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Q: Floating an element left after two elements floated right? I'm having a problem with floating DIVs. I would like to position four DIVs like this:

My current code:

    <form>

div 1

div 2

div 4

    </form>

    <form>

div 3

    </form>

Positions them like this:

JSFiddle: http://jsfiddle.net/cLcwU/1/
As you can see, div 3 will not go any higher than div 4.
Question #1: Why is this happening?
Question #2: div's 1, 2, and 4 are inside of one form, while div 3 is in another. Therefore, I can't float div 3 left before floating div 4 right (which fixes the problem for whatever reason). How can I get this working the way I want it to?
EDIT: the lower right div 2 is supposed to be div 4. Sorry 'bout that.

A: That's happening because you are clearing below the green div. Any floating elements after that will be (at least) below that line, regardless if they are floating to the left or right.
You can put the two divs on the right inside another div that you float right. That means that you don't need to clear the second div, so clearing the blue div will place it below the pink div:

    <form>

div 1

div 2

div 2

    </form>

    <form>

div 3

    </form>

Demo: http://jsfiddle.net/4wKVr/

A: The way I would try to solve this would be to take each vertical pair of containers and put them inside their own container div.  Now those two outer divs can be floated left and right with clearing or simply make them each width:50% so that they just fill the width of the parent. Then set the outer container divs css to have text-align: right, and left respectively. Then set the inner four containers (two in each outer) to be display:block;  Then, they will sit underneath eachother with a tiny margin between them; 15px I think. Which you can fix with margin-top:-.938em;

redpajama_set_name: RedPajamaStackExchange


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Burt Siegel is director of the Jewish Community Relations Council of Greater Philadelphia and a JSPAN Board member. My first Israel-related memory goes back to my early childhood. My family was, by most late 40's standards, quite Zionist-oriented. I recall their frequently playing a 78 recording of Al Jolson singing Hatikvah and, on the other side of the record, a stirring, patriotic song entitled simply Israel, based on the music of the wedding classic "Chussen Kaleh Mazal Tov". My father regularly raised money for Israel from Bayonne, New Jersey's many Jewish merchants. I recall going into stores and offices with him and looking at the brochures he would leave behind of good looking young Jews in shorts, holding hoes or guns while rebuilding the Jewish homeland. No Jews that I knew in Bayonne looked anything like that, I can assure you, and so this Israel must have been a magic land where Jews were tough and lean and knew how to use guns. My friends and I weren't even allowed Red Ryder Air BB rifles advertised in the back of our comic books, because we "might shoot somebody's eye out with it". Later on a friend of my father's told me that some of the money they raised had been used to purchase weapons to be used by the Haganah, and I was thrilled that he had played some small role in the creation of the state. I also have a dim recollection of sitting by the radio with my mother, sister and grandmother listening to the UN partition vote, and wondering which toys I would be able to take with me when we took the boat "home", as I must have gotten the idea into my head that every Jew would return to our homeland. I think I discussed this with my older sister, who no doubt explained that we weren't going anywhere (she probably told me that I was being "dumb"), and my dreams of looking like a tough Jew with hoe and gun in hand were shattered. Like many Jews of my generation, though, my sense of being strongly connected to Israel remained profound. While the overwhelming majority of us never "returned home", many of us identified with her, raised money in her support, worried about the many threats posed by her hostile Arab neighbors and took pride in her accomplishments. Some of us sang songs in Hebrew, learned Israeli dances; fewer studied conversational Hebrew and the fortunate ones actually got to travel there. Nearly all of us loved her uncritically and it was easy to do so in those years. Very few of us knew any ideology when it came to Israel, no left, no right, no peace camp, nor hardliner. Not only did Israel always seem right in all that she did, but the unadulterated hatred of the Arab world and their often stated desire to destroy her made it all but impossible to see any nuance. In 1956, in 1967 and again in 1973, there were times that such an unthinkable result seemed possible. And while terrorist attacks on Israeli citizens were a frequent occurrence, some seemed to be particularly horrific, such as the Munich Olympics murder of Israeli athletes in 1972, the Maalot massacre in 1974 where Palestinian terrorists massacred twenty-one school children and the attack in Kiryat Shimona in the same year, in which eighteen residents of one apartment, including nine children, were killed. Throughout this period, few beyond the anti-Semitic fringe groups and far left-wing apologists for the Arabs found much reason to criticize Israel, and if they did, few Jews other than organizational leaders were aware of it. World public perception and opinion largely still viewed Israel as a beleaguered, spunky, little (the size of New Jersey, as we were often reminded) outpost of western civilization and morality surrounded by murderous irrational peoples. Most western nations, the liberal Christian churches, and even those within academia were largely sympathetic to Israel, and those few that were not were rarely given mainstream platforms. The great champions of Israel were certainly not the Christian evangelicals, but the liberals of our time like Hubert Humphrey. For a myriad of reasons, that picture no longer holds true and probably hasn't for several decades. There are numerous theories as to why this is so. Some of the growing detachment and ultimate hostility to Israel can no doubt be attributed to dormant but still virulent anti-Semitism. In the decades after the Holocaust it became largely illegitimate in polite circles to criticize that place that emerged as the refuge for the long- suffering Jews. But such sentiments, perhaps predictably, only lasted for so long before succeeding generations lost any sense of guilt or obligation previous generations might have once had to Jews. I have long argued that it is ill-placed resentment over feeling guilty about European inaction or actual collaboration with the genocide perpetrated against their Jewish neighbors, that has led a growing number of Europeans to now so unfairly and obscenely compare Israel's behavior with that of the Nazis. "See," they seem to be saying, "the Jews fault us for not stopping the Nazis, but they are now acting like Nazis themselves in how they treat the Palestinians." Many educated Europeans also seem to have a need to repent from years of a history of racist colonialism in the third world. This has led to a sense that, by standing with the Palestinians, who are seen as being "persons of color", one is taking an enlightened stand against the "white European domination" by Israel. Aside from these more psychologically-based reasons for anti-Israel feeling on the part of many Europeans, especially among the left and intellectuals, there are, of course, very real political and economic reasons as well. There is only one Jewish state without any much- needed oil to sell; there are at least a dozen Arab states, with plenty of it. Opposing Israel has no real economic risks; being hostile to the oil producers does. Criticism of Israel from mainstream sources is a fairly recent phenomenon in the United States. And while all public opinion polls continue to indicate very high levels of support for Israel within the American public - (according to the latest survey released by the Israel Project, "More Americans than ever believe the U.S. should take Israel's side in the conflict" with the Palestinians) - we are, to a large degree, a community that believes that US support for Israel is a fragile thing. This fear is so palpable that we keep hearing normally Democratic voters threaten to vote for John McCain in the fall because they worry that if Barack Obama becomes president, he will listen to anti-Israel advisors (or his former minister) and abandon the Jewish state. This, in spite of Obama's impeccable pro-Israel voting record. Of course Jewish anxiety is not baseless by any means. Many of the main line Protestant denominations have, at the very least, published documents filled with anti-Israel sentiments. And while none have (yet) reached the point of fruition, a number have considered divesting in companies that provide Israel with equipment used in either the demolition of Palestinian homes or the construction of expanded settlements on the West Bank. It is very much worth noting and revealing that many American Jewish organizations that oppose the "thickening" of Israeli settlements have added their voices to those opposed to divestment. We recognize in our kishkas that in spite of their protestations that all they seek is peace between the two sides, the proponents of divestment hold no great concern for Israel's security. Their relative silence regarding attacks on Israel's very right to exist as a Jewish state speaks volumes. Those of us who love Israel deeply and consider ourselves to be political progressives and humanitarians more and more find ourselves in a painful bind. Reports of hostile environments for pro-Israel individuals on some ( but certainly not all) of our nation's most elite college and university campuses deeply angers us, as it should. Every time another liberal church leader refers to Israel as "oppressive" or "brutal occupiers", or hosts anti-Israel forums, as just happened in Philadelphia, where several denominations sponsored a program featuring Arab-Christian Israel basher Naim Ateek, we are profoundly hurt and dismayed. As I recently told one prominent Protestant clergyman, "You have welcomed a man who wishes to destroy a nation where the Jewish heart lies." I fear our entreaties often fall on deaf ears. But can we remain silent when Israel undertakes actions that also pain more than a few, such as the continued expansion or "thickening" of settlements? At the same time, the mean-spirited attacks by some in our community against other Jews who dare to express their disagreement with any policy of the Israeli government, also causes many of us great pain. I, for one, make no judgment of the value of the new "pro-peace" Jewish lobbying group J-Street, but to glibly dismiss it as "foolish" and "irresponsible", as was done by one leading Jewish journalist, is itself both. I have witnessed attempts to shout down no less of an advocate for Israel than ADL director Abe Foxman for having the temerity to suggest that the American media is not a calculating hotbed of anti-Israel bias. Foxman was also criticized by some noted individuals for his failure to see the Steven Spielberg film "Munich" as anti-Israel, an opinion I happen to share with him. The internal conflict of wanting to express unhappiness with selected Israeli governmental policies, but also oppose her unfair critics, sometimes places many progressive American Jews in a difficult situation. If we criticize Israel, we might be providing fodder for those who would shed few tears if she is destroyed. And the anti-Israel forces love nothing better than Jews who will tell them that they are not only correct, but also courageous. But if we hold our tongues, are we really advocating on her behalf most effectively? Frankly, I have no answers. I must note, however, that fear of advocating against positions of the Israeli government hasn't stop the Jewish right, when they strongly believe that those positions aren't in Israel's best interest. Shouldn't the same hold true for the rest of us? So, as we celebrate the 60 years of Israel's existence as a modern Jewish state, let us promise to stop looking for enemies among our own midst. It does Israel no good.


