text:
Puyo Puyo Images
801 anime images in gallery.
Search within Puyo Puyo
Axis Powers: Hetalia
ScheArle
Schezo Wegey
Lemres
Satan (Puyo Puyo)
Puyo Puyo
Sig (Puyo Puyo)
Draco Centauros
Arle Nadja
Puyo Puyo Sun
Witch (Puyo Puyo)
Strange Klug
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Games Released In 1991
Puyo Puyo(ぷよぷよ) is a series of tile-matching video games created by Compile and later Sonic Team.
Puyo Puyo, originally released by Compile in 1991, featured characters from the 1989 RPG Madou Monogatari, also made by Compile. Puyos were enemy monsters in said game, as the rough equivalent of the slime monsters from the Dragon Quest game series.
Puyo Puyo (ぷよぷよ) is the inaugural game in the Puyo Puyo series originally released in 1991 by Compile for the MSX2. Since its creation, it uses characters from Madou Monogatari (魔導物語). It was created by Masamitsu "Moo" Niitani, the founder of Compile, who was inspired by certain elements from the Tetris and Dr. Mario series of games.
Puyo Puyo Tsu
Puyo Puyo Tsu (ぷよぷよ通, also known as Puyo Puyo 2, Puyo Puyo Tsuu or Puyo Puyo 2: Tsuu) is the second instalment of the Puyo Puyo games; the sequel to Puyo Puyo, made in 1994 by Compile.
Puyo Puyo SUN (ぷよぷよSUN) is the third installment of the Puyo Puyo games series, and the sequel to Puyo Puyo Tsu, made in 1996 by Compile.
The name of Puyo Puyo SUN comes from a Japanese pun on san, and also indicates a new Puyo brought into the game. As Sun Puyo were used in this game, and the game itself is not only set on a tropical beach, but is the third in the series (san (三) is the Japanese word for the number three), the name served multiple purposes.
Puyo Puyo~n
Puyo Puyo~n (ぷよぷよ〜ん), also known as Puyo Puyo 4, and Puyo Puyo~n Party (for the N64 version) is the fourth installment of the Puyo Puyo puzzle game series, created by Sega and Compile for the Dreamcast, PlayStation, Nintendo 64 and Game Boy Color. Like many of the Puyo Puyo games, it was never officially released outside of Japan.
The name of Puyo Puyo~n comes from the Japanese word yon (四, meaning four), signifying the fourth game in the series.
Puyo Puyo Fever
Puyo Pop Fever, known as Puyo Puyo Fever (ぷよぷよフィーバー) in Japan, is the fifth installment in the popular Puyo Puyo puzzle game series, developed by Sonic Team, released on a wide variety of systems in several regions.
Puyo Puyo Fever 2
Puyo Puyo Fever 2 (ぷよぷよフィーバーチュー!) is a 2005 video game developed by Sonic Team and published by Sega. The game was released as a sequel to the previous title, Puyo Pop Fever, but is also seen as the sixth game of the entire Puyo Puyo series as the next game is titled Puyo Puyo 7. The gameplay remains relatively unchanged, but several new modes are introduced. The game features nine different plots, each one pertaining to its three protagonists.
Puyo Puyo 7
Puyo Puyo 7 (ぷよぷよ7) is the seventh installment in the Puyo Puyo series released on Nintendo DS on July 30 and November 26, 2009 for PlayStation Portable and Wii. This game is endorsed by Erika Toda, following on from Sega's use of female Japanese stars to promote the series.
Puyo Puyo!! 20th Anniversary
Puyo Puyo!! 20th Anniversary is a Puzzle game, developed by h.a.n.d. Inc. and published by Sega, which was released in Japan in 2011.
Puyo Puyo Tetris
Two puzzle game juggernauts collide as Tetris, one of the largest-selling and recognized brands in gaming history, and Puyo Puyo from SEGA have combined to create a fun-to-play, fast-paced, competitive party game like no other! The game has tons of different styles of gameplay from the single-player Adventure and Challenge modes to the ferocious competition of the up-to-four player Arcade modes. There's plenty of Tetris/Puyo variety, even an in-game Shop where players can unlock new characters, new skins for Puyos and Tetriminos, new backgrounds and more.
Puyo Puyo Chronicle
Puyo Puyo Chronicle is a Role-Playing game, developed and published by Sega, which was released in Japan in 2016.
The staple gameplay mode, Great Transformation (だいへんし), allows characters to take on child or adult forms, giving smaller or bigger puyo respectively.
*(2020-10-24)/Doop
Puyo Puyo Cosplay
Puyo Puyo Doujinshi
Puyo Puyo Anime Wallpaper
Characters & Artbooks
Arle Nadja 208
Puyopuyo!! Quest 188
Carbuncle (Puyo Puyo) 102
Andou Ringo 97
Satan (Puyo Puyo) 88
Schezo Wegey 84
Sig (Puyo Puyo) 82
Draco Centauros 61
Raffina 55
Amitie 52
Witch (Puyo Puyo) 52
Feli (Puyo Puyo) 40
Lemres 37
Rulue 35
Sasaki Maguro 29
뿌요뿌요


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Why is Bucky's movie contract so much bigger than Captain America's?
Rob Bricken
Filed to:captain america
Actor Chris Evans recently announced that his contract with Marvel is for six movies, and that he might take a break from playing Captain America after it's done. We didn't think anything of it... until today, when Sebastian Stan, who played Bucky in the first film, suddenly announced his contract is for nine films.
Um... the hell?
Look, nothing is set in stone here, and it's very possible than Marvel will drive a dump truck full of money to bring Evans back on for Captain America 4 (they've done that with Robert Downey Jr. at least once by now) or even more movies. But it does seem weird that Evans' recent announcement about his possible break from the role was followed so quickly by the news of Stan's astonishing nine-picture deal.
Not too long ago in the comics, Bucky did take the mantle of Captain America for a time. Will this also happen in Marvel's cinematic universe? Have they already been planning for Evans' departure from the role? If not, what on Stan Lee's green Earth does Marvel have in mind for the character of Bucky that requires a nine-picture deal?
Spoilers if I'm right: Steve Rogers dies (or appears to) at the end of Captain America 3. Bucky fills in as Cap for Captain America 4 and an Avengers film or two. Evans gets his break, and Rogers comes back to the cinematic universe just like he did when this happened in the comics, probably over the course of Captain America 5. What do you all think?
[Via The Hollywood Reporter]

redpajama_set_name: RedPajamaCommonCrawl


The other disturbing teaching in Dan Brown's book, Angels and Demons, is the consistent pushing of pantheism. If you are not sure what pantheism is, just read the following excerpts and you will know exactly what it is.
"You mean God?" Kohler demanded.
Vittoria was silent for a long time. "Science tells me God must exist. My mind tells me I will never understand God. And my heart tells me I am not meant to.
These teachings are contrary to the scriptures, even though many try to suggest that this is exactly what the scriptures teach.
Thank you, Laura Bartlett, for inviting me to review Hebrews of the Life Application Bible Studies series. I am currently preaching through the book of Hebrews, so this affords me the opportunity to evaluate the information and questions of this Bible study guide.


Milo, though not the smartest of the bunch, sure is one of the sweetest. He is always by his Mommy's side, excited and ready to go on whatever adventure awaits him. He is timid and clumsy, but once he knows and loves you, he trusts you with his whole heart and has plenty of slobbery kisses to prove it!
You can always count on Milo to make you chuckle with his awkwardness. He is a complete goof-ball, though we always say that is part of his charm. His innocence and devotion are refreshing and sweet and a reminder to us all to find joy in the simple things in life.


