytes remove viruses?
Is ransomware a virus?
What is the best protection against malware and spyware?
What is anti spyware?
1. A Virus is a malicious executable code attached to another executable file which can be harmless or can modify or delete data. Spyware is a form of malware designed to collect your personal information.
Viruses are executed via executable files. Worms are executed via weaknesses in system. Trojan horse executes through a program and interprets as utility software.
Spyware is software that is solely created to take control of someone's computer without them knowing. … Anti Spam Software – this software tries to eliminate unsolicited and unwanted emails. These emails won't even reach your inbox with the use of a good Anti Spam program.
Know Security Threats by What They Do Other malicious programs take their names from what they do. Spyware, not surprisingly, refers to software that spies on your computer and steals your passwords or other personal information. … Rootkits can perform the same type of chicanery on requests for data from the Registry.
Spyware is a type of malware that collects your personal information and gathers data about you without your consent. Viruses are a type of malicious software designed to spread from your device to other devices.
Spyware is any software that installs itself on your computer and starts covertly monitoring your online behavior without your knowledge or permission. Spyware is a kind of malware that secretly gathers information about a person or organization and relays this data to other parties.
CoolWebSearch (CWS) CoolWebSearch may hijack any of the following: Web searches, home page, and other Internet Explorer settings. …
Gator (GAIN) …
180search Assistant. …
ISTbar/AUpdate. …
Transponder (vx2) …
Internet Optimizer. …
BlazeFind. …
Hot as Hell.
A Worm is a form of malware that replicates itself and can spread to different computers via Network. Spyware is a form of malware designed to collect your personal information.
Spyware and Adware are essentially the same thing. The primary difference is that adware is used to pop-up ads that are meant to be meaningful to you, whereas spyware may pop-up ads that are offensive or have nothing to do with your interests. Both are annoying and can overwhelm your browser with pop-ups.
Spyware, also known as "adware," is software that sends information from your computer to a third party without your consent.
A Trojan Horse Virus is a type of malware that downloads onto a computer disguised as a legitimate program.
Types of email viruses. Email viruses can take many different forms: Email spam. Email spam, also known as unwanted or unsolicited email, usually spreads malware through links in the message.
While antivirus software can protect against common types of viruses, antimalware software works to detect new iterations of infections.
A Trojan horse is not a virus. It is a destructive program that looks as a genuine application. Unlike viruses, Trojan horses do not replicate themselves but they can be just as destructive.
Antivirus software is a software which is designed to detect, block and then remove a virus from our computer system. Anti Spyware is a software which aims to detect specific set of malicious applications known as Spywares. 2.
Run an antivirus scan to detect spyware or any other forms of malware and viruses. Follow the instructions from the app to remove the spyware and any other threats that may be lurking.
Here are a few tips that will help prevent spyware from creeping its way into your digital life: Use trusted antivirus software with anti-spyware features. Don't download suspicious-looking email attachments. Don't click on online pop-ups.
Computers were the original focus for spyware creators, but now spyware can be found taking advantage of vulnerabilities in Android phones, iPhones, and tablets, too.
Spyware is a type of malware that is secretly fed into a device and observe activities on the device and send it to the snoopers. The criminal then uses that information to track online activity and may be sold in the black market.
Spyware works similarly to adware, but is installed on your computer without your knowledge. It can contain keyloggers that record personal information including email addresses, passwords, even credit card numbers, making it dangerous because of the high risk of identity theft.
Spyware is a kind of malware that monitors and tracks your device and internet activity to gather information for third parties. It works underground or attaches to your device's operating system. This way, you hardly even know that they are there.
There are several types of spyware such as browser hijack, adware, keyboard loggers and much more. Each type of such malicious software has its own technique of working.
Spyware is mostly classified into four types: adware, system monitors, tracking including web tracking, and trojans; examples of other notorious types include digital rights management capabilities that "phone home", keyloggers, rootkits, and web beacons.
Definition: Spyware is the term given to a category of software which aims to steal personal or organisational information. … It is used to record the keystrokes which could be fatal as it can record passwords, credit card information etc.
The strictest definition of a "network virus" describes a relatively new type of malware that spreads from computer to computer without having to drop a file-based copy of itself in any of the affected computers. These viruses exist only as network packets, when they move from one computer to another, and in memory.
The primary difference between a virus and a worm is that viruses must be triggered by the activation of their host; whereas worms are stand-alone malicious programs that can self-replicate and propagate independently as soon as they have breached the system.
A macro virus is a computer virus written in the same macro language as the software it infects — common victims include Microsoft Excel and Word. Because they target software rather than systems, macro viruses can infect any operating system. So a macro virus can infect a PC or Mac.
S.No.ADWARESPYWARE1.Adware is similar to a spyware and it can be both intrusive and difficult to eradicate.Spyware is a form of malware designed to collect your personal information.
Hackers are experts in technology who use their knowledge to break into computers and computer networks, either for profit or just for the challenge. A virus is software written with malicious intent to cause annoyance or damage. Some hackers create and leave viruses, causing massive computer damage.
Spyware is one of the most common threats to internet users. Once installed, it monitors internet activity, tracks login credentials and spies on sensitive information. The primary goal of spyware is usually to obtain credit card numbers, banking information and passwords.
Computer Viruses Computer viruses are the most common among internet security threats out there. Viruses enter your computers by attaching to a host file or a system. Once they enter your computer, they can create damage instantly or remain dormant.
You can fall victim to malware by either clicking on an infected ad or even just by visiting a website that is home to a corrupted ad. This second type of malware attack, known as drive-by downloads, is especially troubling.