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The core screenwriting courses of the BFA in Screenwriting are supported by a full complement of courses in the liberal arts and sciences. These are designed to broaden the writers' education, feed their inquisitiveness, and give them the critical, analytical, and communication tools needed not just to be great writers, but also more fulfilled human beings.
The BFA in Screenwriting offers a well-rounded collegiate education in the arts and humanities and social and natural sciences, with a comprehensive study of, and practice in, the art and craft of screenwriting and related filmmaking disciplines.
Overall, the screenwriting courses concentrate on developing the tools required to create believable characters and stories in several major fields of screenwriting (film, television, web series, playwriting, and elective choices including comic books and games). The program builds to a final thesis project, either a television series pilot script or a feature film screenplay. This is plotted, written, and rewritten, with guidance and feedback from a thesis committee in a manner designed to reflect the development processes in the entertainment industry.
In the liberal arts and sciences, students complete the majority of the required Foundation Studies in the first two semesters. Courses taught in the area of Foundation Studies focus on communications, analysis, and deductive reasoning. Students practice critical thinking, scholarly research, writing, and reading. These courses build a foundation for more specialized subjects requiring advanced written and oral communication skills in later semesters. The skills mastered will prepare students for the advanced coursework of constructing an authentic voice in their writing projects. Coursework in physical and mental wellness provides focus on the theory and practice of lifelong wellness in a stressful industry.
Subsequent courses in the liberal arts and sciences bolster students' understanding of world history, political science, art history, social and natural sciences, mathematics, English composition, and literature.
WHAT MAKES OUR SCREENWRITING PROGRAMS UNIQUE?
Students in the New York Film Academy's Screenwriting programs generate a lot of written material, building a portfolio of writings that span several mediums. There is a focus on film and television, but BFA students will also study comics, web series, plays, and games.
Upon completion of the program, students not only understand story structure, character, conflict, and dialogue, but also leave the Academy with finished products that they can pitch, produce, and try to sell.
In the BFA Screenwriting program, students are taught the art of screenwriting through workshop courses that have them learn by writing, as well as in skill-building courses that focus on film history, film genres, and specific skills, like scene construction, adaptation, and character building. Students also study filmmaking, acting, and editing, to get a complete sense of how cinematic stories are told. In addition to stories, treatments, and scripts, students will also create, direct, and edit their own short film and their own web series pilot.
Lastly, NYFA's degree programs in Screenwriting have business classes that teach students the reality of the industry -- how to find work as a writer, how to work in the industry to support yourself, how to find an agent or manager, and how to pitch your stories and story ideas. These classes require students to get an internship in the industry.
The BFA Program culminates in a Pitch Fest where students get to pitch their thesis script to agents, managers, executives, and/or producers.
SEMESTER ONE OBJECTIVES
During the first semester, students will develop a foundational understanding of cinematic storytelling and the tools required to create a story in Elements of Screenwriting. The students are introduced to film theory and begin generating story ideas in their first week of class. They will learn how to find and generate story ideas, and how to develop those ideas into full narratives for film. By the end of the semester, students will write a short film screenplay. Students will learn habits for college success and will also bolster their screenwriting with a course in English composition.
PORTFOLIO OF WRITINGS FOR SEMESTER ONE
At the end of semester one, students will have produced:
Short treatments for two possible feature length films.
A developed treatment for a feature film screenplay.
A script for a short film (3-5 minutes).
SEMESTER TWO OBJECTIVES
In the second semester, students will build upon what they learned in semester one. Courses continue to develop screenwriting skills through continued writing, taking the treatment they developed in semester one and writing their first feature-length screenplay. Students will study the history, structure, and format of television, and come up with story ideas for spec episodes of existing television series.
In addition, the class Script to Screen will allow students to gain an understanding of how the written word translates to action on screen, as they learn traditional and contemporary acting and filmmaking techniques. Students will rewrite the short script created last semester, and will direct and edit their own short film. Critical Film Studies will introduce a number of historical film movements that provided the framework for many of cinema's greatest auteurs. Students will continue their Foundation Studies with a course in public speaking.
PORTFOLIO OF WRITINGS AND PRODUCED WORK FOR SEMESTER TWO
At the end of semester two, students will have produced:
A full-length feature screenplay.
Story ideas for spec episodes of existing TV series.
A digital short film.
SEMESTER THREE OBJECTIVES
In semester three, students will advance their knowledge of television by writing their first scripts. They will expand upon the ideas they generated last semester and plot sample episodes of a current one-hour television drama and a current half-hour comedy, and then write one of the two. In Genre Studies, students will examine the conventions and expectations of Hollywood genre storytelling.
In New Media, students will expand their writing skills by exploring the current media landscape, in which content is delivered through ever-evolving avenues and formats such as web series, branded content, and other short-form content options. The world of transmedia will be introduced, with a focus on brand integration across multiple platforms and creating immersive worlds. Students will deepen their understanding and appreciation of the arts and literature. They will round out their Foundation Studies and expand their knowledge base and analytical skills through a critical thinking course as well as mathematics.
PORTFOLIO OF WRITINGS AND PRODUCED WORK FOR SEMESTER THREE
At the end of semester three, students will have produced:
An outline of a half-hour spec television episode.
An outline of an hour-long spec television episode.
A complete draft of a half-hour or hour-long spec television episode.
A fully produced and edited pilot for a web series.
SEMESTER FOUR OBJECTIVES
In semester four, students will refine their feature film writing skills by drafting a second original screenplay, this time with a more detailed method of plotting their work before writing the script. They will have the option of taking one of two courses on new media formats. In Sequential Art, students will learn and practice the unique storytelling forms of graphic novels, comic books, and manga; or, in Interactive Narrative, students study games as a medium for stories and story worlds, and build a game idea. In The Great Screenplays, students will deepen their knowledge and critical understanding of Academy Award-winning and -nominated screenplays, analyzing the techniques used by the great screenwriters. Adaptation I will introduce students to the unique opportunities -- and challenges -- of writing stories based on pre-existing material. Art, Culture, and Society will help students understand their role as writers and give more depth to their scripts.
PORTFOLIO OF WRITINGS AND PRODUCED WORK FOR SEMESTER FOUR
At the end of semester four, students will have produced:
A detailed beat breakdown and first draft of a second original screenplay.
A proposal for an original comic book, graphic novel or manga and a script for the first issue or chapter.
A game proposal for a board, video, roleplaying, card, or other game.
SEMESTER FIVE OBJECTIVES
Students will continue their practice of television writing, this time by creating an original television series and writing the pilot episode. In Adaptation II, students will take what they learned about adapting material last semester and put it into practice. They will build a treatment for a feature film based on pre-existing source material. Students will broaden their general education studies into the natural, behavioral, and social sciences, allowing their writing to pull from a deeper base of knowledge, as well as providing a deeper exploration of theatre, art or film.
PORTFOLIO OF WRITINGS FOR SEMESTER FIVE
At the end of semester five, students will have produced:
A pilot script and a series proposal/bible for an original television series.
A short proposal for an additional television series.
A treatment or outline for an adaptation of a non-cinematic source material.
SEMESTER SIX OBJECTIVES
During semester six, students will take their screenwriting skills further with a Rewriting Workshop. Students will take one of their previous feature scripts and build a plan to revise it based on previous and current feedback, and then follow through on a thorough second draft of that script. This revision will allow the students to work more deeply and critically on their scripts. In Thesis and Character Development, students will take a semester to plot the project they will write in their final year as their thesis script. By taking a semester to go over the story, the world, and the characters, students will learn that a great deal of writing can, and should, be done before a single word of script is written. In conjunction with this class, students will start to build their thesis committee by selecting a thesis advisor from the screenwriting faculty. This advisor will meet with the student individually while the student develops the idea in class. In Screenwriting Discipline and Methodology, students learn and apply techniques of goal setting, project management, workflow, and creating and adhering to productive and creative work habits. In The Great Playwrights, students will study writers for the stage and how they are connected to the screenwriters of today. A social science course further rounds out the students' education.
PORTFOLIO OF WRITINGS FOR SEMESTER SIX
At the end of semester six, students will have produced:
A revised feature film treatment or series proposal and pilot beat sheet, to be used for a thesis script.
A revision of a feature script written in a previous semester.
SEMESTER SEVEN OBJECTIVES
In semester seven, students will begin writing their thesis projects, based on the treatment or series proposal they developed in semester six. In this semester, students will write a first draft of their film or a draft and rewrite of their series pilot, and deliver the script to their thesis committee. The committee will be comprised of their thesis instructor and advisor. In addition, each committee may have one faculty member serve as a reader. Before the end of the semester students will meet with their committee to get notes on their first draft. At the end of the semester, students will have built a plan to address these notes, which they will carry into their final semester.
Using the study of trade publications and via a guest speaker series, The Business of Screenwriting introduces students to the practices, conventions, and players in today's entertainment industry, and the role of the screenwriter in it. Students will develop valuable skills such as script coverage, pitching, and researching industry trends, in order to prepare them for professional life after graduation. In addition, the students take part in internships at production companies, studios, television networks, or talent agencies, gaining invaluable industry knowledge and contacts. In Playwriting, students will create an original short play to help add a new dimension to their creative portfolio. A natural science course further rounds out the students' education.
PORTFOLIO OF WRITINGS FOR SEMESTER SEVEN
At the end of semester seven, students will have produced:
A first draft of a feature film screenplay or revised draft of a pilot teleplay.
A revision blueprint for their thesis script.
An original short play.
SEMESTER EIGHT OBJECTIVES
The eighth and final semester sees the students complete their revised thesis projects. They will receive notes from their committee and build a plan for any future rewrites or polishes. In Scene Study, students work deeper than ever before to perfect individual scenes from their scripts. Whereas the focus up until now was mostly on overall story structure and character arc, Scene Study affords students the chance to gain skills and confidence in making the actual beats of their scenes resonate more than ever. Actors are brought into this class for in-class exercises during which the writers get to see their scenes played out in real time as they make adjustments. Finally, Business of Screenwriting II focuses more and more on the art of the verbal pitch, a crucial selling tool for any screenwriter. Students will also participate in industry internships at production companies, agencies, management companies, or studios.
The program culminates in a pitch event in which invited industry executives come hear the students present their thesis projects in a round-robin night of pitching, an opportunity for the students to further develop their professional skills and networks. Classes in art and theatre deepen the students' general knowledge and enrich their scripts.
PORTFOLIO OF WRITINGS FOR SEMESTER EIGHT
At the end of semester eight, students will have produced:
A revised draft of their thesis screenplay or teleplay.
A revision blueprint for future revisions to their thesis script.
A five-minute pitch for their thesis project.
A list of log lines for the portfolio built over their eight semesters.
NYFA PITCH FEST
To celebrate the completion of the BFA Screenwriting Program, the New York Film Academy hosts a pitch event for graduating BFA Screenwriting students in good academic standing, whose pitch and script are deemed industry-ready. Representatives from top Hollywood agencies, management companies, studios, and production companies attend the event to hear NYFA students pitch their thesis projects. While this event has opened industry doors to students in the past, the primary intent of the Pitch Fest is to provide students with pitching experience and feedback outside the classroom walls.
Qualified students have the option of completing coursework at the New York Film Academy campus in New York City in a one-year non-degree program, and then applying their coursework to be accepted for advanced standing in the BFA Screenwriting degree program. Students who complete the AFA Screenwriting Program can continue into the BFA Program by finishing the remaining four semesters of BFA, focusing on the liberal arts and sciences as well as more advanced screenwriting coursework.
Elements of Screenwriting
Writing the Feature Film Screenplay I
Story Generation
Writing for Television I: The One-Hour Drama
Writing the Feature Film Screenplay II
Script to Screen
Writing for Television II: The Half-Hour Spec
Sequential Art Writing
The Great Screenplays
New Media I
Adaptation I
Writing for Television III: The Pilot
Adaptation II
New Media II
The Great Playwrights
Advanced Writing Seminar I: Character Development & Topics
The Business of Screenwriting I
Advanced Thesis Workshop I: Film Option
Advanced Thesis Workshop I: TV Option
The Business of Screenwriting II
Advanced Writing Seminar II: Scene Writing and Topics
Screenwriting Discipline & Methodology
Advanced Thesis Workshop II: Film Option
Advanced Thesis Workshop II: TV Option
Utilizing lectures, in-class exercises, outside readings, classroom discussions, and film viewings, this course introduces students to the craft of screenwriting. Screenplay formatting will be a major focus, and students will learn how to write scene description, to describe characters and locations, and to develop action sequences. Topics will also include: Classic screenplay structure, the Elements of the Scene, Developing the Character, Character Arcs, Antagonists, Dialogue, Writing the Visual Image, Introduction to Final Draft, Theme, Conflict, Flashbacks, Fantasy Sequences and Dream Sequences, Voiceover, Text and Subtext, Developing Your Writing Style, Tone and Genre, Visualization, Revealing Exposition, Creating a Compelling Second Act, Climaxes and Resolutions, and Scene Beats.
Writing the Feature Film Screenplay I is a fast-paced, intensive workshop that introduces students to the fundamentals of screenwriting. The classes consist of in-class writing exercises, individual writing, reading aloud of student work in class, and workshop discussions. Students will apply knowledge gained from Elements of Screenwriting and apply it to the creation of their own feature-length scripts. By the end of the course, students will develop and write a first draft of a feature-length screenplay.