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Have a great idea for a story? The Story Seeds Podcast pairs kids who have original ideas with professional authors. Together, they brainstorm and develop the idea. The author writes a story. Then it is read on the podcast. Sandhya…
The Best Toys of 2021
The best toys of 2021 might make for a magical holiday season. With Magic Mixies, mix up a potion and— poof! —summon a new stuffed pet. With Lego Vidiyo Party, create a music video in real time, wherever you are,…
On This Land
In September, about 50 people gathered in Everett, Washington, to break ground for a new school building. Everett sits on the homeland of the Tulalip Tribes. The school board president acknowledged this. Members of the tribes then did a land…
The Kid Report: On This Land
The story "On This Land"—about honoring Native land—appears in this week's issue of TIME for Kids. Nathan Whittinghill attends middle school in the Mukilteo School District, in Washington State. Here, he writes about what land acknowledgement means to him and…
TFK Goes to Comic Con
Earlier this month, Pikachu and Captain Marvel posed for a picture. It wasn't a Halloween party. It was New York Comic Con! The four-day event kicked off at the Javits Center, in New York City, on October 7. Comic conventions…
Stepping Back
Scientists have analyzed footprints made thousands of years ago. They were found in White Sands National Park, in New Mexico. The tracks show that humans lived in North America some 5,000 years earlier than past evidence suggested. The prints were…
Back in Class
All across the country, kids have returned to classrooms. This is usually an exciting time. But this year, the excitement is again mixed with uncertainty. "I'm wondering if school will be back to normal," says Sebastian Taylor Bastidos, 10.…
Mattel Honors Frontline Workers
Mattel is honoring frontline workers with dolls modeled on real-life doctors and nurses. Among them is a doll version of Amy O'Sullivan. She's a nurse at the Wyckoff Heights Medical Center. That's in Brooklyn, New York. O'Sullivan appeared on the…
Reflecting on Racism
In June 2020, Sesame Workshop began a study of how kids and families in the United States feel and talk about racism. Researchers questioned 147 families with children from ages 6 to 11. In January 2021, they checked in with…
Toys for the Summer
There are so many ways to have fun and stay cool during the summer months. Here are some of our favorite outdoor toys and games. Colorful Creations Sidewalk chalk is a classic tool for creative expression. You can draw pictures…


GlobeCore Bitumen Emulsion Sprayer unit is designed to diffuse hot bitumen emulsion for road construction work. The process of bitumen emulsion spraying is achieved by means of rotary gear pump. The tank for bitumen emulsion storage can be heated by means of burner. The design of the sprayer provides an operation in an environment with an ambient temperature of + 10 ° C to + 40 ° C and a relative humidity of 98% at 25 ° C.
Level control of emulsion is made visually through the filler opening installed on the top of the container.
On the Camlock connection, disconnect the rod and discharge the emulsion by means of the pumping unit. Do not dispose of unused emulsion into the environment, collect it and send it in an incinerator.
Control at the moment achieved temperature of the emulsion is carried out before filling by means of visual thermometer. If you need another temperature, use preliminary heated or cold emulsion.
To start, stop, emergency start of the internal combustion engine, carefully read the attached instructions for use and maintenance of the internal combustion engine.
Use the nozzle as shown on the following figure.


This is a placeholder page for Brittany Olson, which means this person is not currently on this site. We do suggest using the tools below to find Brittany Olson.
You are visiting the placeholder page for Brittany Olson. This page is here because someone used our placeholder utility to look for Brittany Olson. We created this page automatically in hopes Brittany Olson would find it. If you are not Brittany Olson, but are an alumni of Holly High School Holly, MI, register on this site for free now.


This part of the Openbravo Developers Guide discusses the middle-tier framework components.
The Openbravo servlets play a key-role in the Openbravo ERP middle-tier. They implement the Controller role of the Openbravo MVC implementation. The view-part of the MVC model is implemented by the XMLEngine, which generates HTML pages from an XML definition. The model function (of the MVC-concept) is provided by Openbravo SQLC which converts query definitions in XML to Data Access Object classes.
The Openbravo middle-tier has gained importance in Openbravo ERP 2.50 with the introduction of the Data Access Layer. The DAL makes it easier to develop business logic running on the middle-tier.
The Openbravo middle-tier also provides functionality to support different types of authentication mechanisms. This is described in the Authentication section of this part of the Developers Guide.
This page has been accessed 9,823 times. This page was last modified on 14 June 2011, at 11:03. Content is available under Creative Commons Attribution-ShareAlike 2.5 Spain License.


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namespace android.hardware
{
	[global::MonoJavaBridge.JavaClass()]
	public partial class GeomagneticField : java.lang.Object
	{
		internal new static global::MonoJavaBridge.JniGlobalHandle staticClass;
		protected GeomagneticField(global::MonoJavaBridge.JNIEnv @__env) : base(@__env)
		{
		}
		public new float Y
		{
			get
			{
				return getY();
			}
		}
		private static global::MonoJavaBridge.MethodId _m0;
		public virtual float getY()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getY", "()F", ref global::android.hardware.GeomagneticField._m0);
		}
		public new float X
		{
			get
			{
				return getX();
			}
		}
		private static global::MonoJavaBridge.MethodId _m1;
		public virtual float getX()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getX", "()F", ref global::android.hardware.GeomagneticField._m1);
		}
		public new float Z
		{
			get
			{
				return getZ();
			}
		}
		private static global::MonoJavaBridge.MethodId _m2;
		public virtual float getZ()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getZ", "()F", ref global::android.hardware.GeomagneticField._m2);
		}
		public new float Declination
		{
			get
			{
				return getDeclination();
			}
		}
		private static global::MonoJavaBridge.MethodId _m3;
		public virtual float getDeclination()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getDeclination", "()F", ref global::android.hardware.GeomagneticField._m3);
		}
		public new float Inclination
		{
			get
			{
				return getInclination();
			}
		}
		private static global::MonoJavaBridge.MethodId _m4;
		public virtual float getInclination()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getInclination", "()F", ref global::android.hardware.GeomagneticField._m4);
		}
		public new float HorizontalStrength
		{
			get
			{
				return getHorizontalStrength();
			}
		}
		private static global::MonoJavaBridge.MethodId _m5;
		public virtual float getHorizontalStrength()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getHorizontalStrength", "()F", ref global::android.hardware.GeomagneticField._m5);
		}
		public new float FieldStrength
		{
			get
			{
				return getFieldStrength();
			}
		}
		private static global::MonoJavaBridge.MethodId _m6;
		public virtual float getFieldStrength()
		{
			return global::MonoJavaBridge.JavaBridge.CallFloatMethod(this, global::android.hardware.GeomagneticField.staticClass, "getFieldStrength", "()F", ref global::android.hardware.GeomagneticField._m6);
		}
		private static global::MonoJavaBridge.MethodId _m7;
		public GeomagneticField(float arg0, float arg1, float arg2, long arg3) : base(global::MonoJavaBridge.JNIEnv.ThreadEnv)
		{
			global::MonoJavaBridge.JNIEnv @__env = global::MonoJavaBridge.JNIEnv.ThreadEnv;
			if (global::android.hardware.GeomagneticField._m7.native == global::System.IntPtr.Zero)
				global::android.hardware.GeomagneticField._m7 = @__env.GetMethodIDNoThrow(global::android.hardware.GeomagneticField.staticClass, "<init>", "(FFFJ)V");
			global::MonoJavaBridge.JniLocalHandle handle = @__env.NewObject(android.hardware.GeomagneticField.staticClass, global::android.hardware.GeomagneticField._m7, global::MonoJavaBridge.JavaBridge.ConvertToValue(arg0), global::MonoJavaBridge.JavaBridge.ConvertToValue(arg1), global::MonoJavaBridge.JavaBridge.ConvertToValue(arg2), global::MonoJavaBridge.JavaBridge.ConvertToValue(arg3));
			Init(@__env, handle);
		}
		static GeomagneticField()
		{
			global::MonoJavaBridge.JNIEnv @__env = global::MonoJavaBridge.JNIEnv.ThreadEnv;
			global::android.hardware.GeomagneticField.staticClass = @__env.NewGlobalRef(@__env.FindClass("android/hardware/GeomagneticField"));
		}
	}
}