1. Mydoom – $38 billion. The worst computer virus outbreak in history, Mydoom caused estimated damage of $38 billion in 2004, but its inflation-adjusted cost is actually $52.2 billion. Also known as Novarg, this malware is technically a "worm," spread by mass emailing.
For most ancient Greeks, indeed, the Trojan War was much more than a myth. It was an epoch-defining moment in their distant past. As the historical sources – Herodotus and Eratosthenes – show, it was generally assumed to have been a real event.
A logic bomb is a malicious piece of code that's secretly inserted into a computer network, operating system, or software application. It lies dormant until a specific condition occurs.
How do computer viruses spread? Viruses can be spread several ways, including via networks, discs, email attachments or external storage devices like USB sticks. Since connections between devices were once far more limited than today, early computer viruses were commonly spread through infected floppy disks.
Malwarebytes free antivirus includes multiple layers of malware-crushing tech. Our anti-malware finds and removes threats like viruses, ransomware, spyware, adware, and Trojans.
But is ransomware a virus? No, it's a different type of malicious software. Viruses infect your files or software, and have the ability to self-replicate. Ransomware scrambles your files to render them unusable, then demands you pay up.
Best free Windows antivirus. Microsoft Defender. …
Best antivirus subscription for Windows. Norton 360 with LifeLock Select. …
Best free antivirus alternative for Windows. Bitdefender Antivirus Free Edition. …
Best on-demand Windows malware removal. …
Solid subscription antivirus alternative.
Anti-spyware software is a type of program designed to prevent and detect unwanted spyware program installations and to remove those programs if installed. Detection may be either rules-based or based on downloaded definition files that identify currently active spyware programs.
Who is San Diego representative?
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What happens when FedEx doesn't deliver your package?
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What Toyota cars are recalled for airbags?
What is the root word for Micro?
What are the positive and negative symptoms of schizophrenia quizlet?
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What's the difference between green tomatoes and red tomatoes?
How is ammonium nitrate fertilizer made?


3 yrs. & up. Build your STEM skills while having fun watching the marbles race down the track! Straight rails, high-velocity seesaws and an assortment of accelerators provide hours of constructive play! Size: 20-1/2" L x 3" W x 13-3/8" H.


text:
Green v. Reyes, No. B14-92-00680-CV
Court Court of Appeals of Texas
Writing for the Court Before J. CURTISS BROWN; PER CURIAM
Citation 836 S.W.2d 203
Docket Number No. B14-92-00680-CV
Decision Date 30 June 1992
Parties Raymond Eugene GREEN, Appellant, v. Ben REYES, Appellee. (14th Dist.)
836 S.W.2d 203 Raymond Eugene GREEN, Appellant,
Ben REYES, Appellee. No. B14-92-00680-CV. Court of Appeals of Texas,
Houston (14th Dist.). June 30, 1992.
Eugene Jones, Houston, Randall B. Wood, Austin, Jack C. Ogg, Houston, for appellant.
William H. White, Gerald M. Birnberg, Houston, for appellee.
Before J. CURTISS BROWN, C.J., and MURPHY and CANNON, JJ.
PER CURIAM.
This is an accelerated appeal in an election contest. Appellant, Raymond Eugene Green, appeals from the trial court order of a new election in the Democratic nomination for United States Representative to the 29th Congressional District. In eighteen points of error, appellant asserts that the trial court abused its discretion by declaring the election canvass void and ordering a new election. We affirm.
Appellee, Ben Reyes, brought an election contest pursuant to section 232 of the Election Code challenging the final canvass as not reflecting the true outcome of the election. See TEX.ELEC.CODE ANN. § 232.001 et seq. (Vernon 1986). Both appellee, Ben Reyes, and appellant, Raymond Eugene Green, were candidates in the Democratic primary runoff election for Democratic party nominee to the 29th Congressional District. The April 14, 1992 election primary runoff yielded a 180 vote margin of victory for appellant. Appellee's election contest petition argued that a significant number of voters had cast votes in both the Republican primary contest on March 10, 1992 and subsequently participated in the April 14, 1992 Democratic primary runoff. Under the Texas Election Code, the ballot of voters who cast ballots in both the Republican and Democratic primary elections are void. See TEX.ELEC.CODE ANN. § 162.013 (Vernon 1986). Therefore, such ballots are illegal votes and not legally countable. See TEX.ELEC.CODE ANN. § 221.003 (Vernon 1986). Appellee provided a list of 431 names and addresses of the illegal crossover voters which had been compiled by the accounting firm of Arthur Andersen & Company. The company had compiled the list through a detailed comparison of voter names, voter registration numbers and precinct numbers. The list included the names of only those voters who had voted in both the March 10, 1992 Republican Primary and the April 14, 1992 Democratic Primary runoff.
During an eleven day trial, the court heard testimony from 313 of the 431 allegedly illegal voters. Many of the voters
appeared at trial to testify; a few were deposed by telephone; and some others submitted affidavits. Many witnesses expressed dismay and anger that the trial court was demanding that they reveal for whom they had voted when generally voters enjoy a constitutional right not to do so; however, the trial court properly advised the voters that this protection does not extend to voters who have cast illegal votes. See, e.g., Ex Parte Henry, 132 Tex. 575, 126 S.W.2d 1 (1939). See also TEX.ELEC.CODE ANN. § 221.009(a) (Vernon 1986). Nevertheless, the trial court issued admonishments to each witness that although voting in both political party's election primary is a crime, "nothing you testify to in this case can ever be used against you." The court determined that the number of illegal votes was truly 429 and that of those votes, 220 illegal votes were cast in favor of Green, 75 illegal votes in favor of Reyes, 8 votes were not illegal at all 1, and 126 votes were unable to be attributed to either candidate because the testimony of the voter was unable to be obtained or the voter did not remember how he or she voted. Thereafter, both appellant and appellee brought forth expert testimony to show that statistically the vast majority of the 126 undetermined illegal votes would have been cast for their opponent.