Story Generation is designed to help writers become what the film industry needs most: prolific sources of movie ideas. Through in-class exercises and out-of-class projects, students will develop skills for generating viable stories for feature films of various genres. They will workshop ideas in class in order to come up with the best possible version of their stories. The idea is to become versatile, adaptable, and creative, providing the best "product" to the industry when called upon to generate new ideas to fill various needs. In the second half of the course, students will commit to one of their story ideas and develop it into a treatment.
This television workshop introduces students to the fundamentals of the TV world and TV writing. The class work consists of individual writing, reading aloud of student work in class, and workshop discussions. By the end of the course, each student will have written a Studio/Network draft (which is a second draft, in the TV world) of a one-hour television spec script for an existing show. Students will be encouraged to write through difficult spots with the belief that getting to "The End" is more important than polishing along the way. Workshop sessions will simulate a TV writers' room, and will be an environment in which students evaluate their own and their classmates' work. A constructive, creative and supportive atmosphere will prevail, where students will guide and encourage each other in their writing.
Writing the Feature Screenplay II builds upon knowledge gained in Writing the Feature Screenplay I and Story Generation, in which students wrote a feature-length film script and a treatment for a second feature-length film script, respectively. This course is divided into two components: in the first, students will take the treatment written in Story Generation and write a draft of that script. In the second half of the course, students will choose one of their two feature scripts and revise it more thoroughly than they have with any project in the program so far. Each week, students will bring in a sequence of their scripts to be workshopped.
Script to Screen is designed to help writing students see what happens to their words when actors interpret them in front of the camera. The class is divided into two components: Acting for Writers and The Digital Filmmaking Seminar. Acting for Writers introduces students to the theory and practice of the acting craft, using Stanislavski Method, improvisation, and scene and monologue work as starting points. By exploring how actors build characters and performances based upon the information provided in a film script, writers will learn how to write more powerful dialogue, develop more memorable characters, and create more effective dramatic actions. Through in-class acting exercises and writing, as well as filmed exercises, students will learn what truly makes for great dialogue and action writing.
The Digital Filmmaking Seminar trains students in the fundamentals of film directing, which in turn facilitates an understanding of the filmmaking process as it relates to screenwriting. It is our belief that a student who actually picks up a camera, blocks a scene and directs actors from a script is far better prepared to then write a screenplay. If a writer has actually translated a shot on the page into a shot in the camera, then the writer has a much sharper perspective on the writing process. Hands-on classes in directing, editing, cinematography, and production cover the creative and technical demands of telling a story with moving images. Then, working in small crews, students will make short films or shoot scenes from one of their screenplays using digital video cameras. Afterward, students will edit their footage.
Students will become familiar with the half-hour television landscape past and present, styles of half-hour television writing, and the current crop of viable series from which to draw the spec they will write. Each student will then draft a professional-caliber spec for a half-hour show. Students will learn from individual writing, group workshops, short lectures, television screenings, and story analysis to create two pieces of writing. The workshop portion of the class will be constructed to simulate a TV writers' room, with students reading, evaluating, and assisting each other from "breaking story," building outlines, all the way to a completed draft. The primary goal of the class will be for students to leave with a full, revised and polished draft of a television half-hour spec script.
This workshop provides a complete introduction to the medium and to the craft of writing stories for comic books in all their many forms. Students learn the various styles of formatting (loose or detailed scripts) and story structure (stand-alone stories, chapters in serialized stories, or full-length graphic novels), as well as how to tell a story visually and with the proper pacing. As students move to script, the workshop environment allows class members to help each other develop their ideas from pitch to outline to breakdown to completed project. The course goal is to produce a 22-page script, which can either be a stand-alone story or the first chapter of a larger tale. Also discussed is the industry and how to break in.
The Great Screenplays is a critical studies course focused on exploring Academy Award-winning American and foreign movies from the past ten decades. Through in-class screenings, readings of screenplays, lectures, and discussions, students will gain a deeper understanding of how the art of screenwriting has evolved since the 1920s.
New Media I introduces students to today's New Media landscape, in which web series, mobisodes, branded entertainment, and other distribution outlets provide opportunities heretofore unavailable to filmmakers. Students will learn how technologies, programming formats, and mediums influence New Media styles and genres. Also discussed is the business of New Media and its players. Sessions will include lectures, seminars, guest speakers, content analysis, and in-class and homework exercises.
In today's Hollywood, adaptation is everywhere-it's extremely common to see a "based on" credit ahead of the screenwriter's name. Historically, novels, short stories, plays, and magazine articles have served as underlying source material, but in the last decade, comic books, graphic novels, TV shows, board games, theme park rides, even old films, have increasingly become fair game. The end result is this: a tremendous number of potential jobs for new screenwriters involve adaptation. In this course, students will identify the challenges that surround translating a non-cinematic art form into a cinematic story by studying existing adaptations.
Students will create an original episodic television series, including completing the script for the pilot episode. Topics will include: introducing your central character and core cast, creating a series "template," creative solutions to providing back story, and building the show's world and tone.
Students will learn from individual writing, group workshops, short lectures, television screenings, and story analysis to create two pieces of writing. The workshop portion of the class will be constructed to simulate a TV writers' room, with students reading, evaluating, and assisting each other from "breaking story," building outlines, all the way to a completed draft.
The primary goal of the class will be for students to leave with a full draft of a television pilot script for an original show, either one-hour or half-hour.
Having studied adaptations of original source material into films in Adaptation I, students will now select a work to adapt or update and generate a 10-15 page treatment based on the material. They will maintain the essence of the original story while making sure to imbue the new screenplay with its own dramatic impact. From this treatment, students will write a complete draft of the screenplay.
New Media II picks up where New Media I left off. After having learned about the New Media landscape and the content that comprises it, students will develop their own web series and write the pilot episode of their series. Each student will then produce and edit the pilot episode. The pilot scripts that will be shot will not exceed five pages – and will be accompanied by a "bible" that will outline future episodes for a completed series and introduce the audience to the world that the show will create on the web. The class is broken down into both writing and directing workshops as the students progress from the scripting phase all the way through production and post-production. In the first portion of the course, students will develop their own original web series and will workshop pilot scripts and series bibles. Hands-on directing, camera, and production workshops will prepare students for the final portion of the course in which they will produce their pilot episodes.
Students will produce and shoot their pilot episodes. Following production, students will attend editing classes, and will then edit their episodes, which they will present to the class in an in-class screening in the final week of the course.
Unable to rely on spectacle to entertain, well-written stage plays make the most of the fundamental elements of dramatic writing: character, conflict, relationships, and theme. Stage dramas, when done well, are tight, focused, lean, exploring a central question deeply rather than broadly. This sort of storytelling is often the most compelling, and screenwriters should strive to achieve this kind of dramatic action, even if within the context of a story that calls for big, sweeping action. This class will make use of filmed plays, in-class table reads, at-home reading assignments, and in-class and homework analysis and writing exercises. Playwrights examined will include but not be limited to: Chekov, Ibsen, Shaw, Miller, Pinter, Bond, Churchill, Simon, Mamet, Shepard, Rabe, Sorkin.
By combining the disciplines of clinical psychology and screenwriting, Advanced Character Development will teach students to create characters that guide the development of their story. Just as the psychotherapist immerses him- or herself in the client's subjective point-of-view to lead the client to more meaningful paths of behavior, students will be encouraged, via small-group workshops and exercises, one-on-one interviewing, and analysis of movies and literature, to mine their unique points-of-view to find engaging characters that will grow and change, and inform narrative over the course of writing the screenplay. The class will take place during the inception of students' Thesis projects.
The core of this class is mastering the "Art of the Pitch" in preparation for a major industry pitch event with agents, managers and producers. In addition, a heavy emphasis on guest speakers will illuminate every corner of the industry.
Advanced Thesis Writing Workshop I is designed to build on existing student knowledge about feature film writing and take it to the next level. As a whole, the course will mirror the majority of the writing deals being given in Hollywood today. Each student starts by working up a detailed treatment for his or her idea. From there, students take it to a first draft.
Students will submit both their treatment and first draft to their Thesis Committee, which consists of the Chair of the Screenwriting department, the student's Thesis advisor, Thesis instructor and a core screenwriting instructor. The Thesis Committee meetings will provide the student an opportunity to present their vision of their feature screenplay and voice any issues they have executing this vision, thereby allowing the Committee to provide detailed notes and guidance specific to the student's strengths and weaknesses, and how they can master their craft in a professional level.
This advanced TV writing workshop builds upon the fundamentals of TV writing learned in the previous semesters. The classwork consists of individual writing, reading aloud of student work in class, screenings, and workshop discussions. By the end of this course, each student will have written an outline for their pilot episode, a draft of their series bible and a first draft of their pilot.
Students will submit both their series bible and first draft to their Thesis Committee, which consists of the Chair of the Screenwriting department, the student's Thesis advisor, Thesis instructor and a core screenwriting instructor. The Thesis Committee meetings will provide the student an opportunity to present their vision of their feature screenplay and voice any issues they have executing this vision, thereby allowing the Committee to provide detailed notes and guidance specific to the student's strengths and weaknesses, and how they can master their craft in a professional level.
While students have been introduced to the five-minute pitch, they have not yet perfected it. This shall be the primary focus of The Business of Screenwriting II, building to the Pitch Fest at the end of the program. In addition to honing their pitches, students will play a large role in identifying and inviting guests. Guest speakers will continue to be featured, with the focus moving away from "general knowledge" topics, to more specific topics in the field of screenwriting and omnimedia writing. As part of this course, students will take part in an industry internship or may instead choose to write an industry-related research paper.
Students may intern at a film or television production company, film or television studio, management company, or talent agency. Students are encouraged to choose their internship wisely based on their interests and strengths honed during the program. The Business of Screenwriting instructor is responsible for approving internships. Any internship considered as enhancing and/or enriching the student¹s understanding of the film or television industry may be an option. Students will be expected to write reports on their internship experiences, and internship supervisors will assess the students' performance at the work site. Students should keep in mind as they choose their internship sites that this position is likely to be their entree into the entertainment industry, so it is imperative that they be responsible and recommended that they foster as many positive relationships as possible.
Instead of an internship, students may write a Research Project. Students may opt to write a research paper that will investigate a specific topic related to the entertainment industry. All research papers must be approved by the Business of Screenwriting instructor, and must address a topic that directly relates to the field, such as the Studio System, histories of specific entertainment companies or movements, depictions of writers and filmmakers in popular culture, etc. Papers must be at least 15 pages in length and must reference a comprehensive list of research sources.
This is the class in which students get to leave behind the big picture for a while and pull out the microscope to study their scenes in great detail. Using short excerpts (3-5 pages) from screenplays they have already written – preferably from their thesis scripts – students will focus on emotional progression, dialogue, action, character logic and motivation, scene beats, tone and tonal shifts, writing style, subtext, events, and transitions, in order to revise their material.
During the first half of the course, a different type of scene will be covered each week, and sessions will consist of a combination of reading scenes aloud, critique, in-class assignments, lecture, and watching film clips. Actors will be brought in for the second half of the course to do cold readings of scenes and to provide their unique perspective on character development, motivation, and beats.
Goal-setting, project planning, time management and project management skills are essential for the creative artist. It is crucial for screenwriters, and all create artists, to have the discipline to meet deadlines (especially self-imposed deadlines) and the tools and skills to complete the tasks they set. This course will explore different methodologies and the best resources for students to uncover the tools they need to meet and exceed their goals. Students will also meet with successful industry professionals during special guest lectures to uncover their tools and techniques.
This course continues where Thesis Workshop I left off. It will focus entirely on the rewriting process. This course will teach students to dig more deeply into their stories than most of them ever have. Through workshop and discussions, students will gain the insight they need to execute a rewrite and polish of the scripts they wrote last semester. Upon completion of this course, students will learn how to spot the things in their scripts that aren't working, develop a game plan for fixing them, and execute that game plan. We will focus on identifying and fixing structural problems as well as problems on the scene level. This semester is designed to build the skills of self-criticism, arguably the writer's most important tool.
The classwork consists of individual writing, reading aloud of student work in class, screenings, and workshop discussions. By the end of the first quarter, each student will have written a second draft of their pilot episode, a polished outline for Season One of their proposed series, a polished description of the show itself, and two polished, general outlines for subsequent episodes. By the end of the second quarter, each student will have a final, polished draft of their pilot script, and be ready to pitch it at the Pitch Fest. Television industry guests are also brought in to class, schedules permitting, to help students prepare for the professional world.
• January 2020 • September 2020

