The man waiting outside my studio three days before the new year was dark with travel, his cloak ragged and mud-stained. The gray hollows around his eyes and beneath his cheekbones proclaimed his business. Even so, I feared I would be robbed before our exchange ended.
"What are you selling?" I held the heavy brass key in my hand like a weapon, refusing to unlock the studio door. Beyond the thin wooden barrier, a rough amethyst the size and texture of a shelled walnut waited on my cutting tray to be improved. The man before me could never enter that room.
"A gem," he said. His accent put a flat country note to the 'e.' A fleck of spit remained on his lip, white foam against cracked red flesh. "From the Valley."
I held out my free hand. The wretched man placed into it a large wad of linen. Still, I doubted his claim. Valley gems were plentiful in rumor and rare in reality. A good jeweler learned to trace a gem's origin before he made a purchase he couldn't profit from later. I owned my shop and the studio above it, in a tower within the city walls. I wasn't about to make a bad buy.
I peeled the linen back, the gray of its outer layer revealing a white underside. Within the nest of fabric lay a large yellow topaz, cut in the old style.
"My dear man," I said. "This is no Valley gem. It's neither ruby nor sapphire, diamond, nor emerald. This is topaz, or citrine. And, worse, it doesn't sing. I'm told Valley gems sing." But I kept hold of the stone, and the man noticed.
"Two gold graeli," he said. "The topaz will sing for the right jeweler."
I flipped my hand over, fingers curled around the topaz and its wrapping. Made as if to hand it back to him. "Not interested." I reached the brass key towards my studio door.
"Thirty silver." His voice broke.
"I will give you twenty," I said. The man was desperate. I was certain I could cut the old topaz into three more popular shapes and sell each for that much, or more.
My day was starting off fine, and when Lise, my assistant, arrived, it would get better still. I pocketed the topaz and drew a purse from my sleeve. The man's fingers shook the coins together as I counted them out.
What a marvelous stone. I imagined it transformed to a brooch or a ring. A pair of drop earrings. Glittering in the perfect setting: bezel or clutch, wrap or pin . . .
The man was staring at me, as if awaiting a response.
"You shouldn't linger," I said quickly and waved him away. "The local sheriff comes around often."
As the man shuffled down the narrow stairs to the street outside my shop, I unlocked the studio, closed the door carefully behind me, then hurried to my workbench.
By the time Lise arrived, I had the gem cleaned of the wanderer's grime. She opened the door with a clatter, her own key swinging from a black ribbon around her neck, and bobbled a basket of crullers from the baker, nearly dropping them. Morning light filled the studio and lit Lise's orange-red hair like a nimbus. She laughed when she saw the topaz. "Oh! A marquise! Don't see many of them anymore."
"They're out of fashion, yes, but look at the color." I was training her to be more than an assistant. She had a good eye for ornamentation, and for how much a client was willing to pay.
As Lise looked, the light passed through the topaz, which was very large, thirty carats, and threw a dappled yellow cast over her cheeks. Her eyes seemed tinted with jaundice in the glare of the gem. I dropped it on my workbench with a clatter.
"Nothing. I was thinking if I planned to cut the stone, it would be well to do it now, before Chambers comes."
"Not yet." Chambers was my best customer. He could not use the more venerable jewelers, but his lady loved new baubles. Better still for me, his money far exceeded his taste. His latest commission was a gold bracelet, cast in the shape of a naked woman. I had completed the wax model but needed his approval to continue. The carving, in thick maroon wax, sat on my oak worktable, in the shade where the sun would not melt it.
Lise looked the figure over. The woman's fingertips touched her toes where the clasp would go. Her arching back formed the curve of the bracelet. Flowing hair covered her breasts and hips. On her face, I'd carved a look of mild ecstasy.
I ducked my head to focus on the topaz, so that Lise would not see me blushing. Though the hair was long and would be flaxen in the final work, I'd realized too late that the face I'd carved on the bracelet was Lise's own.
When she put the bracelet down without reaction and continued moving about the studio, straightening things, I breathed more easily. She wasn't one to look in a mirror, so she likely hadn't noticed.
Lise went to open the shop, while I began to mark the topaz with my grease pencil. No one would buy a marquise nowadays, and few would want a stone so yellow, despite the perfection of the facets. Large gems were all but out of fashion in the city. A few heads of state from the outer kingdoms still wore them when they visited, but they could get away with garishness. Our city, with its thriving port, set the style for the surrounding kingdoms. That settled it. The marquise topaz would make two perfect trillions and a baguette. Earrings and a pendant, at least. Someone's lady would be very happy.
The shop bell rang below, and Lise greeted a customer. When the bell chimed again, I heard her singing, though I couldn't make out the words. She sang when she'd sold a piece. How exquisite. Lise had grown as good at coaxing purchases from clients as I was at shaping wax and jewels.
I prepared my diamond saw, making sure there was enough tension on the blade to cut the gem cleanly, then lifted the topaz once more to the light.
"What are you doing, sir?" Lise's voice cut through my thoughts. I lowered the gem. "Chambers comes in an hour. Don't you want lunch?"
She held out a wrapped sandwich. I saw that the morning light I loved so much had changed to the bright angles of noon.
The topaz, uncut, sweated in my hand.
"What have you been doing all morning?" Lise asked again. I could not answer her. I had no memory of doing anything besides preparing the topaz. I took the sandwich -- cheese and a slice of beef on a thick rye bread -- in my free hand and crammed my mouth full.
Lise looked at me strangely, then pulled me to the table where we often took our lunches together to talk about the shop. "Won't you sit and eat?"
I chewed and sat. The topaz fell from my hand to the table. I swallowed. "I was going to cut it. Into three."
"You have been working too hard," she said and patted my hand. Her touch made me jump. After the cold facets of the gem, her fingers felt like fire. "I'm sorry," she whispered.
"No my dear, I am the one who must apologize." I put my hand over hers and held it there for perhaps too long.
Below the open window, the baker greeted Chambers with merriment and a crude joke. Chambers returned the jest in kind and both laughed. Then my client's riding boots clattered on the stairs.
I rose and put the topaz on my workbench, covered in its linen wrap, and gathered up the wax model. It was my custom to greet Chambers at the door.
"I can't stay," he said. "Very inconvenient, all these approvals."
I understood completely, but Chambers's satisfaction was a fleeting thing. Well that I had required his approval, as Chambers shook his head almost at once.
"It's not wrong," he said. "But it's not quite enough." His hands shaped curves in the air. "And her hair is never completely down. Can you change that?"
I said that I would, and invited him to return in the morning.
Lise asked leave to visit her father in the afternoon, so I sat in the shop in her place, sold two pairs of gold earrings to a dowager, and worked on the wax model.
The next morning, I returned to the shop from my apartment across town, taking the stairs to the studio two at a time. I'd re-carved the wax figure for Chambers's bracelet so that the breasts were gloriously revealed and the figure's hair was coiled in an ancient style atop her head, with tresses streaming down the back and over her hips. Even in dark wax, the result was some of my favorite work to date. I was eager to see how it looked in the light.
Lise met me at the door, her cheeks and eyes puffy.
"Is your father worse?" I asked with great concern, for the man had been bed-bound of late.
She shook her head, no. It took me as long to pry the reason from her as it did for me to pull the key from under the wrapped topaz in my pocket. I hadn't realized I'd taken it home with me. As I opened the door, she said, "You can't ignore dreams around the ill and dying." Her eyes filled; tears wobbled but did not spill.
She'd been crying all night. "I was kneeling, my hands and feet bound with fine gold wire, and a cloaked man tried to carry me off. I kicked my feet and the wire turned to hair, so I broke loose and ran towards the sound of your voice. But --" her words trailed off until she gathered herself. "The ground was sharp, littered with shattered amethysts. The shards cut my feet. I turned to fight the cloaked man and saw you across his shoulders, bound and stilled. That topaz was stuffed in your mouth."
She shivered and I took her inside, into the light-filled studio. I made her tea myself, though all I had was a dark oolong from the coast. Lise said oolong was not the kind of tea a woman needs after a long cry, but she made do.
"There is a simple explanation," I said while my mind scrambled for words to calm her. "Your father can no longer walk. You are afraid for him. You tied this fear to the gems we have on hand in the workshop, nothing more. See?" I held out the amethyst.
She nodded, but would not touch the stone. After a moment, she added, "I am fine now, sir. I see there is nothing to fear."
"Whatever is the matter?" he blustered when I finally let him in.
When I explained, he pointed at my workbench, where the topaz sat. "It is a lovely stone. How much are you asking for it?"
"I had thought to cut it into three. I will do that today and price it."
"Please let me know when you have done so. Stones of that color are so rare, and it matches my lady's hair."
I rather thought Chambers's lady's hair was more the color of dishwater, but I didn't say so. Lise hiccupped at the table and buried her face in her teacup.
When I showed Chambers the wax model, the light struck the fine lines I'd carved in the figure's hair and the soft curves of her breasts and belly. "Imagine this in gold," I said, tracing a line with my finger.
"Move those tresses, the more the better," Chambers said, waving his hand lower. "I don't need to approve that last bit. When will it be ready?"
"I can carve again today and cast the bracelet tomorrow." Then I would cut the topaz. "We'll have it polished by evening." I had three other baubles to finish besides. I'd lost too much time to the topaz. The new year was a popular time for the exchanging of fine gifts.
"Very good. I'll see myself out," Chambers said. "Though you may want to look to your locks. A man's been lingering outside your shop of late." He gestured with his chin towards the window, then strode through the door, snapping a pair of leather riding gloves against his hands.