redpajama_set_name: RedPajamaGithub


text:
America: It Is Time to Widen Our Seats
Brian Moylan
Filed to: Battle of the bulge
not afraid to be servicey
Gettypic
If we learned one lesson from the Kevin-Smith-is-too-fat-to-fly debacle it is that we have outgrown our chairs. That's right, America, it's time for all new seating in planes, theaters, cinemas, and the like. Who should pay for it? Fat people.
Update: The Kevin Smith Southwest Airlines Fat-Flight Tweakout of Epic Proportion
Someone in corporate PR's decidedly not enjoying their Sunday. Yesterday, Kevin Smith started…
Not only did we learn about this problem recently when director Kevin Smith—with all his girth—was asked to get off a Southwest Airlines flight for taking up more than his allotted space, it was reinforced for me last night as I sat on a steep balcony of a Broadway theater. The couple in front of me and my companion were both so large that they could not sit in tandem in their $125 seats. They could fit their asses between the arm rests, but the mass of their arms and upper bodies were pushing them into each other and the people in the adjoining seats. How did they correct this? Well, one of the pair had to lean forward on his haunches so the other could sit back in her seat. Then everything fit. They were like a yin-yang of bulk, wrapping around each other to fit into their little, overpriced sphere. However, due to the incline of the theater, now me and my friend were kept from seeing the entire stage due to the obstructed view of this guy's wide back. That's right, he made our $125 seats even more of a rip-off. If we'd wanted an obstructed view of the stage, we could have sat behind a pole and paid less.
That is when I had what an ever-expanding Oprah would declare as a "light bulb moment": We need all new seats. Everywhere. What you are really paying for when you fly or watch a movie or go to a play is not the service itself but a set amount of space in a certain environment. Part of the social contract decrees that one must stay in that space and, since everyone paid the same for their little chunk of air, that they should not be disturbed by other people from their spaces. The problem is, we—as a country, as a collective whole—can no longer fit in the predefined areas in the public sphere without pushing our rolls into our neighbors, bending our bodies into each others' views, and generally ruining the experiences of other people unlucky enough to get stuck next to a fat person.
Get ready for a great overhaul of every public arena in American life as we rip out the chairs that have been there and replace them with ones that allow for more space. It's obvious that we, as a country, are not going to get smaller and more fit, but continue our slide into invertebrate sloppiness, like the floating blobs that haunt the Wall-E future. This resizing is really just an investment in our crumbling infrastructure, one that is literally buckling under our own weight. And we won't be able to stop there. Benches will have to reinforced, bleachers made from sturdier materials, and those chairs with desks attached to them which are used in classrooms around the nation will have to re-engineered to allow more space for flesh between the two conjoined pieces of furniture.
This is going to be expensive, obviously. Not only do we have to pay for the renovation costs and the new hardware, but there will be fewer spaces for sale in the current venues and planes where we park our fat asses. That means higher prices for movie tickets, airline tickets, etc. It doesn't seem fair to pass that along to the more slender among us who aren't forcing the nation into this. How can we accommodate larger bodies and still make those responsible pay? Instead of redoing all the seating, maybe we can just redo some of it and declare those seats "obese seating" and charge more for those seats?
The other answer is establishing a "fat tax." Like the government does with cigarettes, there will be a tax placed on fatty, unhealthy, and prepackaged food (which happen to be three of my major food groups!) and since larger people eat more of these things, they'll end up paying more of the tax, and the proceeds will go toward adequate accommodations for overweight people on planes, buses, and other public spaces, as well as for our (please, please, God) eventual universal health care system. (After all, with diabetes, injuries, heart disease, and all the other ailments caused by excessive weight gain, they cost more to keep healthy.)
This country is based on individual freedom, but there are times when a person's lifestyle and health choices interfere so much with the safety and comfort of others that they need to be regulated. That's why we tell drivers how many drinks they can have before they get behind the wheel, why we keep smokers outside of bars, why you can't make too much noise on the street in the middle of the night. If we can't keep ourselves healthy and our bodies small, the government will have to do it. Which means it's time for more rules, more taxes, and, yes, even bigger seats.
[Image via Getty]


text:
https://www.zdnet.com/html/podcast/zdnet/110609twistedwire.mp3
Apple's cloudy thinking
This week we look at Apple's iCloud, as well as ask whether the government's digital economy strategy is a clear vision or whether it, too, is a little cloudy.
Steve Jobs launched the iCloud this week during a keynote speech at Apple's WWDC. Mark Little, senior analyst at Ovum, describes the new offering as more of a "transitory cloud", because it's about using the cloud to sync up devices more than storing things on a "hard disk in the sky".
So, has Apple done it again? The Brand Z index already has Apple as the most popular brand in the world. I ask Martin Attwood from research agency Millward Brown whether this ranking means Apple could soon be bigger than Microsoft.
Also this week, I delve into the government's new National Digital Economy Strategy (PDF). Guy Cranswick from IBRS complains that the document is lacking detail and quantifiable objectives. Abul Rizvi, deputy secretary at the Department of Broadband, Communications and the Digital Economy, says we can expect some more specific targets down the track.
The need for more air
Wireless spectrum is being fought over by mobile providers, TV networks, emergency services and a myriad of other users.
Influencing the Speed of Money
Milton Friedman had a theory that the wealth of a nation was determined by the amount of money and the velocity of that money. So shouldn't we be trying to speed things up.
RBA more uncertain than the cup winner
By phildobbie — 1 year ago
It's easier to predict today's Melbourne Cup winner than ha ve a clear idea of what the RBA will announce today, says NAB's Ray Attrill on the latest Moring Call podcast.


text:
Sun-Kissed Meals
Valérie Dufort-Roy | Klish Way
Solar cooking evokes the image of roughing it out when camping in the remote wilderness. There is so much more to it! Solar cooking is a great alternative to conventional cooking, because of its zero fossil-fuel footprint. It involves heating, baking, cooking, and sautéing food using the sun's energy, while not generating smoke like a campfire!
How much does it cost? Interestingly, a solar cooker can be made with materials found at home: a cardboard box, foil, saran wrap, tape, and dark construction paper. It is a fun summer family project to explore how high the heat can reach in a homemade oven. The latest technology in solar cooking can reach 550°F, and there is a myriad of options for every budget between $70 and $400.
The common types of solar cookers are listed below:
A box oven solar cooker is the most known type of cooker. It is an insulated dark box covered by clear glass, surrounded with aluminum panels reflecting the sunlight and directing it inside the box (see attached photo of my cooker, which lives on a patio year round).
A panel cooker is a variation on the traditional box oven, only smaller and portable. It is a three-sided opened fabric box covered in reflective material where a dark casserole is placed.
The weirdest of all is the parabolic solar cooker, which looks like… a parabolic antenna. The 60" wide concave plastic mirror reflects the sunlight at a focal point, where a structure allows to place a pan to sauté or stir-fry foods. Online reviews show that a piece of wood held at the focal point will catch fire in seconds. It is probably best to store this one away when not in use!
The newest technology is called evacuated tube cooker, which is a glass tube where food is inserted on a tray, surrounded by a reflective structure. This portable device allows for temperature to reach an impressive 550°F.
What can be cooked in a solar cooker? Beans, casseroles, veggies, meat, cakes, cobblers, and soups too. As the sun moves along its arc, the unit should be repositioned to optimize the power of sunlight. The box oven and the panel cooker cook slower and require pre-heating, versus the parabolic and evacuated tube cookers.
Does it work? Absolutely, on a 75°F April day, my Sun Oven (sunoven.com) reached 250°F, and baked a delicious lemon pound cake in a couple of hours. Anytime we have a warm day, we cook lentils or garbanzo beans. We dehydrate apples and clementines for snacks. Sunshine is here, let's cook the way summer intended!