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Belynda – about me. A journey of self discovery.
Life is a daring adventure, or nothing at all. Quote by Helen Keller.
Hi I'm Belynda and I've written a soon to be self published novel. I started in 2012 and at first I didn't tell anyone I was writing. My son would ask me if I intended to publish it and finally I said. "I think I'd like to." I joined Toastmasters as a way to get over my hesitance at putting myself out there.This blog is a continuation of that.
So hello world here I am. I am a wife, mother, writer, artist and I work with my husband in our home business. I have learned through writing and other creative endeavors it is in the doing not putting the creation out into the world where the magic lies. It is a journey and when we find our voice, we find our self.
With this blog I hope to continue my journey and encourage others on theirs. We all start where we are, continuing on this wonderful journey called life, and doing the best I can is my goal. Creativity is how I feed my soul. Marriage and family is where I find meaning and purpose. Enjoying all life has to offer is where I find joy. Work is how we keep body and soul together. There is always a new up and a new down around the corner. We need to learn to surf the highs and lows of life.
I wish everyone the best as they continue on their journey. It isn't over till it's over, and there is always some small thing we can do to improve. It's never too late to become our best self, the person we know we are to be. Start small, be kind to yourself. Live till you die.
Posted in Journey of self discovery.Tagged Perfection is enemy of the good., Starting is half done.
Next Article Creativity takes courage. Lies we tell our self: We are not creative. It's not important to be creative. People will laugh at us.