After deducting the number of attributable illegal votes from each side, Green maintained a 41 vote margin of victory. Once the trial court has determined which illegal votes it can subtract as attributable to either candidate and which illegal votes are unascertained, section 221.012 provides that:
(a) If the tribunal hearing an election contest can ascertain the true outcome of the election, the tribunal shall declare the outcome.
(b) The tribunal shall declare the election void if it cannot ascertain the true outcome of the election.
TEX.ELEC.CODE ANN. § 221.012 (Vernon 1986). The trial court exercised its authority under the election code and ordered the election void because the margin of victory was less than the number of unascertained illegal votes. TEX.ELEC.CODE ANN. § 221.009(b) (Vernon 1986).
In support of this ruling, the trial court issued its Findings of Fact and Conclusions of Law as follows:
A. Findings of Fact
1. On April 14, 1992, the Democratic Party of Harris County held a primary run-off election to determine the party's nominee for the newly created 29th Congressional District. The two men running for that election were Ben Reyes, a long-time Houston city councilman, and Raymond Eugene Green, a state senator from the Houston area. The final canvass of the April 14 run-off election showed that Green had won by a 180 vote margin. The April 14 runoff followed a March 10, 1992 general primary, held in both major political parties. Pursuant to a stipulation made by the two parties the final canvass of the election reflected the following totals for each of the candidates: Raymond Eugene Green--15,844 votes; Ben Reyes--15,664 votes.
2. After Reyes had filed this lawsuit, but before the trial had commenced, the Harris County Clerk, Anita Rodeheaver, discovered 22 unopened and uncounted ballots from the Democratic run-off. The ballots were later opened under the supervision of the court and found to reflect the following totals for each of the candidates: Raymond Eugene Green 14 votes, and Ben Reyes 8 votes. When added to the vote count stipulated to by the parties, the court finds that the final canvas should be adjusted to represent the following totals for each of the candidates: Raymond Eugene Green--15,858 votes; Ben Reyes--15,672 votes. This produces a margin of victory for Green of 186 votes.
3. Voting records kept by the Harris County Clerk's office showed that 431 individuals had signed-in to vote at the Republican primary on March 10, 1992 and subsequently
signed-in to vote in the Democratic Primary Run-off election on April 14, 1992. See Plaintiff's Exhibits 1a-1f; Testimony of Barbara Duganier of Arthur Andersen & Co.
4. Additional evidence indicates that the correct number of individuals that apparently voted in both the Republican primary and the Democratic run-off was 429. Of these, approximately 97.5% (418) probably voted in the Green/Reyes race in the multi-race run-off election, because that percent of all run-off voters cast a vote for one candidate or the other in the Green/Reyes race.
5. During eight days of the trial, Reyes caused subpoenas to be issued for 292 of the 429 identified "crossover" voters. Of those 292 voters, 246 voters actually appeared to give evidence either in person (212) or through telephone depositions (34) supervised by the court. The number who testified by deposition were permitted to do so because of disabilities or circumstances that materially impaired their ability to come to the courthouse. The remaining individuals fell into several different categories: crossover voters that were subpoenaed but failed to appear; crossover voters that resisted service; crossover voters that evidence showed had moved and could not be located; and others that neither party chose to subpoena. Reyes also tendered into evidence affidavits from eight crossover voters. The affidavits were admitted into evidence as statements against interest. TEX.R.CIV.EVID. 803(24).
6. Following presentation of the Contestant's witnesses, the Contestee presented 59 voter witnesses in court over a two day period.
7. At the close of evidence, the court had heard evidence concerning the voting conduct of 313 alleged crossover voters. Of those 313 voters, the court finds that they included 220 illegal votes for Green, 75 illegal votes for Reyes, 10 illegal voters who could not remember how they voted or if they voted in the race in questions, and 8 votes that were not illegal. These findings must be viewed with caution since many of the voters who disclosed their vote did so with qualifications such as "I think" or "I probably."
8. The voting conduct of 126 of the identified crossover voters could not be ascertained for reasons such as failed memory (the 10 described in FOF 7), failure to appear pursuant to subpoena, obstacles to service, or for other reasons were not called to testify.
9. Subtracting the ascertainable illegal votes (See FOF 7) from the candidates' total votes would produce a 41-vote margin of victory for Green.1 This margin, however, based only on a subset of the entire apparent illegal voter population, cannot provide the degree of certainty necessary for this court to declare the true outcome of the election. The number of unascertained votes is greater than three times the margin of victory established by the sample of voters whose voting conduct was determinable by the court. These unascertained votes must be considered by the court in making its judgment. TEX.ELEC.CODE ANN. § 221.011 (Vernon's 1986).
10. The court finds that there was no reliable way of determining how the 126 unascertained votes should be considered to further adjust the votes for each candidate. Contestant's expert witness on the probable tendencies of the crossover voters concluded that the crossover voters as a group were likely to be Green voters. Contestee's expert witness concluded that the voters that did not testify were predominantly Hispanics, and likely to favor Reyes. Applying mathematical projections to the 313 voters whose conduct and memory had been revealed at trial, would produce a victory for Reyes, that is, 70.28% illegal Green votes (220 of 313) X 429 =...
Young v. Red Clay Consol. Sch. Dist., C.A. No. 10847–VCL
Delaware Court of Chancery
...at least one court has considered statistical evidence when determining whether to invalidate an election. See Green v. Reyes, 836 S.W.2d 203, 206 (Tex. App. 1992) (discussing statistical evidence but declining to find it dispositive in light of conflicting expert testimony).506 There appea......