text:
Q: Is there a way to make my mobile web app to go fullscreen on Safari on iOS 8+ I'm new to Phonegap and mobile development in general, right now I'm working on an app and the users must be able to see the entire web app without the address bar in browsers (because of space and appearance). I found little options like these three: https://developers.google.com/web/fundamentals/native-hardware/fullscreen/
The window.scroll trick doesn't work anymore so there's only a way (I think), going fullscreen. I managed to do it in Chrome, with a node module, also when users add the web app to home screen and open it from the icon, it opens in fullscreen both in Android and iOS.
The problem is, I need it to go fullscreen (or hide the address bar) without the user doing too much, for example, in Android the first tap on the web app make the browser go fullscreen (without the user necessarily adding the web to home screen or doing anything more), in iOS Safari there was a way until iOS 7, the "minimal-ui" option for the viewport, but that does not work anymore, I found something that may replace the minimal-ui function: iOS 8 removed "minimal-ui" viewport property, are there other "soft fullscreen" solutions? and tested that npm module called Brim, but it doesn't work for me because if you are in the "fullscreen" mode and slide from one page to another, it goes out of the "fullscreen" mode, also in the normal mode (with the address bar), you cannot scroll or use the inputs or anything, and I dont want to force users to go fullscreen.
In conclusion, is there a way to hide the address bar on iOS 8+ Safari or go fullscreen in a easy way like Android (just tapping or something) but allowing the user to get out of the fullscreen mode and still being able to use the web app normally?

redpajama_set_name: RedPajamaStackExchange


text:
Photo courtesy of IMG Films
Michael Moore On His New Film 'Trumpland': "Whatever You're Afraid Of Does Not Wear A Dress—Or Pantsuit"
Coming soon to VOD
by daniel barna
It turns out Michael Moore was doing a lot more than just tweeting over the course of this election cycle. On Tuesday, the political provocateur announced his surprise film, Michael Moore in Trumpland, which premiered at New York City's IFC Center just hours after the news broke. "We're flying by the seat of our pants here," Moore told the audience on Tuesday night. "Our goal is to have as many Americans see this over the next five or ten days."
The film captures Moore on stage, as he explains to a room full of people what would happen if either Hillary Clinton or Donald Trump became president. It was shot less than two weeks ago in Wilmington, Ohio, which Moore says is one of Trump's biggest strongholds in the country. "I wanted to do this not in a safe place, but in a place where we'd need a lot of security, which we had."
In the film, Moore discusses the difference between men and women, calling white men over 35 "obsolete," which is why, he says, they show up to Trump rallies. Women, meanwhile, pose far less of a threat to our future, according to Moore. "No women invented a hydrogen or atomic bomb, and no girls have gone into schools to shoot them up," he says in the film. "Whatever you're afraid of does not wear a dress—or a pantsuit."
Moore hopes that with this film, he depresses the Trump vote, in the same way that he believes the Clinton vote is depressed. "Our biggest opponent on election day is getting people out [to the polls] who have given up."
Moore added that he plans to have little rest between now and election day. "If I leave here tonight with people thinking that this was just a nice funny show and that we're not in any kind of trouble here because Trump has imploded... the shit show isn't over. Don't take any joy in this, because it appeals to the darker instinct of a country that has made some mistakes, whether it's voting for Reagan or Nixon or Bush or the professional wrestler in Minnesota."
Moore ended Tuesday's Q&A by recalling a handful of times the right candidate lost because Americans didn't go out and vote. "Remember, Kaitlyn [Bristowe]—we all thought she was gonna go with Nick [Viall], and she picked Shawn [Booth] on the Bachelorette. Jennifer Hudson lost on American Idol—our fellow Americans voted for Fantasia [Barrino]! I'm telling you, shit happens in America. They thought Jennifer Hudson had it in the bag. Don't let Fantasia win on November 8!"
Look for Michael Moore in Trumpland on VOD sometime before November 8.
The Madonna Biopic Is Being Scrapped
Kaia Gerber Won't Stop Until She's Cast As Patti Smith In A Biopic
The 2023 Oscar Nominations Full List Is Here
Scream 6 Trailer Brings The Nightmare To New York


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HomeStatisticsSingerFiend (Rapper) Height, Weight, Age, Body Statistics
Fiend (Rapper) Height, Weight, Age, Body Statistics
Fiend Quick Info
Date of Birth May 13, 1976
Zodiac Sign Taurus
Eye Color Dark Brown
Fiend is an American rapper and producer who has released multiple albums, extended plays, mixtapes, and tracks like I Won't Be Denied, Can I Burn?, There's One in Every Family, Go Hard or Go Home, Can I Burn? 2, The Addiction: Hope Is Near, Street Life, Wrapping Papers, The Bail Out, Fiend 4 Da Money 2, Lil Ghetto Boy, The Baddest, Take My Pain (ft. Master P, Silkk The Shocker, and Sons of Funk), Mr. Whomp Whomp, Talk It How I Bring It, and On My Job (ft. Juvenile). Fiend is known for his time spent with Master P's No Limit Records.
Fiend, International Jones, Sleepy Jones
Fiend as seen in an Instagram post in December 2021 (Fiend / Instagram)
Hollygrove, New Orleans, Louisiana, United States
Rapper, Producer
Fiend, Jet Life, No Limit Records, Priority Records, Ruff Ryders, Interscope Records (Former)
Fiend in Baltimore, Maryland (Fiend / Instagram)
Fiend has dated –
Carly Liber – He got married to Carly Liber in the year 1998.
Sports a mustache
Fiend in Atlanta, Georgia in 2021 (Fiend / Instagram)
Fiend Facts
On November 14, 1995, he released his debut album I Won't Be Denied via Big Boy Records and it included songs like Free Like the Wind, Fiend, Get It On, Who's the Man, No Love, All I See, and Can't Lose.
Fiend signed to record label No Limit Records in 1997.
His 2nd studio album There's One in Every Family was released on May 5, 1998, through No Limit Records and it featured artists like Master P, Snoop Dogg, Silkk the Shocker, Mystikal, Mia X, and C-Murder. The album peaked at #1 on the US Top R&B/Hip-Hop Albums (Billboard) chart and at #8 on the US Billboard 200 chart.
Featured Image by Fiend / Instagram
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Legend of the Scarlet Blades
Follow the journey of the amnesic ronin Raido in a medieval Japan where spirits still exert their magic on the land. Raido, a young amnesic Ronin–a masterless Samurai–roams about in a quest for his memories. His first stop is the city that talks to the sky, the ultimate stronghold against the ice invading the land of the rising sun. There, he meets Meiki, a graceful puppeteer and storyteller of charms. Legend of the Scarlet Blades, as painted by the tormented and airy style of Saverio Tenuta, is a series whose universe is inspired by feudal Japanese history and traditions, full of breathtaking settings and populated by a myriad of wondrous mythical beings.
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Vol. 1: The City that Speaks to the Sky
Vol. 2: Like Leaves in the Wind
Vol. 3: The Perfect Stroke
Vol. 4: The Abomination's Hidden Flower
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The Mask of Fudo
Set in the same feudal Japanese world of Legend of the Scarlet Blades and Izuna, comes an origin tale, full of the universe's signature magic and blood.
Since the dawn of time, the Izuna wolves have been entrusted as guardians against Japan's evil spirits. Set in the wondrous world of Legend of the Scarlet Blades. From time immemorial, the spirits of nature created the Kamigakushi, a magical veil that hid them from the impure eyes of man. From that moment on, spirits and men could no longer gaze upon each other and lived as if belonging to separat
An epic tale where history blends with fantasy to explosive and cinematic results. 1219: The Fifth Crusade. The Army of Crusaders attempts to seize the port of Damietta, in the hope of reaching Jerusalem by passing through Egypt. Victory is near, until the Christian army is decimated by a mysterious plague... At least that is what they are led to believe...An all new take on the time of the Crus
The Hounds of Hell
A Sword and Sorcery adventure of a formidable band of mercenaries on a quest for a legendary treasure. At the turbulent period of Christian and Barbarian clashes, a fearsome group of mercenaries reunite after many years apart to take on a secret mission for the Empress of Byzantium. They must search for an infamous treasure hidden in the heart of the ancient underworld. But for all the dangers t