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Insomniac's PS5 Spider-Man Found in Spider-Man: Across The Spider-Verse Poster
Insomniac's PS5 version of Marvel's Spider-Man has been seen in the latest Spider-Man: Across the Spider-Verse poster. As the character even appears in the front row of the poster, fans are hoping the character will have more than just a cameo appearance in the upcoming movie.
Will Marvel's Spider-Man 2 have an Across the Spider-Verse crossover?
This isn't the first time Insomniac's version of the superhero has been seen in the upcoming movie. Just last week, the PS5 versions of both Spider-Man and Miles Morales were spotted in the movie's trailer, although the latter doesn't make an appearance on the Across the Spider-Verse poster. There was also an advert for Marvel's Spider-Man 2 at the end of the trailer, leading fans to believe there may be a crossover between the two mediums. The PS5 character's prominent position on the movie poster does suggest he might have more than just a fleeting appearance in the movie, although with another version of Miles Morales taking the spotlight in the movie, that PS5 version may not get a look-in.
Spider-Man: Across the Spider-Verse will be the first of the two to be released, currently due to hit theaters in June 2023. Marvel's Spider-Man recently received a release date window of fall 2023, but could easily include a crossover with the movie, perhaps even as DLC. We do know the "massive" game will introduce Venom as a major character, but other cast members are yet to be revealed.