Scott Fetzer Co. v. Read, No. 03-95-00544-CV
Court of Appeals of Texas
...to support the finding of a breach of duty, it waived that complaint by failing to argue it. See Tex.R.App. P. 74(f); Green v. Reyes, 836 S.W.2d 203, 213 (Tex.App.--Houston [14th Dist.] 1992, no 15 A slightly different definition of gross negligence is now provided by statute. See Tex. Civ.......
Honts v. Shaw, No. 03-98-00217-CV
...See Guerra v. Garza, 865 S.W.2d 573, 576 (Tex.App.--Corpus Christi 1993, writ dism'd w.o.j.); Alvarez, 844 S.W.2d at 242; Green v. Reyes, 836 S.W.2d 203, 208 (Tex.App.--Houston [14th Dist.] 1992, no writ). "The standard of review for an appeal from a judgment in an election contest is wheth......
Young v. Red Clay Consol. Sch. Dist., C.A. No. 10847-VCL
...at least one court has considered statistical evidence when determining whether to invalidate an election. See Green v. Reyes, 836 S.W.2d 203, 206 (Tex. App. 1992) (discussing statistical evidence but declining to find it dispositive in light of conflicting expert testimony). 506. There app......


text:
ConnectedSolutions First Results: Massachusetts' groundbreaking efficiency program for customer batteries receives its first report card
Last year, with technical support from Clean Energy Group, Massachusetts became the first state to officially incorporate behind-the-meter battery storage into its energy efficiency plan, and utilities began enrolling customers across the state in a groundbreaking pay-for-performance program.
https://www.cleanegroup.org/wp-content/uploads/Navigant-ConnectedSolutions.jpg 330 480 Clean Energy Group https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Clean Energy Group2020-07-20 12:30:592020-08-10 13:35:26ConnectedSolutions First Results: Massachusetts' groundbreaking efficiency program for customer batteries receives its first report card
COVID-19, Severe Weather, and Power Outages
Wildfire and hurricane season is here and with it comes an influx of weather-related power outages. The health implications of power outages this summer are further compounded this year due to the COVID-19 pandemic.
https://www.cleanegroup.org/wp-content/uploads/gettyimages-1059476246-Copy.jpg 329 480 Clean Energy Group https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Clean Energy Group2020-06-24 17:12:022020-06-24 17:14:21COVID-19, Severe Weather, and Power Outages
The New England Battery Revolution: In a Public Health Crisis, State Efficiency Programs Are Making Resilient Power Affordable for All
As we look forward to an uncertain future with COVID-19 and energy security, it is important to develop new solutions that will put resilient solar and storage within reach for everyone, including those most vulnerable to power outages and the health impacts that could result from them.
https://www.cleanegroup.org/wp-content/uploads/Oleg-Golovnev-Bigstock.jpg 330 480 Clean Energy Group https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Clean Energy Group2020-04-13 13:05:422020-04-13 14:31:53The New England Battery Revolution: In a Public Health Crisis, State Efficiency Programs Are Making Resilient Power Affordable for All
COVID-19 and Resilient Power
As we evaluate and re-evaluate the undoubtedly substantial and lasting impacts COVID-19 will have on our work and the work of our partners across the country moving forward, it is more evident than ever that resilient power is a critical component to improving health outcomes in the event of a crisis like the world is currently experiencing.
https://www.cleanegroup.org/wp-content/uploads/AngelinaBambina-Bigstock-Copy.jpg 330 480 Clean Energy Group https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Clean Energy Group2020-03-30 11:12:382020-08-10 13:36:19COVID-19 and Resilient Power
California Proposes Major Policy Shift in Support of Energy Resilience
Battery storage has become a key resilience technology in California, reflected in a major policy shift on the use of state incentives.
https://www.cleanegroup.org/wp-content/uploads/CA-wildfire.jpg 330 480 Clean Energy Group https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Clean Energy Group2019-12-17 17:10:482020-01-03 10:54:50California Proposes Major Policy Shift in Support of Energy Resilience
Energy Storage is Failing to Reach Those Most in Need: Policy Can Help
Energy storage capacity installed this year is expected to top 600 megawatts, more than double the amount of storage deployments in 2018, and annual deployment numbers are forecast to increase another sevenfold over the next five years. Unfortunately, only a small fraction of these storage installations have been developed to the benefit of underserved populations most in need of the economic and resiliency benefits that storage can provide.
https://www.cleanegroup.org/wp-content/uploads/pr_battery_pic2-2.jpg 330 480 Maria Blais Costello https://www.cleanegroup.org/wp-content/uploads/Clean-Energy-Group-logo-275x70.png Maria Blais Costello2019-11-21 14:59:472019-11-22 12:11:47Energy Storage is Failing to Reach Those Most in Need: Policy Can Help


Daniel Tunkelang talks about what search looks like when viewed through a query understanding mindset. He focuses on query performance prediction, query rewriting, and search suggestions.
Julien Le Dem discusses the advantages of a columnar data layout, specifically the features and design choices Apache Parquet uses to achieve goals of interoperability, space and query efficiency.
Philip Wadler presents a practical theory of language-integrated query based on quotation and normalization of quoted terms and a theorem guaranteeing that a host query generates a single SQL query.


Reilly: My background really was in the Cold War and I am a student of political philosophy. Most of that was applied to 19th and 20th century Western ideologies. It was only after 9/11 that I wondered whether what I knew could apply to the situation we were facing.