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The Black Swindler
There are three kinds of fraudster. One, called the 'WHITE SWINDLER' finds a mark, and steals money. The 'RED SWINDLER' preys on the other sex, and steals a mark's body and soul. Then there is the 'BLACK SWINDLER'. Ignoring ordinary marks, targeting only the white and red herons, and preying on their flesh grown fat and corrupt with the money they have stolen, he is the worst of them all. The victim of a fraud artist, a father and his family commit suicide...the only one left alive is his son, Takashi Kurosaki, who vows revenge on all the scam artists that infest this world. The path he has chosen is that of the 'black swindler'. Kurosaki buys information on 'white herons' from 'the fixer'. Ironically, this underworld 'fixer' is none other than Katsuragi, the man who drove Kurosaki's family to destruction. Under the burden of this whim of fate, Kurosaki improvises one unique method after another as he stalks his prey. His current target is Ishigaki, a corporate fraud artist whose modus operandi involves making a present of a very expensive version of the corporate seal to a company president. This seal, being the equivalent of a signature, is then officially registered, and only then does Ishigaki send out a flood of fake contracts bearing the new seal. His latest victim is a woman executive whose daughter is in need of a heart transplant. Before Kurosaki strikes at Ishigaki, a mysterious woman named Sakura appears. Her father, it turns out, was also ruined by Katsuragi. In contrast to Kurosaki, though, she has chosen to rebuild her life by forgiving and forgetting, so much so that she is actually in love with Katsuragi. Regarding the love-hate relationship between them, Kurosaki is also forced to admit that his feelings towards Katsuragi are complicated. Katsuragi is the person he hates most, but also the closest person to him. Eventually he begins to wonder whether, in fact, Katsuragi is simply using him. As the action rises to its highest pitch, Katsuragi imposes a charge far higher than anything Kurosaki has ever paid. Will he be able to recover the money Ishigaki has stolen? Will he be able to save the company president's daughter? And how should he face the destiny that links him to Katsuragi


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Kegs of beer stolen in Longford
A man found in possession of kegs of beer from a Longford premises has been jailed for eleven months.
Joseph Doyle, with a home address at 56A Queen Street, Dublin, was jailed for eleven months at the Kilcock District Court sitting in Naas on January 3.
Mr Doyle (35) was found by Gardai to have had beer kegs in his vehicle when he was stopped on by Gardai at the M4 toll booth at Killinaweeney on March 16 2016.
He was given a one month current jail sentence for giving a false name and he received a six year driving ban for driving without insurance.
Mr Doyle pleaded guilty to the offences.
Garda Inspector John Costello said Mr Doyle had twelve kegs of Guinness and two of Smithwicks which were stolen from a property in Longford town. They were valued at €2,408.
Mr Doyle was with others but he was the driver of the car, He gave a false name.
Judge Desmond Zaidan noted the date of the offences were the eve of St Patrick's Day.
Sarah Connolly BL, representing Mr Doyle, said the property was recovered.
Mr Doyle, who received free legal aid, had 82 previous convictions according to Court records.
They included theft and on December 13, he received a thirteen month sentence in Kilkenny on road traffic offences.
Mr Doyle, she said, had a thirteen year old daughter, who visited him regularly in jail.
Most of his offences related to drug addictions, she said, but he was availing of counselling while in prison.
Mr Doyle, she said, apologised to the Court.


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The "liberal" party establishments in the U.S. and UK, within the Democrats and Labour, are united in their distaste for party member opinions. They alone want to decide which positions the party has to take. They want to make sure that there is no alternative to their rule. It is elitism at its worst which no longer bothers with the pretense of democracy. Does it count as "shared values"?
Bernie Sanders folded. This without gaining any significant concession from Hillary Clinton on programmatic or personal grounds. (At least as far as we know.) He endorsed Clinton as presidential candidate even as she gave no ground for his voters' opinions. This disenfranchises the people who supported him.
Those are valid statements. I find it hard to to argue with these.
Abstaining from any endorsement or running as independent or Green party candidate would have been more honorable ways for Sanders to admit defeat. It would have pressed the Democratic party to stop its movement to the right of the Republican party.
I expect the "Not Hillary" protest vote to be very strong in the November election. There is still more significant dirt to be dug up about her and her family foundation. Trumps current lows in the polls will recover when the media return to the "close race" mantra that makes them money. He still has a decent chance to win.
Then again – its the first time now that I have to concede that Clinton may well win. But that would be with a record low turnout, and record low legitimacy. There would be no wins for the Democrats in the Senate and House. She would be another Republican President who would represent only a record small slice of the electorate.
The election shambles on the other side of the Atlantic are no less depressing. "Corbyn can not win votes," is the claim of the anti-Corbyn Blairites. That is why they have to resort to dirty tricks to disenfranchise Corbyn voters. His supporters are not allowed to count in a Labour leadership election because they support him. How can such "logic" and this step be legal?
Corbyn may need some lawyers to set the NEC straight.
One can only hope that he wins the new Labour leadership election. The Labour establishment stinks like an Augias stable and the party needs a thorough house cleaning.


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Q: XPATH or SAX for Keyword Queries (using PHP) Using PHP, what is the best API calling method for keyword searches that query a large XML file and retrieve relevant search results (which would be shopping products)? The number of search results returned would usually vary between 20 and 1000, and there would be 10 to 20 search results per page.  Would XPATH or SAX be the best method to use? Or any other methods? Thanks!

A: Are you trying to optimize a single search of the file, or 100 searches per second? If you're doing more than one search then you don't want to parse the whole XML file every time you do a search; you need to hold the parsed document either in memory or in an XML database, so that it can be searched repeatedly (typically using XPath, XQuery, or XSLT).
On the other hand, if it's a one-off, then SAX would be faster - but unless the query is trivial, a lot more programming effort to implement.