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Ge-Hy
Helium - Chemistry Encyclopedia
MELTING POINT: −272.2°C—does not solidify under its own vapor
BOILING POINT: −268.93°C
DENSITY: 0.1785 g/L
MOST COMMON IONS: None
Helium, a colorless gas at room temperature, is the first element in the noble gas group, and forms few compounds. It is rare in the atmosphere (1 part in 200,000) and recovered on Earth principally by its separation from natural gas obtained in underground wells. Named for the Sun (in Greek, helios ), helium is a component of the production of energy as well as the basis of the science and technology of cryogenics. Its presence at the surface of the Sun was first confirmed by amateur British astronomer Joseph Norman Lockyer (1868), who observed characteristic lines in the optical spectrum of the Sun, at whose surface helium is produced via the energy-releasing fusion of hydrogen and deuterium nuclei.
Because it is such a light, nonreactive element, helium condenses (at atmospheric pressure) only at 4.2 kelvins. Furthermore, because of quantum mechanical effects, helium solidifies (under the application of 25.3 bars of external pressure) only at the lowest temperatures. Liquefied in large compression refrigerators, helium is used to cool cryogenic equipment, in particular the superconducting magnets used in medical magnetic resonance imaging (MRI). At 2.17 kelvins liquid helium transforms into an unusual quantum phase , called a superfluid, which has no viscosity and exhibits bizarre flow properties, such as its creeping out of containers.
The gas is also used to fill balloons, in gas discharge lamps, and as an additive in the breathing gases of astronauts and scuba divers. The rarer stable isotope of helium ( 3 He) is produced by the decay of radioactive tritium, and is used in resonance imaging and in the attainment of very low temperatures, about 0.010 kelvin, via a process known as dilution refrigeration.
SEE ALSO Noble Gases ; Nuclear Fusion .
David G. Haase
Seibel, Clifford W. (1968). Helium, Child of the Sun. Lawrence: The University Press of Kansas.
Also read article about Helium from Wikipedia
Helium - Chemistry Encyclopedia forum
Heavy Metal Toxins Hemoglobin