I leaned out the studio window to see if I could discern what Chambers meant. Even from a floor up, the smell that greeted me was unpleasant: unwashed hair, perhaps rotting leather. The man leaning against the wall below was the same who sold me the topaz the morning before. I ducked my head back inside and turned to Lise.
"I don't want you going out of doors alone, not with that fellow lurking."
She went to the window. "I see no one."
When I joined her, I saw she was right. The man was gone and the street below the shop was empty. Perhaps Chambers was playing a prank on me. The ruse felt too obvious for anyone else. Nonetheless, I put my arm around Lise. She shivered. "Your dream is not real. No one will carry you away."
She smiled and leaned against me for a moment, warm like the sunlight. "Thank you. Now let me open the shop."
"And I will cut this stone."
Lise's smile was gorgeous in the light. I had noticed before, but now her eyes captivated me. They were brown, speckled with gold flecks much the same color as the gem on my workbench. Her eyelids were swollen and red from all the worry about her dream and, more than likely, about her father's declining health.
She blinked once and shook herself, as if from a spell, and turned from me, before looking back over her shoulder. "You won't fall asleep again?"
I shook my head. Not to worry.
As she left, I went to the topaz and again prepared my diamond saw. The cutting marks I'd drawn with the grease pencil the day before were gone. I grumbled, suspecting they'd been wiped off when I lost the stone from its wrapping, and bent once more to my work.
Lise found me in the same position, hours later. Her concern weighted her voice. "I couldn't tear you from it," she said. "And, sir. Your arms."
From fingers to elbow, each arm was covered in grease pencil markings; some clumsy, some elaborate geometries. I quickly wiped them clean.
"You said it sang to you of strands of gold; of the perfect setting," Lise said.
Her words made no sense, but neither did the lost hours. I shivered in the warmth of the day. Beyond the window, in the square, I saw a familiar figure in a tattered cloak. Suddenly, I wanted to escape from my studio and the chill that hung over it. "Let us get lunch by the river," I said. "We will make a special day of it."
Lise's mood changed at the mention of an adventure. She clapped her hands and went to get her cloak. I gathered some things as well. We locked up studio and shop and passed a wonderful hour by the river. When we finished our meal, I took her hand and kissed it. Her cheeks colored pink. "Sir," she said.
"Call me Marcus, as I call you Lise."
At these words, she paled. "You said that in the dream!" She started to rise from the riverbank. I caught her arm and held her tight.
"It was a dream, and you are young enough to let them shape you still," I said. "Do not fear." But her shoulders shook and I held her tighter. We walked back to the studio like that, for all the city to see.
My heart skipped when Lise reached up to brush her smooth fingers across my scarred and calloused fingertips.
When we reached the studio, the ragged man was nowhere in attendance, but the studio door was swung wide and my worktable had been turned upside down. Drawers were pulled askew; soft solder wire and old lost-wax molds lay scattered on the floor. The wax model lay undamaged beside the workbench.
The rough amethyst, a bag of gold casting beads, and much more were gone. I reached into my pocket and touched the topaz. I was glad I'd taken it with me.
"I will have to get more gold to finish Chambers's bracelet," I said, trying to remain calm for Lise's sake.
"I can go," she said. We had a standing arrangement with the local pawnshop and they kept a bit of casting gold on hand to sell us. "But we have nothing to pay them with."
"Let me cut the topaz now. I'll send one of the trillions with you to the pawnshop. That will cover costs until Chambers pays for the bracelet."
In the wreckage of the studio, I found my diamond saw and prepared once more to cut into the marquise, near the crown of the thick yellow gem.
When I came to on the floor, Lise was shaking me and crying. "Marcus, please!" She saw my eyes open and sobbed. "You were cold! I heard a noise like the diamond saw's hum, or a song, and then everything went sideways and when I came to, you were cold." She pointed at the topaz, still in my hand. "That gem does not want to be cut!"
"No," said a voice from the door, thick with a sick man's phlegm. "It is a stone of the Jeweled Valley, and an old one. I parted with it cheaply when I was starving and I will have it back. The gem is unsafe with you." The cloaked man advanced, dark in the evening shadow. "It must be placed in a proper setting, or it will ruin all who touch it."
I had enough strength left to grab my torch from my worktable and fire it, holding it before me, Lise, and the topaz. "You are lying. Part of Chambers's prank."
The man eyed the torch. "I thought you a proper jeweler, but you have no skill with Valley jewels. You must return it, or set it in my presence." He held out an old book, wrapped in fouled leather. Gold wire crisscrossed the cover, terminating in six clawed bezels that grasped at air and two more that still held glittering gems. The book had been gloriously jeweled once, until someone pried each stone loose for barter or sale. Or so Chambers would have liked me to believe.
"Tell Chambers to leave off these games. And go away. I own this topaz, and will use it as I like."
"I know no Chambers," the man said. He tucked the book away in his cloak, and reached for me. For the topaz.
The torch was of the new kind, a gas mix in a canister. It had a hand crank that let me adjust the fuel, which I now threw hard forward. A blue flame burst forth and the man leapt back, but not in time. His cloak caught, and the grease within the cloak as well. He ran shrieking down the stairs and into the evening gloom.
I comforted Lise as best I could, and we shared a drink from a bottle of good red wine that I'd put up for emergencies. She was too shaken for me to leave her, and I worried the sheriff would take the topaz from me. Instead, we bolted the door.
Lise began to whisper, her eyes locked on the topaz. "You do not think we should get rid of it?"
Her concern touched me. But as I thought of the topaz, as I felt again its smooth facets against my fingertips. I saw once more what the gem could become. "Why give Chambers the satisfaction?"
"You still think this is one of Chambers's jokes?" Lise turned to me.
"Why would he risk slowing your progress on the bracelet for a prank?"
Indeed, why would he? I hadn't thought of that. What a smart girl. About the bracelet too. I needed to finish that. "Let us see what I can make of it. Chambers will pay handsomely for pretty gems." I poured her more wine.
"Chambers would pay even more for a cursed gem. It would be popular with his guests."
Lise had a better head for business than I'd realized.
My client's cabinet of curiosities was renowned and reviled within the city. I nodded. "The topazes I cut and set will be more startling than any misshapen bones in a glass case, more beautiful than Chambers's nightshade butterflies. And three 'cursed' stones are better than one." I envisioned the gold Chambers would pay for the earrings, for the pendant. I stroked Lise's hair and sipped my wine. "We could make our fortune on this gem."
Comforted, she leaned on my shoulder and I kissed her hair, then her cheek. She put her arms around my neck and hung there. I picked her up and carried her to a cot at the back of my studio that I used when I worked late.
I had apprenticed hard for many years to learn my trade and still more building my reputation. I'd never had much money to spare on women. Lise knew as much as I did when it came to what happened that night. But we were well pleased with ourselves. The moonlight shone yellow on our bare skin, tumbled in the sheets of the cot.
I thought I heard singing. Lise swore it was my voice. For the moment, I was too happy to care. The outside world was outside, and we were one within.
Thus restored, I woke to moonlight, with new ideas for the topaz, and new ways to cut it. A way to set it that made my heart pound.
I laid out my files and my gold bezels, preparing. Sharpened my diamond saw once more.
I could swear on the russet hair of my dearest love that the gem sang to me that night as I lowered the saw to its facets.
It was Chambers who pounded the door down the next afternoon. My eyes opened to a ragged man bent over me, his hands clutching at my chest. At Chambers's roar, the man dove through the window, his hands empty. I heard a crash far below, then the baker's shout and the sheriff's whistle.
And so it was Chambers who discovered me naked in my own studio. I lay dazed below my workbench, in a congealing pool of blood.
Lise, my darling Lise, lay curled in a ball on the cot's sun-yellow sheets, her eyes frozen a pale amber. She breathed, but it was a raspy sound. I could see no mark on her. I followed her gaze back to my own body. She stared at my chest, at the gem set there, deep into my flesh, beating like a heart.
"Marcus," she whispered. "The topaz."
And I felt it, in me, singing. My veins pulsed with its rhythm. I knew I could never cut it away.
Chambers has found a buyer for the shop and the studio, for I will never make trinkets again. Lise tends me when Chambers doesn't have an audience arranged. There are many who wish to see the jeweled man.
As for me, I am happy with my saws and pliers, with my gold wire. I have inlaid gems across my arms and torso, using any local jewels that Chambers can find. I favor yellow stones like chrysoberyl, spinel, and tourmaline, though these do not sing to me.
On days when my skin scars and hardens around the newest bezel, Lise brings gauze and salves from town.
"Is it not beautiful?" I ask her. I watch my body sparkle in the sunlight of our room.
"It is beautiful," she answers. Her fingers trace the gems. Her eyes meet mine, filled with tears that do not spill. While she can no longer hear the topaz, she can see its measured pulse.
Below, the hall of Chambers's home echoes with the beat of metal doorknocker against wood. I shiver. On days like this, I am not fit to entertain an audience. Chambers has so far said it amuses him and his lady to have me as a guest, even when he must turn the curious away. They are kind hosts.
But this day, a man has come to their door to sell, not to see. My room faces east for the best morning light and overlooks the front steps. I hear the conversation. I see the gleam of facets nestled in linen.
"It sings," the man says.
Chambers often buys me gemstones, but he turns this man away. "We want nothing more of you."
I lean against the glass, my skin crisscrossed with gold in the light. I trace the barest hint of a song in the air and remember the last gems on a leather-bound book.
As the ragged man leaves, heels dragging loud in the gravel, I mark which way he goes.