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New York Notebook, Fall 2021
American Utopia. Photo: Matthew Murphy
There's no better season than fall in New York. Upstate, the evolving, brilliant outdoor theater of the trees and mountains after the verdant lushness of summer. In the city, the torrent of culture that all seems to happen in October. This year, things in NYC have moved closer to normal, with regular capacities at theaters, restaurants, and museums. New Yorkers have gotten used to masking up inside, and showing proof of vax-plus-ID everywhere. Just more layers necessary to access the fruits the city has to offer.
Nothing better represents the joy of returning to near-normal life than David Byrne and his Broadway show, American Utopia (reviewed here in 2020). It celebrates Byrne's music, framed by Annie-B Parson's movement, in the purest form, featuring only the incredibly talented cast onstage with no props other than instruments and a metal beaded curtain. Byrne himself, in his late 60s, is seemingly ageless, showing no signs of fatigue or being winded, even after belting out one of his many timeless hits. He has put forth his ideals not only by speaking or singing them, but by example. How many rock stars ride their bikes everywhere, mixing with the public at large with a friendly demeanor? The show has moved to the St. James Theatre, and retains the hypnotic kinetic invention of Parson, with marching patterns and simple moves and gestures done by musicians and the two dancers alike dressed in dapper grey suits. And Byrne, of course, barefoot, bolstered by devoted audiences.
João Menegussi and Calvin Royal III in Touché
American Ballet Theater's ABT Rise initiative shows its full-out commitment to diversity, equity, and inclusion. Their program contains a "Land Acknowledgment" statement, stating that they perform on land stolen from Indigenous peoples. I attended the Oct 22 performance at the Koch, one dedicated to the LGBTQIA+ community. The mixed rep program contained many traditional-feeling works—Alex Ratmansky's showcase of young technical virtuosity and exuberance, Bernstein in a Bubble; Clark Tippett's Some Assembly Required, a largely quiet psychological drama danced by newly promoted Skylar Brandt (who dazzled in the Bernstein, at one point pirouetting what must have been six revolutions) and charismatic Gabe Stone Shayer in a toned-down role; and Indestructible Light by Darrell Grand Moultrie, an entertaining, jazzy crowd-pleaser full of maxed out moves and poses. It also showcased Touché by Christopher Rudd featuring Calvin Royal III and João Menegussi, who underwent a mutual coming-out told through increasingly intimate movement and garments shed.
The company is undergoing a seismic leadership change with both the artistic director and executive director departing, in addition to the shift toward diversity which is so urgent at most organizations now. How it deals with its core programming—full-length ballets, many centuries old, with politically incorrect themes, motifs, and actions—will unfold in the coming seasons, beginning with next year's presumably shorter-than-usual run at the Met Opera House. Its concurrent contemporary choreographic commissions have run the gamut (I missed the Jessica Lang suite to Tony Bennett) which, from its sheer breadth, will likely produce hits and misses. Will there be a larger shift in the spring/summer season from centuries-old chestnuts to contemporary work? We'll see.
Charmion von Wiegand, Untitled, 1942
While I'm sure it wasn't meant this way, the sheer physical relationship at the Whitney Museum between Mind/Mirror, the mega Jasper Johns half-retrospective on 5 (the balance is at the Philadelphia Museum) and the keen survey, Labyrinth of Forms: Women and Abstraction, 1930–1950, occupying the 3rd floor small gallery speaks volumes—iconic white male artist physically dominating the building while the women are exiled to a space adjacent to the restrooms. The latter exhibition comprises works from the Whitney's collection, most of who are unfamiliar names. Work by Barbara Olmsted and Dorothy Dehner sits alongside those by Lee Krasner and Louise Nevelson. It's a thrill to "discover" so many women who worked in abstraction during a time that preferred realism, at times organizing to support one another. The taut show was organized by Sarah Humphreville, Senior Curatorial Assistant.
Unsurprisingly, the Johns show contains many of his landmark works—flags, maps, coffee cans. The Whitney has many of Johns' 1980s-90s pieces, which evoke stasis and marking time. Some of Johns' works which struck me most strongly are actually his more recent ones, black & white ink on plastic (Matthew Marks Gallery had a show including many of these.) Perhaps because Johns, now in his 90s, has worked constantly for most of his life, producing an enormous body of work tracing so many subgenres, it is easy to take him for granted. But his influence is incalculable even if he and his male counterparts may have hoarded due attention to their female peers.
Shirazeh Houshiary, Pupa, 2014
The Asia Society's Rebel, Jester, Mystic, Poet exhibition is an eye-opening survey of contemporary Persian (Iranian) art. It encompasses a breadth of styles and an impressive refinement of techniques and visions. Some names are familiar—Shirin Neshat, Abbas Kiarostami—but most are new to me, and many offer revelatory creations. Morteza Ahmadvand's three-channel video installation plus sculpture traces three religious emblems as they morph into spheres. A spiraling stack of amethyst glass by Shirazeh Houshiary mesmerizes.
Several artists use traditional craft and techniques as a means to convey contemporary messaging infused with cultural legacy. Farhad Moshiri's carpets cut into the shapes of fighter jets; Afruz Amighi's scrim of polyethylene (a material used in refugee tents) contains intricate, lacelike imagery which, despite its poetically delicate appearance, turns out to be terrifying; Shiva Ahmadi paints oil barrels with lavish, rich scenes associated with traditional miniatures and ornate imagery. The works possess great craft in addition to powerful messaging, often simmering below the surface of traditions carried forward.
That an ancient culture, and culture in general, can be so vital and relevant offers some welcome hope in a time of flagging optimism.
Photos: American Utopia: Matthew Murphy; ABT: Rosalie O'Connor; Von Wiegand: courtesy Whitney Museum; Houshiary: Susan Yung
Posted by Susan at 11:03 AM No comments:
Labels: ABT, American Utopia, Asia Society, David Byrne, Whitney Museum
A Fine Sampler of Contemporary Ballet at the Pillow
Karina González, Harper Watters, and Chandler Dalton of Houston Ballet in
Reflections. Photo by Christopher Duggan
From seeing Jacob's Pillow's Ballet Coast to Coast program in late August, contemporary ballet looks to be in good shape. Three accomplished companies brought chamber-sized works to the outdoor Leir Stage in the final offering of the Pillow's robust summer festival, which had to cope not only with the pandemic, but the dodgy summer weather which caused many cancellations. The slate balanced humor, expressionism, and formalism in works by five choreographers.
Boston Ballet began the show with Helen Pickett's Home Studies: Parlor Floor Life (2021), inspired by a film, in which Lia Cirio, Paul Craig, and My'Kal Stromile plopped on a sofa like restless kids, sticking their legs up and messing around. In a solo, Stromile used his long limbs and superb line to accentuate the expressive gestures and articulations to maximum effect. Cirio and Craig partnered in a duet, showing Pickett's explorations in how two bodies can interact in new ways—a foot flicking between legs, or him pulling her in a circle by one of her feet extended high. After a year and a half spent on the sofa, the visual jokes involving boredom and antsiness hit home.
Houston Ballet's two excerpt offerings, in contrast, showed ballet at its most fluid and lucid. Stanton Welch's Sons de l'Ame (2013), with Karina González and Harper Watters, featured simple poses connected by flowing, elegant moves. Each line was continually elongated; there never seemed to be any excess movement or embellishment. Even the flesh-hued leotards served to focus attention on the purity of line, the essence of classical ballet. (This piece reprises at City Center's Fall for Dance this season.) Justin Peck choreographed Reflections
My'Kal Stromile of Boston Ballet
in Home Studies: Parlor Floor Life
Photo by Jamie Kraus
(2019), and the trio is a prime example of his sheer fluency in the language of ballet. Small traveling steps included backward low jetés, a twist on a basic element that felt radical. The color block leotards with white belts might allude to Balanchine and Robbins' frequent reliance on such simple costumes to better free the dancers (Chandler Dalton, González, and Watters); the seamed pink tights worn by González evoked the classroom staple of ballet students everywhere. The ending tableau—their three heads turned sideways and stacked, arms framing them—beautifully punctuated this work, which the dancers clearly enjoyed performing.
Ulysses Dove's Red Angels (1994) was performed by Pacific Northwest Ballet. It actually felt less of its period this year than when I last saw it, several years ago, on NYCB. All graphic angles and hyper-articulated torsos and deep, squatty pliés, it has a torero-like feel, abetted by the general fierce attack and the red unitards with sternum lacing. It showcased the charismatic Christopher D'Ariano, Elle Macy, Amanda Morgan, and Dylan Wald. Some of the classical steps, like fouettés, were unpolished, but the catwalk attitude was spot on.
Dancers from all three companies performed in Second to Last (2013), the finale by Alejandro Cerrudo. A series of fluid duets, composed of elastic limbs and attenuated, expressionistic lines, were quite beautiful, but somewhat repetitious. Perhaps the choice of Arvo Pärt's by-now overused music dictated the lack of dynamic. But the concept of uniting all three companies rang true in a divisive and isolating time.
Labels: Jacob's Pillow Boston Ballet Pacific Northwest Ballet Houston Ballet Stanton Welch Helen Pickette Justin Peck Alejandro Cerrudo Ulysses Dove
Brian Brooks at Jacob's Pillow—Seeking the Human Touch
Evan Fisk, Zack Gonder, and Stephanie Terasaki of Brian Brooks / Moving Company in
Closing Distance at Jacob's Pillow Dance Festival 2021. Photo by Jamie Kraus
Brian Brooks / Moving Company's three works at Jacob's Pillow recently could represent time stamps of periods over the last year and a half. The opening piece, Flight Study (2021) was created primarily during Covid. The eight dancers often moved in a cloud while remaining isolated. Their movements were small in amplitude, traveling little; a foot slid forward a few inches, seemingly propelled by a mere breath. The dancers lay on the stage, taking turns arising to varying heights, evoking waves rolling onto the shore (enhanced by their navy rompers, by Karen Young). Bryce Dessner's score for strings evoked emotions from anger to contemplation, at times propelling the dancers forward and back. Alone, but together, manipulated by some force as great as the ocean, or perhaps, chillingly, a global pandemic.