Recently, a publication entitled "Pyrochlore and Perovskite Potassium Tantalate: Enthalpies of Formation and Phase Transformation" was published in Chemistry – A European Journal.
This entry was posted in Latest Publications and tagged 2015, publications. Bookmark the permalink.


Soviet military planning for conflict in Europe after World War II from the outset harnessed East European military capabilities to Soviet military purposes and assumed operational subordination of East European military formations to higher-level Soviet commands.
A Polish command-staff exercise in 1950, for example, assumed subordination of a Polish Army (comprised of five divisions and other units) to a Soviet Maritime Front (tasked in the exercise with occupying Denmark).
Following founding of the Warsaw Treaty Organization (Warsaw Pact) in May 1955, a supreme Warsaw Pact military command was established in Moscow, but this institution existed largely on paper until the 1960's.
The accompanying DVD contains a wealth of newly declassified Central Intelligence Agency documents from the Warsaw Pact series.
This publication would be useful to the military's analysis community, policymakers, members of government and defense agencies/contractors, and members of military-focused and intelligence-focused committees. This publication would also be useful to historians and students engaged with historical/political/military/intelligence studies.


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Discovering the Unrealistic Elements in Reed's Play
On the first look, the play seems to be merely a biographical work hovering about a great musician who has also been influential in improving some aspects of the political conditions of his society; however, this seventeen-paged play successfully draws on numerous other social political issues and is only using that context to reach its goal. Issues such as: the state of women in the society, how white people (even the liberal ones) feel toward people with colored skin, what has become of music, etc are investigated in the play.
But in this particular play, the more controversial than the content is the form. Reed's strategy in presenting the play to the audience is what has made this piece different than the classical straightforward ones, where the audience only watches the main action that is going on on the stage, and if there is some information that needs to be transferred to the audience but it is not planed to be acted out on stage, it is narrated by one particular character (in Shakespeare's case, a messenger) i.e it is presented by speech, not action. Reeds uses cinematic techniques to have "a scene within a scene", presenting the audience the information they need to make the correct judgement about the whole story. Take the first scene for example: Louis Armstrong is sitting in his room complaining and nagging about the so-called "beboppers" when suddenly a real bebopper appears in the back (using the spotlight technique) and starts defending his own stance. This technique is very similar to an old one called "aside" which happens in Ben Jonson's Volpone. In both techniques, only the audience (and not other characters on stage) are able to hear the speaker talking; with this significant difference that in "aside", the speaker has been present on stage in the ongoing scene, whereas in what Reeds does, the character suddenly appears out of nowhere.
When the bebopper appears in the spotlight and starts criticizing Armstrong, or in similar scenes such as the appearance of Eisenhower's first wife in the hotel room, it makes the audience feel like they have a full objective view over the play and can judge the characters freely and wisely because all the information they need is presented to them and every single character has the opportunely to appear in a particular scene and defend their stances. Of course this sense can also be achieved in a realistic classical play but not as clearly and objectively.
Apart from giving the audience a sense of objectivity, unrealistic elements in Reeds's play are what make his play more interesting and easy-to-follow. A character popping out of nowhere and starting to talk to the audience face to face; that is what makes art stand out and be different from everyday life. That is what gives he audience what Brecht calls "alienation effect"; what addresses the audience and tells them "this is not real life, this is just a play". This sense cannot be achieved easily in a realistic classical play where the actors and actresses only engage in coming up on the stage, act out the scene normally, and then leave; and that is what takes the history of the playwriting art to another level.
Quantitative Research Plan: Instruments And Measurements Essay
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As another year comes to an end, the time to reflect is upon us. Reflection is a crucial part of growth. Without it, the years meld together and the bigger picture can become blurred. It's important to take time to zoom out and make sure the vision is clear. For us, that vision has never been more clear.
We're on a mission to accelerate humankind's potential by streamlining the journey of the entrepreneur. Our startup ecosystem has innovation at its core and we took major steps in 2022 to continue expanding it.
We wouldn't have been able to tackle even bigger projects and reach new heights this year without our extraordinary team, which doubled in size!
Like a proud parent, we're excited to share everyone's accomplishments and have highlighted a few of them below (you can also read about them all in our 2022 Year in Review blog post).
We wish you all a happy, healthy, and safe holiday season.
Team Interplay
Our Venture Capital vertical focuses on identifying and investing in promising technology-enabled businesses across Seed, Series A, and Series B. We aim to partner with founders who are passionate about solving meaningful problems and building scalable businesses. In 2022, our portfolio expanded to include eight new investments and two follow-on investments.
These are the eight new companies we were excited to welcome to our portfolio:
ASK-AI, using breakthrough AI-NLP to aggregate text-heavy company knowledge & customer communications.
Banyan, making it easy for consumers to connect their receipts to the apps and services they choose.
Black Crow AI, helping companies of all sizes improve profitability with the power of machine-learned prediction.
Boom & Bucket, changing the way contractors buy and sell used heavy equipment.
Justpoint, redesigning the personal injury industry.
Noble, empowering any company to quickly build, launch, and scale credit products.
ShopThing, transforming the way people shop and sell through live video commerce.
Slate, a content creation platform for on-brand social media.
These are the two portfolio companies we were thrilled to make follow-on investments with.
MicroAcquire, a startup acquisition marketplace that helps turn founder journeys into success stories.
Properly, a Canadian real estate technology company that enables homeowners to buy when they find the home they love.
Our Blockchain vertical invests in companies that are using public blockchains to drive the next iteration of the internet and disrupt our most fundamental institutions.
In addition to launching, here are some exciting highlights:
At the end of November we had our first close.
We committed to three strategic investments into other excellent funds (Shima Capital, Collab+Currency, and Frictionless Capital).
We're active members in eight DAOs.
Along with our important business milestones, we continued to exemplify thought leadership in the world of blockchain.
Decentralization: A Holistic Framework
Liquid Podcast
Crypto 101 Podcast
The mathematics behind zero-knowledge proofs
Creating educational and useful content for founders, startups, VCs and LPs is a top priority for us. The main focus for this initiative has been our podcast, Innovation with Mark Peter Davis.
We launched the pod in January of '21. Two years later and 74 episodes in, we're going strong!
The most recent episode - and the last one of the year - is a recap of notable events from 2022 and our predictions for 2023. Here's a link to check it out.
Our Incubator partners with existing early-stage companies to help them succeed and scale. We work with a relatively small number of companies at once. If an accelerator is like a classroom, our Incubator is like private tutoring.
Over the past year, we continued working with high-quality companies that are based out of the US as well as other countries from all over the world, including Mexico, Pakistan, and the Caribbean.
We're proud to be working with a diverse and accomplished set of founders that includes many from underrepresented groups as well as a range of experiences such as second and third-time founders, physicians, statisticians, and more. We are on track to work with 12-15 more companies in 2023!
Here are the companies that joined the Incubator in 2022:
Futurist AI, a Breakthrough Natural Language Processing platform capable of revealing the motivations that drive customer behaviors.
GoDocta, a telemedicine platform that's globally expanding patient access to care.
Hadley, matching families looking to save for education to the 529 Plan that's right for them, for free.
Goodwell, reinventing the classic toothbrush to give it a modern and sustainable update.
Manna, a platform where home cooks, chefs, recipe developers and creators can interact, customize recipes and share food.
Meatit, a direct to consumer company reinventing the meat supply chain in Pakistan.
MIDAS Technologies, a marketplace providing tools that allow for the visualization of cash consumption trends and analytics.
Picket Pharmaceuticals, developing and brings to market innovative complex generic pharmaceutical products.
Qortor, a better way for creators and brands to collaborate and sell together.
Our Family Office leverages our deep network in the key innovation sectors to access alternative assets that can uniquely provide material wealth appreciation and positive social impact. Like the rest of Interplay, 2022 has been a big year for the FO team.
We're now servicing and investing on behalf of 5 families.
We added four new team members:Director, a turning point for the business.Associate, set to join on 1/2/2023.2x Operation Specialist, significantly leveling up quality of services to existing member families.
We added four new services and capabilities to offer our members:Tax AdvisoryInsurance AdvisoryEstate Planning Strategic AdvisoryEmergency Planning Services
There were 25 investments committed and funded YTD, which include: 9 Venture-Stage Direct Investments6 Growth-Stage/Pre-IPO/Secondary Direct Investments1 Real Estate Direct Investment2 Traditional Buyout Funds1 Real Estate PE Fund2 Generalist VC Funds1 Hybrid Credit Fund1 Search Fund of Funds1 Israeli Tech Fund of Funds1 Blockchain VC Fund
Interplay's platform companies employ hundreds of people and provide core operational services to more than 10% of all venture-backed startups in the US.
Here are a few select highlights from Bowery Legal, Chelsea Capital and Firon Marketing.
Firon grew to 20 full-time employees, with at least 2 members in each of its main service departments; SEO, Advertising, Social Media Management, Website Development, Email/SMS Marketing, and Content Writing.
Chelsea Capital's team expanded and evolved. They promoted Monette and hired Lauren, who has been amazing and allowed the company to expand its ops services business. In addition to a growing team, Chelsea Capital's revenue doubled in 2021, with both tax and CFO revenue increasing by approximately 2.5x.
Bowery Legal's team grew more than two-fold, adding attorneys Mike Feldstein and Enes Sevencan and Paralegal Liza Quimbo over the past year, bringing the team to 6. Bowery also built its client base significantly over the past year. Perhaps most interestingly, based on the growing word-of-mouth reputation, Bowery Legal has gained a reputation as a high-quality firm in the Startup, Emerging Companies, and VC legal industry, known for being capable of providing top-level services at significant cost savings compared to larger alternatives. This has led to Bowery bringing several clients on board that were previously from large, name-brand firms in the space.
P.S. To stay in the know and/or get in touch, feel free to click any of the links in the footer:
Engage: This is a one-stop-shop for all of the ecosystem's offerings. Apply to Interplay Ventures and Interplay Incubator and/or learn more about and get in touch with our service companies
Join: If you're interested in joining the team, feel free to apply! This will also put you on the general Interplay radar by adding you to a database we track and keep in mind for opportunities with our portfolio companies.
Subscribe: This will sign you up for our newsletter and keep you in the know.