Talk about having it all...WOW! This moto faux leather jacket explores and reveals all the sides of you! The short styling with studs and heavy-duty zippers is decidedly edgy while the bird and floral print motif speaks more about your feminine side. The soft, supple leather and open neck suggest softness and touch-ability. Be everything or be nothing, and always be in style!


text:
import React, {Component} from 'react';

import {View, Text, TouchableOpacity, StyleSheet} from 'react-native';

import {Button, Screen, DropDownMenu} from '@shoutem/ui';
import Icon from 'react-native-vector-icons/MaterialIcons';
import HostView from '../modules/host/HostView';

/**
 * Simple developer menu, which allows e.g. to clear the app state.
 * It can be accessed through a tiny button in the bottom right corner of the screen.
 * ONLY FOR DEVELOPMENT MODE!
 */
class HomeMenu extends Component {
  static displayName = 'HomeMenu';

  constructor(props) {
    super(props);
    this.state = {visible: false, selectedMenuItem: null};
  }

  showHomeMenu = () => {
    this.setState({isVisible: true});
  };

  closeMenu = () => {
    this.setState({isVisible: false});
  };

  renderMenuItem(text, onPress) {
    return (
      <TouchableOpacity key={text} onPress={onPress} style={styles.menuItem}>
        <Text style={styles.menuItemText}>{text}</Text>
      </TouchableOpacity>
    );
  }

  render() {
    //if (!this.state.isVisible) {
    return (
      <Button style={{backgroundColor: global.headerColor, borderWidth: 0}}>
        <Icon
          name="menu"
          size={30}
          backgroundColor={global.headerColor}
          color="white"
        />
      </Button>
    );
  }
}

const styles = StyleSheet.create({
  menu: {
    backgroundColor: 'white',
  },
  menuItem: {
    flex: 1,
    flexDirection: 'row',
    alignItems: 'center',
    borderTopWidth: 1,
    borderTopColor: '#eee',
    padding: 10,
    height: 60,
  },
  menuItemText: {
    fontSize: 20,
  },
});

export default HomeMenu;

redpajama_set_name: RedPajamaGithub


text:
Spoiler Chat: Major Scoop on Chuck and Blair! Plus, True Blood, Desperate Housewives and More
Exclusive scoop you might wanna sit down for if you're a Gossip Girl fan
By Kristin Dos Santos Aug 31, 2010 12:55 AMTags
Gossip GirlSpoiler ChatTrue Blood
Giovanni Rufino/The CW
What you already know: Leighton Meester is going to look stunning in some fabulous new threads in the upcoming season of the CW's still-addictive Gossip Girl. (How dreamy is that dress above?!)
What you don't know: What she'll be doing without those clothes in an upcoming steamy encounter. And I have the exclusive scoop!
Click in for that, plus find out which Desperate Housewife is becoming a Househo, and the latest on True Blood, Glee, The Office and more...
Note: We're giving you more Spoiler Chat (Part Deux) tomorrow, Tuesday. Why? Because we care. And we have more stuff to share! Including some Vampire Diaries and Brothers and Sisters dish you're gonna love. So make sure to check back!
Drew in Moorpark: Did you forget about the Married Couple spoiler game? You owe us another elimination! You're overdue!
In all fairness, I had said I could only narrow it down to three couples, but now I can actually give you the final reveal...Yay! I just cut it down to two right here and at noon ET/9 am PT tomorrow (Tuesday), my embargo will be lifted and I will reveal the couple.
ABC/Mario Perez
Marty in Austin, Texas: Following Lost's huge injustice at the Emmy Awards, I had a question. What awards are Lost still eligible for this/next year? Golden Globes? SAG? Anything?
I completely agree. It was heartbreaking to see Lost miss out on some well-deserved Emmy gold. (Not even directing…Really?) But there's still hope! Lost is indeed still eligible for the Golden Globe Awards and the Screen Actors Guild Awards, so the final season may still be recognized yet. Shall we start that Globes campaign now? I have some poster board and glitter puffy paint. Better ideas?
Joan in Rancho Cucamonga, Calif.: Community or Glee, please.
How about both? Community really could be going all Glee (and I'm not talking about Joel McHale's fancy Emmys opening moves!) "We've been begging for a musical episode!" Alison Brie told me at last night's HBO Emmy party. "Yvette Nicole Brown is an amazing singer, Donald Glover raps as Childish Gambino and we have a lot of people with great voices. I sing a little bit. So we're all like, 'When's the musical episode, guys?' But they have yet to tell us they would do that." Dan Harmon, are you listening? Is this thing on?
Brandon in Minneapolis, Minn.: I'm having Community withdrawals. Anything new to share?
When Betty White pops up in Community's season premiere, she'll be doing more than just teaching anthropology. Love quadrangle with Betty, Annie, Jeff and Britta perhaps? "I can't answer that," the always fab Alison Brie tells us, "but I can tell you that Annie and Betty have some intimate moments." And now at the request of Alison we shall let your mind wander…
Mariam in Gaston, Texas: I think Kelly should replace Michael Scott on The Office.
You know who agrees with you? Mindy Kaling. "Kelly's gotten really ambitious this season. I feel like every episode she has some big speech about why she deserves to have everything," Mindy tells us. So, how would Kelly Kapoor pitch herself as the new regional manager? "I think her pitch would be that the office would be much more women friendly. She's really into feminizing Dunder Mifflin paper. She wants to make Dunder Mifflin a safe place for women." So, pink paper, pink printers, Pink the person. Pretty much anything that's awesome…Also, the "I" in the show's title would clearly need to be dotted with a heart. Think of all the new female viewers, NBC. This is a no-brainer!
Giovanni Rufino / The CW
Frederick: Gossip Girl. Give it up! Is there any hope for Chuck and Blair? I'm getting really depressed with what I've seen for the new season.
I know you Chair fans have been in a funk since May, when Chuck the Basshole did you know what with you know who (for shame!), but I finally have a ray of hope to offer...I can tell you exclusively that Chuck and Blair will have, um, relations, of the bom-chicka-bow-wow kind during the upcoming season. At least, that's what my sources are saying. Whether they will actually get back together, well…that I cannot say, sorry. But still, that's a pretty major reason to keep tuning in, right?
Leslie in Carmel, Ind.: Gossip Girl...What can you tell us?
Penn Badgley can sum up the return of your favorite Upper East-Siders: "There's a baby on the way, which I think everybody already knows anyway. We're in Paris for a bit. There's a gunshot wound and there's another marriage." Then he laughs. "I think. It's hard to keep track of the weddings, because they're all broken up anyway!" So, business as usual then? Indeed. "It's the same kind of sensational stuff you've come to expect, and the change of locale makes it even more gorgeous. More of the same but in an even more heightened capacity," Penn promises. Hang in there, GG fans. It's almost time for the season premiere.
Marco in Florida: Could I please get some Desperate Housewives scoop? You haven't talked about it in ages!
Damn skippy. And I'm about to fix that. But if you're under the age of 18, avert your eyes! Sources tell me that Teri Hatcher's Susan will be dabbling in some voyeurism—on the receiving end—for pay, in the coming season! Word is, she moves into an apartment building where her neighbor is cleaning her apartment in her lingerie for money, and Susan just might dabble in dusting while showing her derriere. Also, Vanessa Williams is totally the new Nicolette Sheridan of the show—on camera. She is a diva with money, a divorcée, and Lynette's former college roommate with whom she always had a very contentious relationship. Lynette's gonna have a whole heap o' drama courtesy of Ms. Vanessa this year. I hear her character is moving onto Wisteria Lane.
Greg in Maui: Some romance scoop on Glee, please!
Aside from our exclusive visual proof that Finn and Rachel will be PDA City: See it here! How about a big sigh of relief for the couple that is not happening?! Jessalyn Gilsig (who looked amazing at last night's Emmys, no?) tells us that producers decided not to do anything further with Terri and Finn. "That was too dangerous, so we decided not to go down that road again," she tells us. "Teri's gonna get a new life, which is good. And it integrates her into the glee club, bringing me around the kids more." Hmm, vocal coach maybe? She's got her heart set on a new lovah—or ten! "I'm insisting," she teases. "I definitely think Javier [Bardem] has wanted to work with me for a long time, so that's something we have to realize for him. I like that there's a history built in with Neil Patrick Harris' character, so that would be really fun too. I'm a very easy, slutty person, so I'll just go with anyone." And I will stay Team Jessalyn.
©Frazer Harrison/Getty Images
Jessica in Tenn.: Are we going to see something happen with Arlene's baby situation before the end of the season on True Blood?
As a matter of fact, Mrs. Carrie Preston assures us we will…well, kinda. "Arlene is still very conflicted. But there's going to be a resolution to the conflict," she says, "But it's also going to be open-ended." Either she's speaking in tongues or my Emmy (lack of sleep and too much ginger ale) hangover is worse than I thought. Does that make any sense to anyone? Carrie's equally wonderful hubby Michael Emerson weighed in on the baby drama, saying, "I mean, we have to see the baby," to which she responded, "If there is a baby…" Now I'm really stumped. She's not pulling a Terri Schuester is she? Or preggo with some sort of supernatural somethin'? The mind boggles.
Gina in Australia: Is Leven Rambin (Sloane) coming back to Grey's Anatomy?
We chatted up Leven at the Kari Feinstein Gift Lounge this weekend and though she said her "lips were zipped," her eyes at the HBO Emmy party (OK, fine, I was talking to her!) sure said yes. When asked which Grey's guy she'd love to hook up with, she told me: "Is it weird to say my dad? 'Cause I do love Eric Dane." Then she laughed. "Yeah, yeah, that is weird. Let's go with Alex. That would be a good fit!" She's also happy her character didn't show up in the latest shoot-out season finale. "Sloane probably would have just used someone as a human shield."
©Jason Merritt/Getty Images
Cara in N.C.: Can you tell us anything else about the big kiss on Modern Family?
Who cares about Cam and Mitchell? Kidding. I do. But now that everyone knows that kiss is happening, how about the fact that the other couple who have never kissed are finally gonna do the deed, too, in the same episode. "It's a big kiss episode," Sofia Vergaga (Editor's Note: That is a type-o I am so leaving in!) tells us. "We all kiss each other. Family kiss!" And yes, that includes a long overdue smooch between Ed O'Neill and Sofia. The real victim here? Julie Bowen, who jokes, "I never get to do any fun kissing!" Clive, we feel for you man. We thought it was special, too.
Keith in St. George, Utah: Any fun storylines this season on Modern Family?
Fun? You want fun? Well, how totally super-fun-good-times is this?! The Dunphy family is going to mourn the loss of a loved one. Hooray! Oh, chill out, I'm just talking about a hunk of metal. "We say goodbye to the family car, which is actually very emotional," Julie Bowen deadpanned to me at the Emmys. "It's the sedan from like1985. I spent the week crying over that car. This is a car you haven't seen that's just been sitting in the garage." You heard it here first people: MF is going really dark for an episode. Have the hanky on standby.
Julia in Indianapolis: Since there's not one big bad on Dexter this season, is he going to be up against all the guest stars coming on board?
Nope! Or so says my Dexter girl-crush (MCH, see, we have so much in common!) Jennifer Carpenter. "The guest stars are not all about different cases. They each serve their own purpose." As for the tone of Dexter this season, J. Carp says: "It feels like the pilot, and things are running the way they were way back then. It's like a kick back to the original, which is fun!"
Kurtis in Los Angeles: Any news on a Quinn and Deb romance on Dexter this season
It sure sounds like it's a go! "They are a good fit right now," Jennifer says. "Deb's just trying to get back to work. There's a new case that's really exciting, and some of the dynamics in the bull pen are changing. The show is a lot more procedural that it ever has been."
Jessie in Houston: I'm craving anything you've got on Big Love, please.
It's still too early for any real Big Love dish, but fresh off his Emmy win, onetime Henrickson-in-law Aaron Paul tells us he and his onscreen wifey Amanda Seyfried might return for season five. Says the Breaking Bad star: "I haven't gotten any official, official word, but there have always been hints about having Sarah and Scott come back for a Thanksgiving episode."
Boris in Ore.: What have you heard about Andy and Erin's relationship on The Office this season?
Sorry to burst the bubble of any Andin shippers out there, but these two are still dunzo. "Andy is on his own journey," Ellie Kemper said at the Emmys. "Andy's focusing on other things, acting—he's in community theater, a show-stopping number in a show stopper of a show." So will Erin's ex-beau take on her rumored new beau Gabe (played to perfection by newcomer Zac Woods)? "No fist fights," said Ellie. But Zac put it more hilariously: "If the statement is 'I don't know who would win in a fight between you and…' regardless of who the other person is, I would lose. I'm jacked, but my Herculean frame is deceptive." Hate to say it, but they're kinda cute together, peeps!
Alicia in Pittsburgh: Any scoop on Jax and Tara on Sons of Anarchy this season?
Let's just put it this way: For Jax and Tara, season three is probably going to be both the best of times and the worst of times. They'll have some awful fights (for which Jax deserves most of the blame, BTW), and they'll have some really wonderful (top-secret) twists as well.
--Additional reporting by Jennifer Godwin, Megan Masters and Jenna Mullins

redpajama_set_name: RedPajamaCommonCrawl


This is our one bedroom, one bathroom townhome floorplan with 749 square feet of living space. This floorplan offers a cozy fireplace in the living room and a private patio or balcony. The kitchen is equipped with all major appliances, ample cabinet space, and a breakfast bar. The loft-style bedroom features a spacious walk-in closet and bathroom. Please contact our friendly leasing staff for more details!


text:
minIP
========

A minimalist IP stack written in ANSI C.