Brooks took the stage to perform Quiet Music (2021), a solo to Nico Muhly's music which provided a change of dynamic as well as time for his company to change costumes in the now de rigeur intermissionless, under-an-hour program. Brooks can often treat dancers—most notably himself—as machine-like vehicles with which to conduct kinetic experiments involving endurance or repetition. Hopping on one leg for minutes at a time, or running relentlessly, or walking on others' body parts to avoid contact with the floor. Here, there is no such dogma, simply fluid movement traveling from an eeling hand through the torso and head, or a languid arabesque to stretch the body briefly. In a long-sleeve shirt and pants, Brooks assumed an everyman presence somewhat reluctant to explode beyond the confines of his body's invisible bubble.
The final work, Closing Distance (2020), was made just before Covid hit, and that's clear in the dancers' physical interactions and unity in moving as one organism in close ensemble passages. Caroline Shaw's intriguing score, Partita for 8 Voices, begins with spoken phrases: "To the side, left around…" Are these directions for the dancers? Because they are circling around one another, pushing another's arm to cause a reaction, clustering around one dancer and clutching her arm, forming a caterpillar-like creature by linking hands with elbows. A performer lowers herself to the floor, which is echoed by each successive dancer like a time-stop photo.
In a key duet, Carlye Eckert floats her hands over a man's body, eliciting a reaction that resembles the effect of a magnetic field. Even six feet away, as she pushes the air between them, he reacts as if she has cast energy. A closely arranged trio moves essentially as one, with a slight lag between mimicked moves. In the final section, the performers lie parallel to one another, rising a bit, then higher and higher, like a chart of the evolution of homosapiens. They coalesce in a group before lying down to succumb to the invisible force field wielded by Eckert once more. The music, sung by Roomful of Teeth, enchants with closely spaced harmonies, ethereal at times. Young also designed the white-hued costumes of variously fitted and shaped separates.
This program's breadth symbolized the roller coaster we've been through lately, from a pre- and post-pandemic state of normal physical interaction, to being together yet isolated. It departed from many of Brooks' previous presentations in some ways—less systematic scientific experimentation, and no deliberate choice of signature set or color design typical of years past, perhaps because it was performed on the Leir stage, in front of Massachusetts' verdant Berkshires. But it displays a humanity that beats in the heart of dance, in its varying complexity and potential for expression.
Labels: Brian Brooks Brian Brooks / Moving Company Jacob's Pillow Berkshires
NYCB Shares Stories at SPAC
The Concert. Photo courtesy NYCB
Another sign of cultural life reviving! New York City Ballet returned live to the stage on a mild evening in July with a brief stint at its upstate home, Saratoga Performing Arts Center (SPAC). It presented two programs of excerpts with commentary—one of story ballets, which I saw on July 14, and another of Balanchine's abstract works. It was great to see the company in the vast, dramatic, tree-framed setting of the Amphitheater, with similar grand stage dimensions to the Koch, and the casual structure of the program allowed the company to ease back into preparations for a full season of performances.
The wide-ranging "Short Stories" program was moderated by principal dancer Maria Kowroski, who demonstrated a genial speaking presence to go with her in-depth, personal knowledge of the dances. The three sailors (Amar Ramasar, Spartak Hoxha, Lars Nelson) in Jerome Robbins' Fancy Free discussed the nature of their characters, and each shared a move from the dance that encapsulated a characteristic (although three rounds of questions seemed a bit much). Teresa Reichlen and Tyler Angle (with a shaved head!) performed the white swan pas de deux from Swan Lake. Reichlen's stage demeanor is consistently stoic and secretive, and in this case, served to provide some welcome gravitas to the performance, isolated from the context of the story.
Such context was also missed in the next segment, the Rose Adagio from The Sleeping Beauty. Meaghan Dutton-O'Hara debuted as Aurora, no small feat given the short amount of rehearsal time (weeks) in which to cram for being partnered by four men in one of the most difficult passages in classical ballet. The lack of rehearsal time showed in some off-balance partnered promenades, which no doubt will be smoothed out with more practice. Associate Artistic Director Wendy Whelan came onstage to give some notes, including the advice to take one section at a time so as not to be overwhelmed, and to "be the rose," firmly planted and growing tall and proud. Another segment from Beauty followed: the opening of the Bluebird pas (Sara Adams and Spartak Hoxha), which felt suitably antic and exuberant given the plein air setting.
A duet from Midsummer Night's Dream also matched the al fresco ambience. Miriam Miller fell for the donkey-headed Lars Nelson, who only had eyes for his grass. And the "Mistake Waltz" from Robbins' The Concert elicited chuckles from the audience, and reminded us of the humor that he often deployed. The finale, a segment from The Firebird featuring Reichlen and Ramasar, once again revealed the sense of occasion that Reichlen brings to the stage to magically train our collective focus. Full costumes helped to signify some of the context of each story segment, which were accompanied by piano scores—whose arrangements at times were by nature sketchy—played by Alan Moverman and Nancy McDill.
While NYCB's 2021 run at SPAC can barely be called a season, it was a welcome return of live arts after such a horrendous year and a half. The company recently released its full schedule for the 2021-22 season at the Koch Theater, another welcome reminder that New York's cultural life is ramping up for, hopefully, a return to normal.
Posted by Susan at 12:25 PM No comments:
Labels: NYCB George Balanchine Jerome Robbins Maria Kowroski Teresa Reichlen Tyler Angle New York City Ballet SPAC Saratoga Performing Arts Center
Varone Scrapbooks a Solemn Year
March's landing page. Photo: S. Yung
Watching dance, like everything in 2021, is different. Choreographers are finding ways to express themselves, but for those used to having a huge stage and a captive audience for a set amount of time, there's no clear path. Ignore the bounding box of Zoom? Or address it and play with it or rage at it? And now that dancers can return to theaters—even with limited audiences—how best to utilize the limits and expanses now present?
Michael Trusnovec in "Temptation." Photo: S. Yung
Doug Varone deals with it his way—by building a story one dance at a time, to complete The Scrapbook, a series of 10 chapters set to pop standard songs. (The subtitle edifies: 10 months / 10 letters / 10 stories / 10 songs / 10 films. Interesting that "dances" is not used, or perhaps indicative of how Varone has always viewed his work.) These are framed by a set of letters between a woman and her grandson, written during the course of the year of Covid and BLM. The letters' content ranges from affectionate salutations to much deeper questions of personal liberty and responsibility—life and death—that all of us have faced.
Each chapter appears onscreen as a spread in a tactile leather scrapbook, with memoirs, doodles, and photos at left, and an envelope on the right, which you click to open. The letters' words unspool visually as you hear them spoken—both endearing and a bit patience-trying (although you can skip around freely). Following the text, a video of the dance plays. It's a chronological and sentimental presentation that offers an empathetic narrative through a warm visual interface.
Whitney Dufrene in "Don't Explain." Photo: S. Yung
Aspects of Varone's choreography fit well in such a context. His visceral expressions involving the upper body—impulses, upheavals, shudders, ecstasies—always eloquently convey the full breadth of human emotions. And while a lot of his oeuvre has been presented as essentially abstract, if you wished to, you could assemble a story framework given individuals' movements and group interactions. The Scrapbook's structure resembles standard linear constructs of film and literature, but it's an organic fit. (That said, Varone has experimented with site-specific works, sometimes pegged to narratives, such as Neither, in the Lower East Side Tenement Museum, or The Bottomland, filmed in caverns in Kentucky.)
Some chapters stand out. Guest artist Michael Trusnovec, who danced in Varone's commission by Paul Taylor American Modern Dance, makes a memorable appearance to the song "Temptation," forcefully resisting the pull of the great outdoors while grabbing door frames and furniture through his house, even foregoing the lure of a jigsaw puzzle, before plunging out the front door into the intoxicating night air. Whitney Dufrene imagines herself as a sultry noir chanteuse in "Don't Explain." A knock at the door shocks her back to reality; she's lingering in the bathroom, away from her partner, who has apparently abused her.
Doug Varone finding chow in "Almost Like Being in Love." Photo: S. Yung
Varone delivers his own message incisively. "Time After Time" features a close-up of his jittery hands hovering above a newspaper's help wanted ads, fidgeting with a wrist watch. And while I might've guessed Varone to be more cat than dog with his pantherine movement, in the final chapter, "Almost Like Being in Love," he comically embodies a canine, with all the simple pleasures therein—lapping up his chow and snuggling with his human on the sofa—and presumably the joy of having his people around full time, one benefit of the pandemic.
The Scrapbook illuminates such unexpected pleasures, and reminisces about the darker times of the year. And while some of the episodes echo the tired "trapped at home" vibe so prevalent during Covid, they're an accurate reflection of the isolation and frustration we've all been through.
The Scrapbook: Doug Varone, artistic director; One Foot Productions, website creation & production; Joan Winters, graphic design; Kevin Merritt, letter narrative; Patty Bryan, creative consultant. https://www.dovadance.org/
Labels: Doug Varone Scrapbook DoVA Michael Trusnovec Whitney Dufrene
Brian Brooks at Jacob's Pillow—Seeking the Human T...