Reilly: Yes, absolutely, because it's a denial of natural law and because of this almost perverse concentration on God's omnipotence. The theological school in Sunni Islam called Ash'arism, which is the majority theological school, even today says that God is the first and only cause of everything and there cannot be secondary causes (such as natural law) because that would be a challenge to God's omnipotence. So for God to be omnipotent, nothing else can be even so much as potent. Therefore, gravity does not make the rock fall; God does. Fire doesn't burn cotton; God does. There is, therefore, no cause and effect in the natural world. This teaching has destroyed the Sunni Muslim world.
And their metaphysics that you referred to is: How do they explain how things are constituted if they have no essence or a nature (which they deny)? They are constituted by these time/space atoms which God, in an instant, agglomerates into certain shapes or things like a plant or a tree or a person. And why that tree should remain a tree in the following instant has absolutely nothing to doing with having the nature of a tree; it has no nature. It is only for reasons we will never know that God wishes to reconstitute it as a tree in the next instant—because things are constantly passing into and out of existence, and they seem to be the same thing; but they are not. Everything is made new almost instantaneously.
Reilly: Even though this bizarre metaphysics is asserted, it doesn't abolish reality; reality is still there, even if they are incapable of recognizing it as it is. So, you still have reality on your side. If somebody wishes to cook their meal, they still have to light the stove, even though they deny the relationship between lighting the match and the gas igniting.
How do they respond to this? They respond by becoming even more Islamist. Their only recourse is their religion and therefore they become more extreme in it. That's not the direction in which things need to go for things to improve there. It's in the opposite direction of a re-Hellenization.
Read the whole thing as I've posted only a small section of the interview here.


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text:
This spectacular work by Jean Delville is a preliminary drawing for one of his monumental decorative panels at the renowned Palais de Justice in Brussels.
Influenced by Joséphin Péladan in his belief that the mission of the arts must be to spread esoteric precepts among the masses, Delville promoted monumental art in public spaces, founding in 1920 La Société de l'art monumental to this end. He went on to win public commissions, among them the decorative program for the courthouse in Brussels, a huge edifice of a Greco-Roman inspiration, built between 1866 and 1883 by Joseph Poelaert. From 1907 to 1914, he worked on this vast artistic challenge, composed of five murals; a central representation of Justice, surrounded by four depictions of Justice through the ages (biblical, Christian, medieval and modern). Our drawing represents the modern period. The murals were later destroyed by a fire in 1944. Works relating to this commission, such as the present sheet, are the precious remains of Delville's masterpiece, the artist's most ambitious project.
The creation of these works was noted in the newspaper Le Soir in 1907 along with long descriptions of the mysterious iconography and idealistic meaning behind these theatrical compositions. The composition of our sheet is perhaps the most elegant and peaceful of the group: Justice, personified by a feminine figure holding a shining light, stands behind a man of the law, himself reflecting upon the fate of the criminal on his knee. A notable aspect of this drawing, is that Delville chose to portray a famous Belgian at the center of his composition : Jules Lejeune (1887-1894). A renowned lawyer, Professor of Law at the University of Brussels and Minister of Justice from 1887 to 1894, Lejeune was a charismatic man and contributed to the development of judicial power in Belgium. During his time as Minister, he realized numerous reforms and established important concepts, such as for the protection of children, as well as contributing to the evolution of Criminal law in Belgium. He was, therefore, the ideal individual to embody the representation of "Modern Justice". This is a sheet loaded with powerful meaning, whilst also illustrating Delville's talent as a draftsman. It is the last piece of this importance still in the family's possession.
The present work will be included in the catalogue raisonné, currently in preparation by Myriam Delville.


text:
A Conversation with Kimberly Senior
Director of The Scene
Connect with Kimberly on 
Written byKelly Wallace   
Photography by Michelle Tse  
In Emily St. John Mandel's 2014 novel, Station Eleven, she imagines a world where a theatrical troupe called The Travelling Symphony travels the country, performing Shakespeare after a plague turned the United States into an abandoned dystopia. Should we ever find ourselves in that reality, Kimberly Senior is ready to roll her sleeves up and get on the road. With a firm belief in the enduring power of art and the absolute necessity of stories, she creates art that stimulates and inspires. Her latest project, directing Theresa Rebeck's The Scene at Writers Theatre, opened on March 2nd. Much like some of her previous work, it asks the audience to grapple with a lot of tough questions about conscience, moral relativism, and the complexities of human relationships.
We sat down the night before opening to talk about the show, her commitment to parity, and what role art and artists will play in the current political climate.
Kelly Wallace: So let's start with this show, The Scene. How are rehearsals and previews going?
Kimberly Senior: Good, it's been such a great experience from top to bottom. The play, which was written ten years ago, is even more resonant today. It really deals with the idea of what happens if we live in a world without consequences – where meaninglessness is key, not giving a shit about anybody means you're awesome, and selfishness is the top value. It's harrowing. Then last week the playwright, Theresa Rebeck, came to town.We've known each other for a while. It's our first time being in a room together. She has this amazing light and pushed us to work even more towards the things we were already doing. We've had five previews, so we've had five different audiences now. I was sitting behind these two women and at intermission one turns to the other and goes, "Oh my god, I love it!" And the other one goes, "Oh my god, I hate it." And then they started talking away about that and I was like, Yes, yes, yes! Everyone identifies with a different character. It just feels really resonant. I wish I could stay in previews forever because I love working during the day, seeing the play manifest at night, changing things, being a fly on the wall.
KW: Most of the creative team for this show is female…
KS: It's at least 60% women working on this show. And it's a huge value of this theater. Not just gender parity, but racial parity. I want to start using the word parity more, because I believe it's more about equality than about diversifying. It's about how are we addressing these things and reflecting the world that we live in. Our world now looks like that optimistic Benetton commercial from the 80s. So, how are we putting that on our stages in our theaters? This theater is incredibly supportive of that mission and has also really made it their own mission. I think we all feel enriched by that.