This needs to be run on a Linux machine with root access - ideally on a network interface that does not have an IP address already associated with it.

This also runs on top of the BareMetal exokernel.

Goals
--------

Provide enough of a stack to serve a simple static webpage.

Building
--------

Linux:

	make

BareMetal (with newlib):

	gcc -I PATH_TO_NEWLIB_HEADERS -c minIP.c -o minIP.o -DBAREMETAL
	gcc -c -m64 -Wall -W -pedantic -fno-builtin -nostdlib -nostartfiles -nodefaultlibs -fomit-frame-pointer -mno-red-zone -o libBareMetal.o libBareMetal.c
	ld -T app.ld -o minIP.app crt0.o minIP.o libc.a libBareMetal.o

BareMetal (standalone - it uses hardcoded IP addresses)

	./build.sh

Usage
--------

Linux:

	./minIP eth1 192.168.0.99 255.255.255.0 192.168.0.1

BareMetal (with newlib):

	minIP.app en0 192.168.0.99 255.255.255.0 192.168.0.1

BareMetal (standalone - it uses hardcoded addresses, no arguments):

	minIP.app

Why
--------

If this can be done in Python (see [teeceepee](https://github.com/jvns/teeceepee) and its [blog post](http://jvns.ca/blog/2014/08/12/what-happens-if-you-write-a-tcp-stack-in-python/)), then it can be done in C!

Also, its a great proof of concept to learn the fundamentals in preparation for an x86-64 assembly re-write I plan on doing in the future.

What works
--------

Protocol | Functional
-----|-----
ARP | yes
IP | partially
ICMP | yes
TCP | partially
UDP | no
TCPv6 | no
UDPv6 | no

Todo
--------
- Resending dropped packets
- Large packet support
- Handling more than one incoming connection at once


With the increase in new golf course construction and renovations of existing golf courses, the demand for quality bunker sand has also increased. Architects, contractors, superintendents and golfers alike are requesting better bunker sands. The aesthetic impression such as color, playability, maintenance, drainage properties and stability on flashings are all values that attention is being paid to.


text:
Q: What are the standards for hand placing components? Is there any written specification for the orientation of components on a manually assembled PCB, including both THT and SMT passive components?
'Manually' because machines can be easily setup to place components consistently however people need to be instructed to do so.

A: A relevant specification is IPC-A-610: Acceptability of Electronic Assemblies, specifically section 7.1.1.  Essentially, it states that non-polarized components on the board should all read the same way, e.g. left-right and top-bottom, but the board is not considered defective unless the orientation of the component makes the circuit non-functional.  The standard also has an overarching clause that specific written requirements for an assembly supersede anything that may be printed in the standard, which really means that you can specify whatever you want to.  I personally try to have the markings on my components read in the same direction as the component designators on the board, so left-to-right and bottom-to-top.

A: Depends on component. Resistors are symmetric. So direction doesn't matter. So are inductors (coils). Ceramic capacitors are symmetric too (SMD or disk through-hole). Tantalum and electrolytic capacitors are polarized, they have a + and a -. Diodes, obviously, have a direction. Ferrite beads are symmetric.
Basically, if some component is not symmetric, there should be some marking that will allow you to distinguish its sides, such as on electrolytic caps (longer/shorter lead and markings on the case itself).
But how does this have anything to do with hand placing? I mean, why would it matter if it's a machine or a human placing them. You care about electrical performance of the device you place. It doesn't matter if it's amazon alexa, robot, machine, human or your cat placing the components.
Or maybe I misunderstood your question?

redpajama_set_name: RedPajamaStackExchange


With not a word out of place, Laurie Duggan's minimalism is exceptionally distinctive - conceptual, clear, sometimes droll, the mood sustained throughout. This chapbook is an artwork. These twenty nine 'Allotments' compile traces of walks and bus and train trips around Canterbury, to London, to poetry readings, to the back garden of his 'improbable' house and to various pubs. Thinking about music, friends, politics (briefly), poets like Susan Howe, Charles Olson, Paul Blackburn and others as he walks, travels or sits with an ale or lager.
Published by Fewer & Further Press, in Massachusetts, it's an attractive chapbook with a drawing by Basil King on the covers. There are only 200 of them so if you'd like a copy you should visit Fewer & Further pretty much straightaway.
Visit Laurie's blog Graveney Marsh.


Our strategy is twofold: First we want to be a good neighbor, and secondly we want to help the "least of these" (Luke 10:25-37; Matthew 25:34-46). We strive to do these things both locally and internationally.
Locally you will see us being a "good neighbor" in a number of ways including serving free concessions at all of the Clifton Park Family Performing Arts series, conducting cookouts for Shen school district employees or Town Hall employees, providing a Mother's Care Station on July 4th, and numerous other community events. In addition to caring for our community's spiritual needs, we also feel that God calls us to help those who are in serious physical need. To that end we partner with CAPTAIN to provide Christmas break meals to students, back-to-school clothes from Kohl's, winter coats, and helping Habitat for Humanity and The Ronald MacDonald House to name a few. If you love to serve your community but aren't quite sure where to get involved, Northstar is the place for you. In fact, we are so passionate about community service that every group at church is required to do at least one community service project a semester. There are lots of opportunities to get involved in large-scale serving events or small group projects.
We have a crazy belief that we think we can actually change the world by changing one person's world at a time. Our goal is not to make ourselves the heroes in these countries, but to come alongside the churches that are ministering there everyday and help them do what they do–even better. We want those churches to be recognized as the heroes that they are. Our dream is for one person from every family in our church to see and experience third world poverty first hand and have their heart broken for the things that break God's heart.
We love partnering with local churches because unlike NGOs, which risk being removed as political currents shift, churches will always exist – fulfilling the mission of Jesus.


These pages are available to provide guidance regarding the use of Tile, Terrazzo & Marble. Please do not hesitate to contact the MIW office at 425-828-0433 if you need additional information or specific technical information not available here.
TCNA Bulletins What is True Porcelain?


A GoFundMe campaign was launched after fire Capt. Mike Kreza, an 18-year-veteran of the fire department, was hit while riding along Alicia Parkway in Mission Viejo on Saturday, Nov. 3. Kreza was off duty at the time of the accident, said Carrie Braun, spokeswoman for the Orange County Sheriff's Department.
As of 4:30 p.m. on Sunday, the fund raised $60,287 for Kreza and his family.
Sheriff's deputies responded just after 8 a.m. Saturday to the scene of the accident on eastbound Alicia Parkway near Via Burgos, where Kreza was found lying in the roadway. Braun said. He was unresponsive, with visible head and body trauma, and was taken to the hospital in critical condition.
Witnesses told investigators the driver of a van hit the bicyclist while he was riding eastbound on Alicia Parkway. The driver remained at the scene and, after being evaluated, was determined to be under the influence of a controlled substance at the time of the collision, Braun said. Multiple prescription medications were found inside the van, Braun told City News Service.
Stephen Taylor Scarpa, 25, of Mission Viejo was arrested on suspicion of driving under the influence. He was booked into Orange County Jail and was being held on $100,000 bail.
A candlelight vigil was held for Kreza on Saturday.
Anyone with information about the crash is asked to contact OCSD dispatch at 714-647-7000. Anonymous tips can be submitted to OC Crime Stoppers at 1-855-TIP-OCCS.


text:
The story behind our Hope mask
by Denica Flesch April 26, 2020
It started with a heartbreak.
Working with villages directly, I knew from the very beginning that our Ibu-Ibu (Indonesian for 'mothers') will be one of the most vulnerable communites in this crisis. Our first step to support them was to close and turn our schools (Rumah SukkhaCitta) into a community safehouses on March 15th, stocking up basic supplies such as rice and oil so our artisans don't have to leave their villages as often.
But only a few days later, the news hit: They called me to tell me that their husbands, along with many in their village, had been let go from the factories where they had worked. In 1 day, our Ibu-Ibu became the sole provider for their families. So in Jakarta, our team started working around the clock to figure out ways to keep them both safely at home and in work.
I was actually advised numerously to hibernate. Skip any production this year, save the money and reopen next year. But what would that mean for our artisans? Sitting things out was out of the question. We are not a big company. Our margins are tight, which means we don't have the option to go on flash sales like most fashion brands. But still - thanks to the amazing support of our community and the creativity of our team - we've managed to find ways keep all our artisans in work at full pay.
Hibernating is not even an option for me, as now even more than ever, our artisans need us.
But the story of our artisans' husbands was only the beginning. The calls kept coming in. News of middlemen pushing down prices from artisans 'because things are hard' became more widespread. But perhaps the most heartbreaking to me was having women, neighbors of our artisans, come by Rumah SukkhaCitta. They were not asking for aid. They wanted work – any work. With each call, my heart broke a little more. It kept me awake at night, thinking of how we could help.
I knew we'd have to push the envelope when it comes to innovation. For 4 years, I've built impact directly into our supply chain. That meant that embedded in each of our products, is a solution that provides a direct relief for the most marginalized. Now was not the time to retreat but to stand firm and fight so these women - like our artisans - have the chance to work and earn a living wage.
For 4 years, I've built impact directly into our supply chain. That meant that embedded in each of our products, is a solution that provides a direct relief for the most marginalized. I knew then we had to do more. And the Hope Mask was born.
As it happened, we were in the process of finalizing a mechanism for our Mask Donation. It was then that I decided to pivot the production from our seamstresses in Jakarta to these women who came to us looking for work. We equipped them with the necessary tools, created a simple tutorial for one of our basic motifs (in this case, TUMBUH) so they can make the fabrics at home. We also worked with our farming group to continue foraging natural dyes. Afterwards, the fabrics are passed to another group of women who received our microcredit last year to purchase stitching machines.
The first batch of 1,000 masks were made this way. They were donated to last mile community health centers in Jakarta and Tangerang (see the full list here). In total, this small project provided work for 14 women - and of course our farming communities. Like the new leaves that they drew, the opportunity to work provided them with a new hope.
I hope that when you wear them, you will remember this little story.
I hope that you will feel connected with the Earth and all the hands that brought it life. Of all the hope it gave in this difficult time.
With so many of our lives turned upside down already, I want to thank you for taking the time to read this. Stay safe, stay kind. We're in this together, as we've always been.