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Leymah Gbowee organised a movement of Christian and Muslim women that in 2003 brought to an end the civil war in Liberia. As a volunteer in the aid programme for victims of the first Liberian civil war (1989-1996) she worked with former child-soldiers of Charles Taylor's army and was engaged in other peace-making activities. According to her own account, at that time she realised that "if any changes were to be made in society it had to be by the mothers".
In 2002, Ms Gbowee became a spokesperson and leader for Women of Liberia Mass Action for Peace, an organisation for women across ethnic and religious divide lines. During months of peaceful protests, the women organised a series of actions to end the violence in the country, including a sex strike which attracted a significant media coverage. The activists were received by Taylor in April 2003, just months before the August peace treaty which ended the long civil war.
Gbowee supported Ellen Johnson Sirleaf and endorsed her candidacy during the successful re-election campaign in 2011, only to accuse the President of corruption and nepotism in the next year.


The save-excursion function is the fourth and final special form that we will discuss in this chapter.
In Emacs Lisp programs used for editing, the save-excursion function is very common. It saves the location of point and mark, executes the body of the function, and then restores point and mark to their previous positions if their locations were changed. Its primary purpose is to keep the user from being surprised and disturbed by unexpected movement of point or mark.
Point and mark: A review of various locations.


Too good to not post: Ornette Coleman was surprise guest with Sonny Rollins at his fast-become-famous Beacon Theater 80th birthday party on September 10 (backstage there was birthday cake shaped like a saxophone, made of marzipan). Note SR's quote at about 10 minutes in of "I'll Take Manhattan," which he certainly did. [[As of 9/15/2010 this video has been removed from Youtube by it's "user." Research will follow.
And next is another priceless clip I've never come upon before, from the early '60s, of Sonny with trumpeter Don Cherry — Ornette's brilliant partner — young Henry Grimes on bass and drummer Billy Higgins.
thanks to whoever made these public, though in the future — PLEASE get artists' agreements to film and make public . . . And the embedding is disabled, but here's Don Cherry playing Monk's "Bemsha Swing" with Herbie Hancock, Ron Carter and Billy Higgins, from New Orleans circa 1986.
WOW, this is Historical and truly a monument to the best that Jazz brings to the world!!!
There's no "10 minutes in" on these 5-minute clips. And both clips are the same early-60s performance. Will you be posting video from the Beacon?
HM: I posted an unauthorized video from the Beacon in my blog posting just previous to this one. Now the Ornette and Sonny clip has been removed from Youtube, "at the direction of the user." I'm afraid it was only up for a day or two. I'll try to find out who has instructed this removal — I had talked to Sonny's people, who said they would not comment favorably on it, but wouldn't move against it, either. Maybe Ornette's group said no-no.
Sonny Rollins and Don Cherry?!?! You just made my day! I'm going to have to go search youtube for more jazz gold!


It doesn't take a rocket scientist to figure out that we need sleep. Any insomniac will be aware of how sleep deprivation can affect your ability to function. It can affect your mental and physical performance and can be debilitating to your relationships if left untreated. For this reason, many people look for cheap sleeping tablets to help them get the sleep they need to be at their best.
Where can I get cheap sleeping tablets?
If you want to get the quality sleep you deserve, using sleeping pills is a no-brainer. You can buy FDA-approved brands and generics online without a prescription. You will pay less than a fifth of what you would pay at a regular pharmacy. Buy your medication in large orders and receive further discounts.
If you have any difficulty navigating the online shopping system, most e-pharmacies offer assistance in the form of a live chat or contact page that is available on a 24/7 basis. When you shop online, you can be assured that your order will be delivered free of charge in discreet packaging. Delivery can be expected to take up to 2-5 days if you are in the UK. Those in the EU have a waiting period of roughly 5-10 working days.
Don't let insomnia keep you from being the best version of yourself. Buy effective, cheap sleeping tablets online today.


Single Player - includes lunch, golf, cart, goody bag, and awards reception.
Be a part of the action and support Rotary at the same time.
Team - includes lunch, golf, cart, goody bag, and awards reception for four.
Team - includes lunch, golf, cart, goody bag, and awards reception for four. As well as tee hole recognition.
Rotary of Upper Kittitas County's 2019 annual golf event at Suncadia. The event this year will be at the Prospector golf course, located in beautiful Suncadia, nearby Roslyn.
Our event helps fund our youth programs and community service projects.
Plan your summer weekend early! A day of fun, golf, prizes, food and auction/raffle.
Registration and lunch begin at 11:00AM, shotgun start at 1pm, 18 holes on the Prospector course followed by appetizers, award ceremony and auction raffle immediately following near by.
For event sponsorship and direct donorship opportunities, please contact us directly. Rotary of Upper Kittitas County Foundation is a 501(c)3 charitable organization.


Die Stadtverwaltung erhebt eine Tourismusabgabe von 1.53 EUR pro Person/pro Nacht.
Wir waren 4 Nächte im Hotel. Personal war sehr freundlich und zuvorkommend. Die Zimmer sind gross und modern. Die Aussicht war traumhaft. Das Hotel ist sehr Zentral. Man kann alles bequem zu Fuss erreichen. Die Parkplätze in der Tiefgarage sind gross und im Preis inbegriffen. Wir werden bestimmt wiederkommen.
Stayed at Hotek Mepas while on business trip. Convinient location, free parking, brilliant view if city. Room spacious and clean; staff helpful and curteous.
Spacious room, very modern, great bathroom, clean, parking underground at no extra cost. Pool area very great and was included in room price. Breakfast was average, a bit slow at re-stocking, a few things were out at 8am. 15 to 20 minute walk to old bridge which was easy an walk. Shopping mall on lower floors.