KW: You're the resident director here; you've directed here quite a bit. What do you like about Writers Theatre?
KS: My values and ethics are represented throughout the organization, and I love the audience here. They are brilliant. The people are passionate, and intelligent, and hungry to have intellectual conversations. They're supportive of the work and the artists. Very few theaters give the opportunity for the artists to interact so much with the audience and I feel – maybe because it's a small community – I get to know them. I recognize people here. I love the depth of experience that you get. I also feel like Writers is one of the places where their mission is the artist and the word, and that is true. I do some of my best work here.
KW: Talking about the Benetton commercial sort of world, I was thinking about that because your show has a cast that is…I believe there's one white man in the cast?
KS: There's no majority; we have four different races onstage.
KW: It doesn't seem like any of the characters within the text are race-specific. My question is…one of the things that is frustrating is that the default in casting seems to be "cisgender, white" unless it's specified otherwise. What do you think about how we can get out of that narrative? Whether it be race, gender identity, disability, etc.
KS: It's interesting. I think it starts with our playwrights when they're doing those casting breakdowns in the front of the script – make it so there isn't a default. It can say "Kimberly, white female." Starting to specify "white" could be one interesting way. I think that's part of it, to make sure those things aren't just givens. And when is it a necessity that a character be a certain race, gender, etc.? Of course, there are times that's essential to the telling of the story. And then there are times where it really doesn't matter. I remember a lot of the conversation five/six years ago was about how great it was that we had all these "gay" plays, which are plays about being gay. But, as it turns out, gay people also have parents and go to work and eat food…why is every single play with gay characters talking about the experience of being gay or about coming out?
KW: Yes, exactly! Literature is the same way. The story is always inherently about sexuality or coming out of the closet.
KS: As opposed to a story with someone who just happens to be gay, right. I think within the LGBT world things are starting to get better, and now we're moving into this landscape of queer, gender non-conforming, and trans…how do we tell those stories? I think that we're attempting to keep pace with how those stories are being told in the public eye as well. Though, obviously, it's been in the private world since the beginning of time.
KW: I think of something like Moonlight. It's not about being gay. It's not a coming out story. It's not about sexuality. It's just about a life, where he happens to be gay.
KS: It was amazing. And we're also talking about identity and how do we all walk around and claim our identity? I don't want to be removed from being called female. I lead from that place, I am that place. But it isn't all I am. I have days where I'm like, "Am I the worst because I'm this cisgendered straight woman? Does that make me terrible?" And the answer is, I'm not the enemy. But for the former majority, the former default, they need to name their identity as well. I don't have to always say who I am, but I should. I think that's helpful. Playwrights writing stories about what it means to be in the world as a person is helpful. I don't wake up every day and think, "Wow, what is it like to be a half-Arab/Jewish woman, mother, freelance theater director living in the world?" We don't wake up with those questions, so our stories shouldn't always have to be about them.
KW: Right, well, that's what you are. It's your lived experience, you don't necessarily spend every day thinking about it. One thing that I think we struggle with is including all of it, the intersectionality, and how all of it fits together…
KS: I love that idea of lived experience. We have to acknowledge that this is the only skin I've ever been in. To be able to be candid about saying, I don't know what your experience is. You're a whole different person taking up a whole different space in the world than I am. So I need to open myself up to hear from you, to not make assumptions about you. We need to be open and ready to listen to somebody else's lived experience and be ready to claim terrific, wonderful ownership of our own lived experience. I hope that's where we're going; it's become an imperative now because some people are being denied their voice.
KW: Do you feel like being an artist is different now, in this political climate? Do you feel a different responsibility?
KS: Yes. When you go back through history, one of the first targeted groups in totalitarian regimes are the artists. I guess we're a threat. I think with being something that could be dangerous, with being something that could be weaponized, understanding that it's a privilege – it's a responsibility. I guess we are now speaking on behalf of everyone. I think it's important to think about the stories we're telling. A friend of mine, who is a fantastic writer, has written a beautiful play that's about two different couples and the decision to have a baby. Which is a totally real experience that a lot of people go through. It's so well-written, it's funny, it's heartbreaking. It draws from experience I've had in my life. I'm very connected to it and it means something to me, so I said to him, "There's just only twelve months in the year. And I can only do so many projects. So I can't work on this right now, because there are some other stories that I think I have to push to the front of my queue that are speaking more to this specific moment. Your play is every moment."
I'm also very interested right now in a generational conversation that I'm finding myself feeling challenged to have. I'm gonna be 44 soon and I'm just acknowledging that I'm not part of the same generation that 20 year olds are in. I grew up in a different way. I have different vocabulary. I have different levels of understanding. I think talking about "non-binary," "gender nonconforming" – that's language I want to understand.
KW: I think a lot of people feel that way. That they want to be an ally, they want to be there to help…
KS: But they don't know how. To be an ally, you have to have vocabulary to be able to engage. And I'm terrified of saying the wrong thing. That's just an example of a way that I feel like I need to catch up. So I'm interested in stories that are accessing the generational divide of mutually well-intentioned people and where those conversations go wrong. I think it's really interesting, explosive theater. And then what happens to us going forward. I think it could open up a vein to help people to start talking. A mother could say to her daughter, I don't get it. It's not because I'm a jerk, or your enemy. Help me.
KW: When you think about what we were saying about artists being targeted, funding for arts programs potentially going away…how would you explain to someone why they should invest in the arts?