text:
Heritage Florida Jewish News - Central Florida's Independent Jewish Voice
Natiional
Letter from Israel
Scene Around
B'not Mitzvah
By Maxine Dovere
JNS.org
Inside the Claims Conference fraud trial
Share Tweet 1 Comment
NEW YORK—More than three years after the discovery of fraudulent activity at the Conference on Jewish Material Claims Against Germany ("Claims Conference") that continued for about a decade-and-a-half and allegedly deprived Holocaust survivors of more than $57 million, the trial of 31 accused of participating in the fraud is under way.
During the course of a prolonged investigation that began in 2009, 31 people—including 11 employees of the Claims Conference—were criminally charged and arrested in the conspiracy. Twenty-eight defendants pled guilty.
U.S. v. Domnitser et al., the trial of the three who pled innocent—Luba Kramish, Semen Domnitser, and Oksanna Romalis—began April 8 at the Daniel Patrick Moynihan Courthouse in New York City. If convicted, they face decades of prison time, fines, and demands for restitution and forfeiture of property.
According to Preet Bharara, United States Attorney for the Southern District of New York, the defendants allegedly participated "in a scheme that defrauded programs established to aid the survivors of Nazi persecution out of more than $57 million." The Claims Conference, the designated administrator of reparations paid by the German government to Holocaust survivors, oversaw the funds in question.
The indictment in this case said the defendants are alleged to have "knowingly approved nearly 5,000 fraudulent applications," thereby diverting more than $57 million in funds that were intended for Holocaust survivors. The original criminal complaint in 2009 said that in exchange for kickbacks, the insiders "are alleged to have knowingly approved nearly 5,000 fraudulent applications," and "systematically defrauded the Article 2 Fund and Hardship Fund programs for over a decade."
"Outrageous," Julius Berman, chairman of the board of the Claims Conference, told JNS.org. "A fraud, no question… The arrangement with the German government is that they will pay [Holocaust reparations to] every individual who can prove presence in a qualifying situation… The qualifications were clear. Qualifications had to be met; the fraud was that there was phony evidence for the claims of eligibility."
But that fraud—which U.S. Attorney Bharara said had been going on since the German government began paying pensions to Holocaust survivors in 1994—was not revealed until 2009, following the Claims Conference's appointment of Greg Schneider, a new executive vice president who replaced the departed Gideon Taylor.
Schneider had been a high-level Claims Conference employee since 1995, generally responsible for overseeing the claims process. Upon discovering the fraud—which allegedly involved doctoring birth certificates, passports and other documents needed to provide acceptable documentation for reparations claims—during a November 2009 internal investigation, Schneider and the Claims Conference brought the situation to the attention of the Federal Bureau of Investigation (FBI) and the U.S. Attorney's Office. Among those now on trial is Domnitser—the former Claims Conference Director of Hardship and Article 2 Funds—who worked for the organization from 1993-2009, until he was terminated following the discovery of the fraud.
Schneider's investigation revealed 4,957 fraudulent claims for one-time hardship payments of about $3,600 each, totaling about $18 million, and 658 fraudulent pension claims totaling $24.5 million. Claims Conference Public Relations Manager Amy Wexler told JNS.org that Schneider is "not giving interviews during the course of the trial."
"I can't speak specifically about anything we do internally [at the Claims Conference]," Wexler added.
Martin Stern, an Israeli citizen born in Germany, whose family escaped and survived World War II in Scandinavia, told JNS.org that the Claims Conference has been lax in its surveillance of the reparations application process.
"The [Claims Conference] staff was told [by the German government] to 'get us people… find us names,'" Stern said. "There was a demand to find more and more claimants." Stern said Germany "signed more and more agreements to pay survivors and the Claims Conference needed to find more and more survivors who did not exist."
The indictment against the Claims Conference employees states that during one month, one employee typically approved applications for Holocaust reparations in just a few days, whereas other caseworkers generally spent at least 60 days reviewing an application before approving it. Schneider has indicated his investigation and eventual discovery of the fraud was sparked by the realization that certain applications were processed with unusual speed, rather than the normal period of several months.
In December 1999, the U.S. and German governments agreed to a $5.2 billion settlement that Germany would pay to resolve all Holocaust-era slave and forced labor claims by survivors against German companies, and the Claims Conference has administered Germany's reparations payments to the survivors. Attorney Sam Dubbin, who has worked on behalf of Holocaust survivors in Florida, told JNS.org that the entire current system for compensating survivors is flawed, and that there should have been "no individual settlement."
"The Jewish community should have offered survivors three things: home care and assisted living insurance, Medicare supplement, and funeral insurance so survivors could live with dignity and not be a burden to their children," Dubbin said, adding, "We made a mistake for all survivors by not going that way."
Defendant Esfira Bas, who was charged November 9, 2010 and has admitted to processing 60 fraudulent reparations applications, has become a witness for the U.S. government. Bas was not a Claims Conference employee and agreed to cooperate in hopes of receiving a lighter sentence, according to facts cited in court during her testimony.
"The recipients all knew they were not eligible," Bas said in court. "Some were born after the war."
Bas noted that advertisements promoting the program were placed in Russian-language newspapers. Bas said she collected documents, even from those she knew to be clearly ineligible for reparations, and passed them to a person named "Fainia." For her part in the alleged scam, Bas said she received $9,000. She is facing up to 40 years in prison.
Bas stated in court that she has provided all the information available to her to the FBI and other U.S. government agencies. She stated she "had no contact" with the applicants, and acted "because they gave money back" to her. When asked if she considered how her part in perpetrating the fraud would affect Holocaust survivors, she responded, "I did not think about it."
The sweater-clad Domnitser appeared unmoved by Bas's words in court. Neither Luba Kramish nor Oksana Romalis, both of whom pled innocent, responded.
Weekly roundup of world briefs
Orthodox Jewish Trump supporters decry violence but not the movement
Saudi authorities remove anti-Semitic, anti-Zionist content from textbooks
Yard displays are a sign of the times
From darkness to light - Rabbi tells his story
Orthodox Jewish Trump...Shira Hanau
Growing up in a hate-f...Alexa Coultoff
A Jewish bartender's 5...Maddy Albert
Is war with Iran immin...Fiamma Nirenstein
Weekly roundup of worl...
CarlMinuskin writes:
J. Berman should do the right thing by resigning and taking G. Schneider with him. The millions they lost is proof of their gross incompetence and mismanagement. J. Berman's relationship with the Germans raises serious questions about what is really going on. Holocaust Survivors can get a real measure of justice by his departure. His conduct toward Holocaust Survivors is outrageous. Zay Gezunt
Heritage Florida Jewish News
Fern Park, FL 32730
info@heritagefl.com
© 2021 Heritage Florida Jewish News


text:
Kevin McCarthy on impeachment: Dems want to move wherever focus groups tell them to
in Consumer Research
House Minority Leader Kevin McCarthy on Tuesday previewed this week's hearings in the impeachment inquiry into President Trump by predicting that Democrats will want to move toward whatever focus groups tell them is more politically palatable.
"You know what you'll find is the same thing we found before: the Democrats are not concerned about facts – only focus groups," Mr. McCarthy, California Republican, said on "Fox & Friends."
"We're not sure what word they'll use today [because] they change it from 'quid pro quo' to bribery – whatever the focus group tells them is where they'll want to continue to move," he said.
That's a reference to recent reports that House Democrats' campaign arm tested focus groups that reacted more strongly to "bribery" on the part of Mr. Trump, which Democrats are now emphasizing, compared to the phrase "quid pro quo."
The House is set to hear from more witnesses this week as lawmakers investigate whether the president improperly withheld military aid to Ukraine in exchange for a public announcement from the country's leaders that they would launch anti-corruption investigations, including into former Vice President Joseph R. Biden.
"What we're finding here is the president did nothing wrong. The president released funding for Ukraine," Mr. McCarthy said.
Heart Rrate Monitoring Devices Market 2019 Research Sales Channels, Market Marketing Strategies and Revenue 2025
Dvd Industry Market Research Report Market To See Gigantic Growth By 2025 | Dvd market are, Lions Gate Entertainment Corp., Sony Corp., Falcon Technologies International LLC, Moser Baer India Ltd, TDK Corp.
Predictors of intention to vaccinate against COVID-19: Results of a nationwide survey


Around the world: a totoro bed!!. Pinterest the worlds catalog of ideas. Totoro bed/ bean bag chair/ floor cushion cover. Popular plush baby chairs buy cheap plush baby chairs lots.
Toys r us minnie mouse car seat custom infant car seat. Ll bean couch bean bag sofa pattern ll bean ski boot bag. Triumph sports usa 2 in 1 tournament bag toss ladder. Bean bag chair gold medal : target. Triumph sports usa advanced led tournament bean bag toss. Bean bag chair filling stuffing target bags ottoman. Artificial leather bean bag. Fat sack bean bag love fat sack bean bag chair fat sack. Foam fill bean bag elegant floor children chairs with. Emoji girl childrens beanbag bean bag seat play room. Leather bean bag chair leather bean bag buy bean bag chair. Convertible bean bag joinupthedotsco.
Toddler bean bag chair whatnerveinfo. Bean bag chairs you#039;ll love. Bean bag chairs you#039;ll love. Toddler bean bag chair australia baby chair toddler bean. Toddler bean bag. Bean bag chairs you#039;ll love. Oversized bean bag chairs you#039;ll love wayfair. Bean bags next day delivery bean bags. Kids beanbag toss bean bags chairs for kids bean bag toss. Bean bag chairs you#039;ll love. Bean bag chairs you#039;ll love. Bean bag chairs you#039;ll love. Bean bag chairs you#039;ll love. Fur bean bag chair large cream shaggy cover cloud beanbag. Baby toddler bean bag chair kids sofa couch cover indoor.