KS: Well, it's the opposite end of the threat thing. If we're a threat, we must have a power to have a voice. In a culture where the media isn't invited into the White House…we have to rely on our artists to get the story out. Theater began as a news source. Artists would travel from town to town and put on shows about what was happening in these different towns. That's important – that we are a way to keep different perspectives alive. We're a way to create representation. And we have to do better. I know a lot of artists who grew up in red states. And after the election, I knew a lot of artists who would say, I grew up in Alabama. I have to go back there and make theater with those people. They have things to say, they have voices. How do we support greater representation on our stages, how do we support all these voices in our country? The arts are a great way to do that. You're angry? Let's send some theater to your town and help your story be told. That's what I would say. It is an amazing opportunity to create community and create dialogue. In theater, there's a shared experience of going to the theater together. When communities are dying, when we're all on our devices, it's one of the few places left where you can come together in a non-partisan way and be with people who are different than you. When you go to a church, there's a shared system of belief, a religious organization. When you come to the theater, you don't know who you're gonna be sitting next to.
KW: The power of art or culture is empathy — seeing other human beings, even if they're fictional characters, for some reason, does something for people.
KS: Because it's just a step away enough. If you're talking, it becomes personal. I think sometimes people feel a little attacked when they don't understand something. The great news is if you take away our funding, we don't need much. We have all these historical stories about theater companies and plays that existed in the ghettos during the Holocaust and we have wonderful stories that grow out of marginalized communities. What more evidence do we need that theater has to exist? When people are in their last, most desperate moments and everything is taken away from them, the power of stories is the thing that has survived again and again and again. All of our religious texts are stories of survival. There's not one religious text that isn't about a marginalized people. They're all coming from this place of forces working against them. What do you do? You create stories, you write them down, you pass them on. You can take away our funding but you can't take that away. You can't kill us.
KW: Thinking about your work on Disgraced…I think the quote was that it was a "powder keg of identity politics." Now we hear that phrase a lot in the mainstream political world…
KS: The experience of working on that play over five years has been really interesting. The world caught up to the play. Ayad [Akhtar, the playwright] and I talked about this the last time we worked on it together. Lines resonate in a different way. A lot of Amir's hostility in his rants are things that when he said in 2011-2012, people hadn't heard that language before around Islam. Now…Trump is saying that stuff, so the audience would laugh at it now, whereas in 2012 they were horrified by it. But now they recognize and know what it is. It's kind of amazing.
KW: If you had to describe Chicago theater to a New Yorker, what would you say?
KS: There are short and long answers to that. A lot of it is about economics. Everything is so expensive in New York, as you know, so that means that to be able to live as an artist there is more complicated. To be able to produce is more complicated. Here, there's just a lot more space, a lot more time, and in a way there's more money because the cost of living is so much less. So there's a lot of freedom. There's a lot of risk-taking that happens because it can. I love the New York community in very different way. There's a great standard of excellence, there's an ambition and a drive and a pace…my metabolism makes sense there. It's also easier to have a community here in Chicago. Everybody drives and hangs out at each other's houses because people have houses you can hang out in.It just changes the conversation. My friends who I make plays with, we've grown up together here in a way. There's a great sense of community here. There's no anonymity here. And there definitely is anonymity in New York. There's pros and cons.
In some places it feels like non-equity equals non-professional. Like, union status equals a certain level of professionalism. Which isn't wrong, but here in Chicago there is a huge, thriving non-equity community. Which goes back to economics. You can work for free and have your daytime job and still make theater. I was able to cut my teeth on dozens of productions. I think I've directed something like 140 productions professionally. I couldn't have done that living in New York. I was able to do that here because there are a breadth of companies that are producing on a low budget.
KW: There's just so much here in terms of smaller theater companies…
KS: I can make a play above a Mexican restaurant and increase my skill set and put in my Malcolm Gladwell "10,000 hours" and experiment. The crossover between highly experienced artists working alongside novices happens a lot in this community and there's a lot of mentorship, both accidental and intentional. I think that's really special. It's a result of the fact that there are so many artists making so much work at so many different levels. Then there's the other thing, which is…in L.A., there's always the chance that you might get film or TV. In New York, there's always that chance the show is going to go to Broadway. Here…I mean, those chances exist, but not in the same way.
KW: As a director, you did not go the "traditional" path with getting an MFA…
KS: I didn't get a grad degree, I didn't assist anybody.
KW: I know it's hard to say if it was better or not…
KS: I don't know any other way. Everybody has a different path. My path isn't at all what I thought it was going to be. I thought I was going to assist a bunch of people and do fellowships and go to grad school. I was planning on all those things; I think those things are great. I ended up being in this town and one thing lead to another and suddenly I was like, Well, I can't go to grad school next year because I already have four shows that I'm doing. I also worked in the administrative offices at Steppenwolf Theatre for a very long time. I think what was cool for me was my day job was at Steppenwolf, so I got to work at this big, high-functioning professional institution. I learned, just by being around, about writing grants and marketing and being around those conversations while I was making my own art with spit and duct tape at night. Getting to have that balance was a tremendous kind of grad school for me. And as it turns out, I'm a really big nerd who reads all the time anyway. I start director's groups and we all get together and exchange books…it's like I'm still in grad school! It's a very long degree.
I think one of the challenging things for people in the arts is that we always have to be beginning. It doesn't matter how many plays I've directed because the next time I walk into a room for the first rehearsal, it will be the first rehearsal of that play with those actors at that theater…you have to start over every time. It has to be okay for you to feel terrified constantly.
KW: As you said, you teach too, what's that like?
KS: All I want is to be in the classroom. It's the best. Part of it is, like we were talking about earlier with the generational conversation, I have to be around people who have new ideas. It's the future of the American theater that I'm teaching, I want to hear from them. What stories do they want to tell? What are they excited about? What are their conversations? I remember trying to teach my kids how to tie their shoes. It was so hard for me to explain how to do it because you do it without thinking. A lot of the things we do in our work, whatever your job is, you do without thinking. Teaching makes you rewind and pull apart your process and your thinking. I think that is really important. I'm constantly reinventing the way that I approach work and I think it's because I'm constantly getting new feedback and a lot of that is from students There's a kind of think-tank approach. I mean, I'm not teaching math. There's not a finite answer.