text:
Remove Notification
You are viewing our Australia website
Hotels & Airbnb
Club Jetstar
Airports and terminals
Specific assistance
Jetstar app
787 Dreamliner
Qantas Cash
Comfort packs
Frequent flyer partners
Jetstar Gifts
Activities and day tours
Start of content Start of flight search form
Start a multi-city search
from where?
to where?
Young passengers travelling alone
Travelling with infants opens in new window
Do you require specific assistance?
Specific assistance required.
Please note: You've indicated that one or more passengers requires specific assistance. To complete your booking you'll be redirected to a site that's not currently mobile friendly – but we're working on it! Alternatively you may wish to visit our website on your desktop or tablet device
Select flight times
^ For bookings in AUD, a Payment Fee applies except for POLi, voucher, gift card, Points Plus Pay – Flights (where the total booking is redeemed in Qantas Points) or Jetstar Mastercard. Payment options and fees may differ for other currencies. Fees are priced in the currency of a flight's departure country. When a different currency is used to pay for the booking, fees are converted to that currency at an exchange rate agreed on with our payment partners.
Who's going?
Inspiration Destinations Japan
A tropical destination in the heart of Japan
Located on the south eastern coast of Kyushu, Miyazaki has a warm, temperate climate and was once known as the premier honeymoon destination amongst the Japanese. Originally, the city was most associated with the first emperor of Japan, Jimmu, who lived in the 7th century BC and whose legendary palace once stood where present Miyazaki is today. Most recently, however, Miyazaki has been linked with a more contemporary figure – well-known Japanese celebrity and comedian Higashikokubaru Hideo was the governor of the Miyazaki Prefecture from 2007 to 2011.
Though a relatively small Japanese city, with a population of approximately 365,000, Miyazaki and surrounds include an array of popular tourist and natural attractions, including the Takachiho Gorge, Aoshima Island and its shrine, and many sandy beaches.
Cheap flights to Miyazaki
Where to eat, stay and play in Miyazaki
Home to the main airport in the region, Miyazaki City is the starting point for all the sun and surf activities the coastal prefecture at Kyushu island has to offer. Here's a quick cheat sheet to get you going.
Sushi, sake and surfing: Making waves in Miyazaki
Cool vibes, laid-back culture and great surfing – not the typical attributes you'd associate with Japan… unless you're in Miyazaki.
Miyazaki Shrine
The Miyazaki Shrine was reconstructed in 1907 and is dedicated to the ancient Emperor Jimmu, largely considered the first emperor of Japan. Steeped in ambience, the shrine is located in the Miyazaki Shrine Forest, and surrounded by beautiful oshirafuji (white wisteria) believed to be more than 600 years old. Nearby are the Gosho Inari and Gokoku Shrines, making it an ideal day trip.
Nichinan Coast
Spread across more than 100km of the Miyazaki Prefecture, the Nichinan Coast is one of the premier driving and sightseeing roads in Japan. It encompasses multiple Miyazaki attractions, including the Udo-jingu Shrine and Aoshima Island, as well as sandy beaches and unique rock formations. Interestingly, it also includes an Easter Island-themed park with replicas of its famous moai statues.
Udo-jingu Shrine
The Udo-jingu Shrine is famous for its unique location; it is perched on a cliff face overlooking the ocean, located within a cave. Accessible via a 20-minute walk along curving pathways and tunnels, its distinctive vermillion-lacquered exterior is revealed to maximum effect. The shrine is also said to bring good luck to newlyweds and those praying for pregnancy or a successful childbirth.
Located approximately two hours from Miyazaki, the Takachiho Gorge occurs where the volcanic basalt has cleaved the Gosake River, creating a natural chasm. Known for its sheer cliff faces, abundance of vivid greenery and waterfall, the gorge can be viewed two ways; either via boat to get a closer perspective of the gorge and waterfall, or by walking the path that winds along the edge of the gorge for a birds-eye view.
Aoshima Island
Found off of the south coast of Miyazaki is Aoshima, an idyllic island ringed with white beaches. Relatively small, it is easy to traverse the island and take in its multiple attractions, including tori gates, a shrine and the devil's washboard. Visible at low tide, the devil's washboard consists of a number of perfectly straight rows of basalt that appear man-made but are a natural occurrence, and should not be missed.
CBD: 6km
Travel time: Sekitar 18 menit
Taxi: ¥2600 - ¥3900
Train: ¥85
Miyazaki is one of the warmest places on the main island of Japan, experiencing a warm, temperate climate most months of the year. While December is the coldest month with average daily temperatures around 15 °C, it is also the driest month. Also bear in mind that June is the wettest month of the year, with an average rainfall of 40cm for the month.
July, August and September are the best months to visit Miyazaki. With average daily temperatures of 31°C and minimal rainfall, it's an ideal time to experience Miyazaki's multitude of natural attractions and beaches.
The easiest and most economical way to get around the Miyazaki prefecture is by taking advantage of its extensive bus network. Tourists can access the Miyazaki bus card, which allows unlimited use for only ¥1000 per day and covers most well-known attractions in the Prefecture. Alternatively, Miyazaki's train lines include the Nippou Main Line, which can take you as far as Nobeoka in the north.
Price Watch Got your eye on a fare? As soon as it drops, we'll let you know
Watch price
Customer Guarantee
Business Hub login
Get the Jetstar app
Jetstar Airways Pty Ltd, ABN: 33 069 720 243. Jetstar Asia Airways Pte Ltd, BRN: 200403570D. Jetstar Regional Services Pte Ltd, BRN: 201229688K. Singaporean Travel Agent License No. 02495. Jetstar Japan Co., Ltd. Jetstar Holidays K.K. Commissioner of Japan Tourism Agency Registered Travel Agency No. 1829. Jetstar Pacific Airlines, BRN: 0301103030
© 2019 Jetstar Airways Pty Ltd.
Hong Kong SAR, China (English)
香港特別行政區,中國 (繁體中文)
新加坡 (简体中文)
台灣,中國 (繁體中文)


text:
Q: MismatchedTokenException when running my Unit tests I've an issue when I try to run the tests related to my Dao classes. It says that there's a syntax error when parsing my query. But why ?
Render.java :
@Entity
@Table(name = "ORR_RENDERS")
@NamedQueries({
    @NamedQuery(name = Render.FIND_RENDERS_AVAILABLE,
            query = "SELECT COUNT(r) Render r WHERE r.scene.id = :sceneId AND r.status = :status")
})
@Inheritance(strategy = InheritanceType.SINGLE_TABLE)
@DiscriminatorColumn(name = "RENDER_TYPE")
@EntityListeners(EntityListener.class)
public abstract class Render extends AbstractORREntity {

public static final String FIND_RENDERS_AVAILABLE = "Render.findRendersAvailable";

@Id
@GeneratedValue(generator = "renderSeq")
@SequenceGenerator(name = "renderSeq", sequenceName = "ORR_REND_SEQ", allocationSize = 1)
@Column(name = "IDS")
private Long id;

@ManyToOne
@NotNull(message = "The scene cannot be null.")
@JoinColumn(name = "SCEN_IDS", referencedColumnName = "IDS", nullable = false)
private Scene scene;

@NotNull(message = "The status cannot be null.")
@Enumerated(EnumType.STRING)
@Column(name = "STATUS")
private RenderStatus status;

RenderDaoImpl.java method :
    @Override
public Long findAmountOfRendersAvailableForScene(Long sceneId) {
    return entityManager.createNamedQuery(Render.FIND_RENDERS_AVAILABLE, Long.class)
            .setParameter("sceneId", sceneId)
            .setParameter("status", RenderStatus.DONE)
            .getSingleResult();
}

RenderStatus.java
public enum RenderStatus {

   DONE,
   NOT_REQUESTED,
   WAITING,
   IN_PROGRESS,
   FAILED
}

StackTrace
javax.persistence.PersistenceException: Exception [EclipseLink-8024] (Eclipse Persistence Services - 2.0.1.v20100213-r6600): org.eclipse.persistence.exceptions.JPQLException
Exception Description: Syntax error parsing the query [Render.findRendersAvailable: SELECT COUNT(r) Render r WHERE r.scene.id = :sceneId AND r.status = :status], line 1, column 23: syntax error at [r].
Internal Exception: MismatchedTokenException(78!=32)

at org.eclipse.persistence.internal.jpa.EntityManagerSetupImpl.deploy(EntityManagerSetupImpl.java:397)
at org.eclipse.persistence.internal.jpa.EntityManagerFactoryImpl.getServerSession(EntityManagerFactoryImpl.java:151)
at org.eclipse.persistence.internal.jpa.EntityManagerFactoryImpl.createEntityManagerImpl(EntityManagerFactoryImpl.java:207)
at org.eclipse.persistence.internal.jpa.EntityManagerFactoryImpl.createEntityManager(EntityManagerFactoryImpl.java:195)
at com.agc.test.common.persistence.PersistenceTestCase.createEntityManager(PersistenceTestCase.java:75)
at sun.reflect.NativeMethodAccessorImpl.invoke0(Native Method)
at sun.reflect.NativeMethodAccessorImpl.invoke(NativeMethodAccessorImpl.java:95)
at sun.reflect.DelegatingMethodAccessorImpl.invoke(DelegatingMethodAccessorImpl.java:56)
at java.lang.reflect.Method.invoke(Method.java:620)
at org.junit.internal.runners.MethodRoadie.runBefores(MethodRoadie.java:132)
at org.junit.internal.runners.MethodRoadie.runBeforesThenTestThenAfters(MethodRoadie.java:95)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$PowerMockJUnit44MethodRunner.executeTest(PowerMockJUnit44RunnerDelegateImpl.java:300)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.executeTestInSuper(PowerMockJUnit47RunnerDelegateImpl.java:131)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.access$100(PowerMockJUnit47RunnerDelegateImpl.java:59)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner$TestExecutorStatement.evaluate(PowerMockJUnit47RunnerDelegateImpl.java:147)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.evaluateStatement(PowerMockJUnit47RunnerDelegateImpl.java:107)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.executeTest(PowerMockJUnit47RunnerDelegateImpl.java:82)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$PowerMockJUnit44MethodRunner.runBeforesThenTestThenAfters(PowerMockJUnit44RunnerDelegateImpl.java:288)
at org.junit.internal.runners.MethodRoadie.runTest(MethodRoadie.java:86)
at org.junit.internal.runners.MethodRoadie.run(MethodRoadie.java:49)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.invokeTestMethod(PowerMockJUnit44RunnerDelegateImpl.java:208)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.runMethods(PowerMockJUnit44RunnerDelegateImpl.java:147)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$1.run(PowerMockJUnit44RunnerDelegateImpl.java:121)
at org.junit.internal.runners.ClassRoadie.runUnprotected(ClassRoadie.java:33)
at org.junit.internal.runners.ClassRoadie.runProtected(ClassRoadie.java:45)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.run(PowerMockJUnit44RunnerDelegateImpl.java:123)
at org.powermock.modules.junit4.common.internal.impl.JUnit4TestSuiteChunkerImpl.run(JUnit4TestSuiteChunkerImpl.java:121)
at org.powermock.modules.junit4.common.internal.impl.AbstractCommonPowerMockRunner.run(AbstractCommonPowerMockRunner.java:53)
at org.powermock.modules.junit4.PowerMockRunner.run(PowerMockRunner.java:59)