KW: It's not definite in the way math is.
KS: Right, that's why I'm like, You can't do anything wrong in this class except be a jerk, not show up, not get your work done, or be unkind to people. But you can't be wrong.
KW: You have this mentor role as an educator, and you're a parent…what do you feel is important to be teaching kids and students right now?
KS: We've touched on a lot of the things, but I think it's guided by a passionate curiosity about others and the world around you. A very big thing is about agency and ownership and breaking down a lot of our coded behavior that we have. Something I'm personally working on is speaking in declarative sentences. Removing the word "just" and "sorry" and "kind of"…
KW: "Just" is such a big one.
KS: And the word does nothing. Removing "I guess," "sort of" – removing that language from my speech, from my emails. "Would it be possible if…?" "Does that make sense…?"
KW: "If that's okay with you…"
KS: There's a sense of ownership that I'm trying to teach. You have a point of view and it's yours and it comes from your lived experience and from your perspective and it is of equal value as the person next to you. I'm trying to do that for myself and help others do that. I think there's something about finding our own power, coupled with passionate curiosity. I'm really trying to remove anger or victim mentality. Not, "you can't," but "I can." I'm trying to change that language.
KW: Where do you feel like theater is going? Where do you want it to go in the next five to ten years? Where do you want to see us?
KS: I would like theater to keep pace with the world around us. It's exciting and terrifying that we don't know what's to come. I would hope that our theater is brave enough to ask the hard questions and stand up for itself and the stories that need to be told. Theater should be a safe space to explore. The things we shouldn't say and do in real life, we should do in the theater, so then we can talk about them. I don't think all of our theater should be nice and rosy and all of us holding hands and hugging and kissing. That's not what the world looks like. And I know it's hard for somebody to have to play Hitler or a serial killer, but those things exist and I think if we put them onstage and we're not afraid of showing those things and we talk about them, we can go and heal outside in the world. We can heal ourselves. I believe every act of theater is a political act by being a publicly witnessed event. How do we stay with our politics, how do we keep pace with the important stories being told? Have plays about what it means to be seen in the world. How are we activating the issues around us through tremendous humanity and empathy and passionate curiosity?
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The savanna is not an easy place to live, even for African elephants, the largest land animals on earth. If it's a challenge for these 7,000-pound giants, what's it like for their newborn babies?An infant elephant has precious little time to learn the incredible array of skills that are necessary to keep up, from projecting her voice across a 10-octave range to using the 100,000 muscles in her trunk to stay hydrated. But this giant-to-be has the perfect classroom--a family herd made up of her mother, sisters, cousins, and aunts. With their help and protection, she'll learn how to survive, how to thrive, and how to be an elephant. Award-winning author-illustrator Katherine Roy's How to Be an Elephant delves into the intricate family dynamics at play in a typical African herd. Drawing upon the latest scientific research and Roy's own expedition to Kenya, and brimming with lush watercolor illustrations and detailed diagrams, this book vividly portrays the life and development of an elephant from an uncertain newborn into a majestic adult. As informative as it is beautiful, Roy's unique portrait of an elephant's life will captivate young explorers and animal lovers alike.
This exciting reader follows the story of the longest and the most demanding elephant migration on the planet. Living at the furthest corners of the hot and dry Sahara Desert, the very margins of where elephants can survive, hundreds of these great creatures make a dangerous but necessary journey as their main source of food and water dries up and they must go in search of more. Battling 120-degree heat, sandstorms, and fierce thunderstorms, these amazing animals travel 35 miles a day in a race against time in search of the bare essentials of life.National Geographic supports K-12 educators with ELA Common Core Resources.Visit www.natgeoed.org/commoncore for more information.
A witty jungle romp for the adventurer in every kid Safari etiquette can be tricky. Fortunately, our trusty narrator can help. Sort of. From what to do if an elephant stands on your foot ("Keep calm. Panicking will only startle it!") to how to escape the attentions of a crocodile ("Well? What are you waiting for? Wave your arms around and shout for help!"), our plucky guide leads our unlucky hero on a jungle adventure, barely avoiding tigers, a rhino, snakes, and--uh-oh. What's that? Well thank heavens the monkeys are friendly at least! Debut author Michelle Robinson teams with bestseller Peter H. Reynolds for a Monster at the End of This Book-style romp, culminating in a hilarious finish that will send readers--and our hapless hero--right back to the beginning for more.
New. Genuine. Elegant. Homemade. Stylish. Makes a great gift. Unique. Rare. It's a good looking bracelet, it's inexpensive, and it comes from Zimbabwe. Should you get the urge to do some research, you'll find that other vendors of elephant hair bracelets (many with intricate designs) charge $100 or more for them. Definitely a unique bracelet. Not something you see often if at all unless you live in Africa. Simple, but looks very exotic.Amazing price compared to other online sellers. This is about 30% cheaper than what other online sellers are selling these for. Elephant hair bracelets are created by using hair from the tail of an elephant. This hair is collected along the paths that elephants walk and at watering holes. Elephants walk along the same paths for many years -some paths are as old as 200 years although modern man has had a severe impact on the ecology. Many successful men and women are drawn to elephant hair jewelry including many who are famous. These famous people and celebrities include Prince Andrew and Prince William of England, the American actor George Clooney, the American politician John McCain, Australian cricketer Adam Gilchrist, Oprah Winfrey and the legendary aviator Amelia Earhart.