Due to this error, I also have a NullPointerException because it seems like my entityManager is not retrievable :
java.lang.NullPointerException
at com.agc.test.common.persistence.PersistenceTestCase.getTransaction(PersistenceTestCase.java:132)
at com.agc.test.common.persistence.PersistenceTestCase.after(PersistenceTestCase.java:254)
at sun.reflect.NativeMethodAccessorImpl.invoke0(Native Method)
at sun.reflect.NativeMethodAccessorImpl.invoke(NativeMethodAccessorImpl.java:95)
at sun.reflect.DelegatingMethodAccessorImpl.invoke(DelegatingMethodAccessorImpl.java:56)
at java.lang.reflect.Method.invoke(Method.java:620)
at org.junit.internal.runners.MethodRoadie.runAfters(MethodRoadie.java:149)
at org.junit.internal.runners.MethodRoadie.runBeforesThenTestThenAfters(MethodRoadie.java:101)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$PowerMockJUnit44MethodRunner.executeTest(PowerMockJUnit44RunnerDelegateImpl.java:300)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.executeTestInSuper(PowerMockJUnit47RunnerDelegateImpl.java:131)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.access$100(PowerMockJUnit47RunnerDelegateImpl.java:59)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner$TestExecutorStatement.evaluate(PowerMockJUnit47RunnerDelegateImpl.java:147)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.evaluateStatement(PowerMockJUnit47RunnerDelegateImpl.java:107)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit47RunnerDelegateImpl$PowerMockJUnit47MethodRunner.executeTest(PowerMockJUnit47RunnerDelegateImpl.java:82)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$PowerMockJUnit44MethodRunner.runBeforesThenTestThenAfters(PowerMockJUnit44RunnerDelegateImpl.java:288)
at org.junit.internal.runners.MethodRoadie.runTest(MethodRoadie.java:86)
at org.junit.internal.runners.MethodRoadie.run(MethodRoadie.java:49)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.invokeTestMethod(PowerMockJUnit44RunnerDelegateImpl.java:208)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.runMethods(PowerMockJUnit44RunnerDelegateImpl.java:147)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl$1.run(PowerMockJUnit44RunnerDelegateImpl.java:121)
at org.junit.internal.runners.ClassRoadie.runUnprotected(ClassRoadie.java:33)
at org.junit.internal.runners.ClassRoadie.runProtected(ClassRoadie.java:45)
at org.powermock.modules.junit4.internal.impl.PowerMockJUnit44RunnerDelegateImpl.run(PowerMockJUnit44RunnerDelegateImpl.java:123)
at org.powermock.modules.junit4.common.internal.impl.JUnit4TestSuiteChunkerImpl.run(JUnit4TestSuiteChunkerImpl.java:121)
at org.powermock.modules.junit4.common.internal.impl.AbstractCommonPowerMockRunner.run(AbstractCommonPowerMockRunner.java:53)
at org.powermock.modules.junit4.PowerMockRunner.run(PowerMockRunner.java:59)

A: Your From is missing.
SELECT COUNT(r) Render r WHERE r.scene.id = :sceneId AND r.status = :status

Should be something like
SELECT COUNT(r) FROM Render r  WHERE r.scene.id = :sceneId AND r.status = :status


text:
Go to Theatre Journal
Volume 32; Number 2, July 2022
Volume 32; Number 1, March 2022
What's Up Next
Volume 31, Number 3, November 2021
Volume 31, Number 2, July 2021
Volume 30, Issue 2, July 2020
Volume 28 Number 3, November 2018
THEATRE TOPICS CFP: Special Issue on Graduate Education
Shining a Light on Latinx Theatre: A Podcast with Editor Gwendolyn Alker
The Wikiturgy Project Continues
New Theatre Topics Co-Editor: Noe Montez
Theatre Topics
From Theatre Topics 31.1, March 2021
by Noe Montez
As you read this essay, COVID-19 has impacted theatre and higher education across the globe for over a year. For many of us working in the arts and in higher education, we remember and long for the experiences we miss—interacting with our students in the live classroom, making and seeing theatre, gathering at conferences in fellowship with our colleagues in order to imagine better worlds. For many faculty of color, the pandemic became one more calamity that demanded attention from ourselves and our BIPOC students who were already injured by racism and white supremacy made legible through the deaths of George Floyd, Breonna Taylor, Tony McDade, Ahmaud Arbery, Manuel Ellis, and so many others killed and harmed by police violence. Many of our faculty have begun to examine their responsibility to their communities as academics, artists, and activists.
But amid crisis and a longing for personal connection, I also see how many of us are collaborating in ways that augur hope for the field's future. I have learned greatly from the social media groups pooling resources and strategies about teaching live performance and embodiment through online learning and the collective efforts to connect scholars to one another through digital lectures and open access to academic journals, as well as through virtual conferences that allow us all the opportunity to take in more sessions and see more work than we might have otherwise been able to access in live spaces. This is not to ignore the fact that the labor of teaching and staging work has grown more time-intensive as we navigate our hybrid classrooms and Zoom performances. We must also make greater efforts to ensure that students feel our care as they navigate precarious situations in their homes. This happens at a time when universities are eliminating theatre and performing arts programs across the country in the name of COVID-19–related austerity. There is still so much to do to ensure our collective survival as a discipline, but I hope that reading this issue of Theatre Topics can remind us why we do the work that we do and offer sustenance in the difficult times ahead.
As usual, our first issue of the year highlights moments from the previous year's ATHE conference, raising awareness of some of the themes and ideas that took place during our gathering. Although we could not congregate together in Detroit, several hundred of us convened in virtual space to share research and new practices. The conference theme, "Drive," invited theatre academics to "consider how various technologies—theatrical, automotive, political—work to keep our work going, keep our field driving (somewhere)." Vice President for Conferences CarlosAlexis Cruz and his conference committee scrambled to innovate the conference by creating space for sessions that featured techniques for moving classes and productions online. Additionally, BIPOC faculty insisted on sessions where ATHE could grapple with the racism and white supremacy that continues to make itself legible across the United States, theatre and performance studies, and the organization itself.
The first three essays in this issue draw from the conference proceedings, beginning with President Josh Abrams comments on the state of the organization. This address speaks to the uncertainty surrounding higher education throughout the year, while inviting us to expand "our pedagogy to incorporate new forms, modes, and globally distant collaborations" (2). At the same time, he commits the organization to expanding diverse leadership and to change the organizational bylaws in order to redress the organization's previous harms to Black and Brown peoples.
In a similar spirit of introspection and organizational reflection, CarlosAlexis Cruz reflects on the myriad changes to the conference that occurred over the spring and summer of 2020. He discusses his feelings about transitioning the conference from an in-person event to an online convening, while maintaining the presence of our original site of Detroit. Additionally, Cruz speaks candidly about collaborations with the Black Theatre Association (BTA) and the formation of an ad hoc subcommittee, giving recognition to their work planning plenaries and concurrent sessions addressing systemic racism.
The online component of the journal will feature videos featuring highlights from several of the organization's focus groups, including Black Theatre Association, Dramaturgy, LGBTQ, and Performance Studies, as well as Playwrights and Creative Teams. You can find these videos on the journal's webpage: https://www.jhuptheatre.org/theatre-topics. But the print issue highlights the work of the newly formed Middle Eastern Theatre focus group, which had its first conference in 2020. The group created several robust and generative sessions, but this issue highlights their roundtable discussion, "Pedagogy and Absence," which centered around the intricacies associated with promoting the visibility and dissemination of scholarly and artistic works produced by MENA artists, educators, and scholars operating in an academic setting. Several focus group members share their professional and personal experiences in addition to thoughts on decolonizing syllabi and countering the stereotypes attached to Middle Eastern identity.
Our content beyond the 2020 conference materials offers three essays and a note from the field that address academic conference travel, project-management systems, structural racism on Broadway and regional theatre stages, and intimate, site-specific performances that will resonate in the current moment. Meredith Conti reflects on a year of conducting professional travel without flight in her essay "Slow Academic Travel: An Antidote to 'Fly Over' Scholarship in the Age of Climate Crisis." It offers a vision into a world where travel without flight might offer scholars an opportunity to use slow travel as an act of resistance against neoliberal models of productivity, and as a way that some scholars may be able to reduce their carbon footprint. One reviewer of this essay noted that Conti is prophetic in the ways that she understands the inextricable connections among the global pandemic, our climate emergency, and our individual behavior.
E.B. Hunter introduces readers to the Agile Research Studio (ARS), a system used by STEM research labs to train students in the planning and execution of complex projects in her essay "Structuring Courses with Agile Research Studio: Five Components and Four Pedagogical Values." ARS becomes a way of approaching project-based, research-oriented theatre history seminars by adapting the research lab in order to cultivate broadly relevant pedagogical values: effective planning, robust community, marketable skills, and the equitable distribution of labor. The essay is accompanied by several resources as addenda, including sample syllabi, templates, and a process guide for forming student groups. It gains a particular pertinence in the post–COVID-19 world as faculty throughout the country grapple with ways in which to revise their courses for digital frames, while still maintaining focus on community building and communication.
Finally, Julio Agustin exposes systemic racism toward Latinx people in musical theatre productions from regional stages to Broadway, drawing on his experiences as well as others in "From Mu-Cha-Cha to Ay-Ay-Ay! A Critical Explication of the Use of 'Latin' Dance Styles and the Absence of Latinx Creatives in the Broadway Musical." Agustin begins by exploring Broadway's incorporation of Latin American dance styles from the Golden Age of the Broadway musical to recent productions. He notes the ways in which Latin American dance forms are appropriated, while the choreographers and consultants who introduce such work to predominantly white audiences are often marginalized or rendered invisible. From there, he turns to his own experiences as a dancer to explore how microaggressions and a lack of cultural competency reinforce white supremacist practices.
In the Note from the Field section of the journal, director Craig Quintero introduces the "Performance for an Audience of One" assignment that he uses in his Advanced Performance class at Grinnell College. He assesses the project in order to explain how it delivers the expected outcomes of a liberal arts education by empowering students to write, design, direct, and perform their own short site-specific performance pieces. The note offers a detailed look at the ways that Quintero guides his students to examine performer/audience relationships, and provides some remarkable examples of the work that his students create that I hope will inspire other instructors to take up similar work.
I am ever grateful to the team of collaborators who help to make Theatre Topics a space where we can share new pedagogical practices and reflections on what it means to make theatre together. Thanks to John Fletcher, who is currently hard at work on a special issue of the journal titled "Essentials," which seeks to explore ideas, practice, and values that seem especially true or necessary in the current moment. Please watch for that issue to arrive in July. Additionally, John and I have worked to bring several new scholars into the Theatre Topics fold as members of our editorial board. I would like to welcome Michelle Liu Carriger, La Donna Forsgren, Kareem Khubchandani, Patrick McKelvey, Lisa Jackson Schebetta, Margaret Werry, and Isaiah Matthew Wooden onto our team. Margarita Laera continues her tireless labor to bring additional material to our readers freely and accessibly through the journal's webpage. Jessica Del Vecchio scours catalogs from presses across the globe in order to curate book reviews that speak to the heart of the journal's mission. Managing editor Bob Kowkabany works to ensure that our accepted essays are thoroughly copyedited and properly set for print. Our editorial assistants Mia Levenson, Katie Morris, and Jessica Pearson-Bleyer read essays, offer feedback, search for external reviewers, and review page proofs. We are grateful to Louisiana State University and Tufts University for their support in hiring these assistants. Thanks are also warranted to ATHE Vice President for Research and Publications, Christin Essin, and to the external reviewers who diligently volunteer their time and expertise to read on behalf of the journal. If you have questions, suggestions, or comments you may contact me directly at noe.montez@gmail.com. Please enjoy the issue.


text:
MindWorks Marketing Ltd
MindType
MORE 
Dumpster Design website
Artist, Designer, Art Director. Dumpster Design is one person with many faces. The site we designed had to reflect that and have a level of originality that came straight from the brand. The site has so many unique features, it's difficult to know where to start. So the animated smoke is as good as any, then we can move onto the angled image boxes – something so rarely seen on a website. Then there's the total integration of all the social media on the homepage, including a live Instagram feed with images.
Daisy Harris-Burland
Our task, and it was a tough one, was to somehow communicate all the facets of the Dumpster brand in one website!
The Actions
Research to us is all important and helps us gain genuine insights into the people behind the brand and the brand itself. Only in this way can we present the true face of the brands we represent and promote.
The client was delighted by a site that is fully responsive and in their eyes is something like a mirror on their soul. This is a site that is as varied as the brand itself.
Daisy Harris-Burland website
Tel +44(0)1243 388 940
9 The Old Flour Mill
PO10 7BT
Latest News Article
Christmas 2020 – a new way of connecting with clients and WFH colleagues
Christmas is usually the time for office parties and get-togethers with clients to say thank you and to ring in the new year. But this year is going to be a bit different for all of us. Now is the time to start thinking of alternative ways to show your…
Congratulations to our colleague Gareth who has been working at MindWorks on web and software development for 15 gr... https://t.co/l8z4sxkpyZ
Secret #Santa 2020-style! Our MD, Michelle, has been busy delivering all our Christmas gifts in a COVID-safe way re... https://t.co/suAxqET1Eb
We couldn't all celebrate in the office for #ChristmasJumperDay but that didn't stop us getting festive and raising... https://t.co/Wa2zuKj0BQ
Company No.3620464 This site is built on MindType 7. All content is © 2021 MindWorks Marketing Co Ltd, or © their respective owners. Privacy and Cookie Policy Terms and Conditions


Kitty Powers Matchmaker is a hilarious dating simulator with a difference. Manage your own matchmaking agency with the guidance of your fabulous boss, drag queen diva Kitty Powers! Match an endless parade of desperate clients with candidates from Kittys little black book and guide them through awkward conversations and dozens of perilous dating dilemmas.
As your reputation grows youll unlock new date venues, more demanding clientele and upgrades for your agency. Send your hopefuls out with the right look and perfect gift to maximise their chance of finding love.
Are you ready to bring romance to the world? Or will you leave a sea of broken hearts in your wake?
Match up procedurally-generated clients based on interests, personality, appearance and income.
Combine research, skill and a bit of luck to guide clients through a huge assortment of challenging dates on the path to a happy ending!
Enjoy the naughty wit and audacious 'advice of Kitty Powers with new voice overs for the PC version!


Photographing a wedding can be quite nerve racking. I think you've done a wonderful job and I'm sure they feel the same.
You did an awesome job Char!!!
hi char! your photos look brilliant - i'll bet the lucky couple was thrilled! i esp. love the close-up on the brides bouquet & the big sky car shot! & how cool is that car?? happy new year!!


text:
Kiel Baltic Hurricanes Hosting Holland's Amsterdam Crusaders In EFL Action
Roger Kelly | American Football | 04/09/2016
This weekend, Germany's Kiel Baltic Hurricanes, winners of the 2015 EFL title, will play host to the Amsterdam Crusaders from Holland in European Football League action.
The Hurricanes may have won the tournament in 2015, and Amsterdam did not fare well. However, this would seem to be a different Crusaders team as they have dominated the Dutch league so far in 2016, outscoring opponents 172-0 in three games. They have also added an import quarterback for the first time in over 20 years, Allan Bridgford.
Miquel Castelen and Sean Richards share the running back duties.
Bridgford threw 7 TD passes in his debut last week in Holland
Amsterdam head coach Winston Ronde obviously has his troops flying high and although he knows they still face a daunting task in knocking off perennial playoff contenders in Germany, he has reason to be cautiously optimistic.
Kiel's new head coach Marcus Herford no doubt realizes that the Hurricanes will have their hands full. Having only assumed the position as head coach recently with the sudden departure of Dan Disch, he is playing catch up. So this will be his first big test.
His quarterback, Logan Schrader, was a four-year starter at Wartburg College (Div III) and set school records for passing yardage and touchdowns. He will have wide receiver Xavier Mitchel to throw to. Herford brought the receiver from his former school Kentucky Wesleyan College where he coached Mitchel.
Herford has only had a couple of weeks to prepare since taking over as head coach, but he remains calm:
"We are ready for the game and our guys are looking forward to the first encounter with an opponent. With Amsterdam, the most dominant team in the Netherlands right now, coming to our place, we are facing a huge task for a young team."
Roger Kelly
Roger Kelly is an editor and a writer for AFI. A former PR Director the B.C. Lions of the Canadian Football League for 7 years, he now lives in Sweden writing about and scouting American Football throughout the world.


text:
Archive for month: September, 2015
Baaki Baatein Peene Baad – Lyrics
September 26, 2015 /0 Comments/in Songwriting /by mayur
http://mayurpuri.com/wp-content/uploads/2017/12/bbpd600244.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-26 10:08:192017-12-13 10:08:40Baaki Baatein Peene Baad - Lyrics
Bheega Mausam
September 11, 2015 /0 Comments/in Poems /by mayur
http://mayurpuri.com/wp-content/uploads/2017/12/Bheega-Mausam.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 14:47:252017-12-08 14:18:06Bheega Mausam
Soul Vault
http://mayurpuri.com/wp-content/uploads/2015/09/soulv.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 13:55:142017-12-08 13:58:52Soul Vault
http://mayurpuri.com/wp-content/uploads/2017/12/skti.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 13:17:462017-12-08 14:17:57Shakti
Is it necessary to take a screenwriting course before writing your own script?
September 11, 2015 /0 Comments/in Questions on Quora /by mayur
There are two sides to this question and I'll try to cover both.
1. Does going to a film school or taking a screenwriting class improve someone's writing?
2. To work professionally as a screenwriter in the industry, will I need a degree / certificate in screenwriting?
http://mayurpuri.com/wp-content/uploads/2017/12/Writing.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:52:412017-12-09 12:53:00Is it necessary to take a screenwriting course before writing your own script?
Why is it that there is a different music director and a different background scorer for the same movie in Bollywood?
First things first. Scoring Background Music (BGM) for a film is a different craft than composing songs because the entire thought process is reversed.
http://mayurpuri.com/wp-content/uploads/2017/12/music.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:49:112017-12-09 12:49:36Why is it that there is a different music director and a different background scorer for the same movie in Bollywood?
How important is screenplay formatting?
How important is screenplay formatting? What are the best tools to assist a writer in producing a document in line with the industry standards?
A film script has a big function beyond just the content. It's a document that is shared with all the technicians and the talent working on the film. It should be formatted so that it's easy for everyone to make their own notes and remarks on the script. That's why in a professional set up, formatting becomes very important.
http://mayurpuri.com/wp-content/uploads/2017/12/organise.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:45:502017-12-09 12:46:09How important is screenplay formatting?
How did you sell your first screenplay?
My first credited screenplay 'Mere Yaar Ki Shadi Hai' (2002) was a commissioned script. My name was proposed by Sanjay Gadhvi, the director of the film, who I had assisted on his first film.
Aditya Chopra, the head at Yashraj Films and one of India's most successful directors, met me once at the behest of Sanjay Gadhvi and apparently told him immediately after I left : 'The boy is an asset. Take him.'
http://mayurpuri.com/wp-content/uploads/2017/12/pitch3.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:42:092017-12-09 12:42:35How did you sell your first screenplay?
Where does originality comes from? Why are there writers/musicians/filmmakers that are more original than the rest?
Originality lies in application. Art is partly about the idea and partly, about the application. Ideas may not be original (because how many original ideas can there be after all?) but their application can be.
http://mayurpuri.com/wp-content/uploads/2017/12/original.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:39:162017-12-09 12:39:44Where does originality comes from? Why are there writers/musicians/filmmakers that are more original than the rest?
Why do the producers in Bollywood never face the losses when the movie flops?
Firstly, 'Bollywood' is a very big umbrella term, which covers most movies made in Mumbai. So what happens to one kind of movie producer is not necessarily what happens to another movie producer. You must have heard the terms 'A grade' 'B grade' and 'C grade' for movies. These grades are not just about the budget of the movie, they are also about the content, look, starcast and the distribution scale. How the 'A' grade industry works is very different from 'B' grade and so on.
http://mayurpuri.com/wp-content/uploads/2017/12/prod.png 244 600 mayur http://mayurpuri.com/wp-content/uploads/2017/12/MayurPuri-Home.png mayur2015-09-11 12:36:162017-12-09 12:37:02Why do the producers in Bollywood never face the losses when the movie flops?