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I am very lucky to work in a district that supports teaching a language using TPRS (Teaching Proficiency Through Storytelling) and CI (Comprehensible Input). In addition, my district has very supportive parents that I appreciate. Yesterday, as I prepared for the new school year (we don't start till after Labor Day), I received an e-mail from one of those parents.
I have a first- and a third-grader who have been taking Spanish class with Señora Peplinski. She is teaching Spanish to them using methods that are quite different from the ones that were used when I was taught Spanish as a teenager. Instead of teaching "to them," she spends almost the entire class just speaking "with them" in Spanish, using props, photos, inflection, motions, etc, to help them understand what she is saying. The result is that my kids are spending a lot more time hearing and understanding Spanish rather than consciously trying to "learn" Spanish.
As a parent, what is really interesting to me is seeing what effects these new teaching methods are having on my children's learning. One of the most visible ones is that my kids think that Spanish is FUN. Spanish is one of the classes that my children both enjoy the most out of the five "specials classes" that are offered in our school. They really enjoy the games, the stories, the videos, the songs, getting to tell their classmates the weather, bringing home the class mascot, earning "puntos" for speaking Spanish in class, making music videos, and so on. She is one of their favorite teachers, and the way she is able to get them to understand and interact with the Spanish language makes it seem easy and fun. Instead of sending them home with vocabulary lists and flash cards, she has assembled a lot of online resources (games, songs, videos, apps, websites, etc) that are appropriate in age and material for them to play and watch at home. Unlike flash cards which require some amount of academic discipline, because she has sought out such varied resources to make the homework enjoyable for young children, it is also easy for me as a parent to encourage my kids to practice their Spanish on days when they don't have class.
Another neat effect of the methods she uses is that my children can UNDERSTAND so much Spanish. I was looking at one of the music videos on the class website ("No voy a levantarme"), and realized that both the audio and the subtitles were only in Spanish. I asked my third-grader if he wanted me to tell him what the video said, and I was so amazed that instead, he translated the entire song for me (as it played) by watching the video and reading the subtitles. I never would have imagined that a third grader could do that just through classes twice a week! I am so excited by what my children can do.
The last thing that I love about the method that Sra. Peplinski is using to teach Spanish is that, instead of focusing on quizzes (like I had when I was learning Spanish years ago), her method gives the kids CONFIDENCE to try to speak and understand Spanish. Even if there are conjugation or agreement errors in their speech, they want to try to speak Spanish, and they keep trying. She is so encouraging towards them, and as a result, they are able to make themselves understood without being afraid that they will say something wrong or make errors. In class, they write stories in Spanish and they are always so excited to come home and share the story with me, first in Spanish and then in English, so that I can see what they are capable of. She really makes the classroom a safe space for them to practice. And since I'm lucky enough to be a mom to two of her students, I love the occasions when they speak to each other in Spanish at home!
I have a Master's Degree in linguistics, so I know that on paper, her methods are sound and have science behind them. But this experience for me as a parent, to see that she is making Spanish fun, understandable, and confidence-inspiring for my children is so incredible. Thanks to her, they enjoy learning Spanish and are doing more than I would have thought they could. I can't even put into words how meaningful it is to me that their first exposure to a foreign language is such a positive experience. I am so grateful to Señora Peplinski for making their first exposure to Spanish so fun and accessible, and for having taught them so much that they have a solid foundation for continuing to learn Spanish in the future.
Side note, her students are phenomenal!! I shared it in a different post, but am sharing one more time (because it is so awesome) a video her son and daughter made me. Her son is in third grade in the video and narrates it, her daughter is in first grade. This was not a required project, but something they did for fun when her daughter had the class pet (a llama) for the week. I LOVE this video, not only because it is adorable, but also because it shows active listening, and production of language, but also love of language. This was posted with permission from both parents and students.
Many years ago, when I first started this project, I had never heard of Bryce Hedstrom and his amazing "Persona Especial/Special Person" process. I created this Spanish Pets project as a way to encourage my young learners to speak more Spanish outside of the house, and to entice them into learning about the world around them. I had no idea when I started it how creative students would be with their answers, how much they would connect with the community, and how much they would love the process! After attending IFLT 2016 (International Form on Language Teaching) and listening to Bryce Hedstrom talk about the Persona Especial process, I am excited to refine my 'Pet Project' to make it even more meaningful for my students.
To introduce the animals, I told my students that I had made some very special friends during the summer, but that my friends did not like to live in my classroom (all in the TL for older learners). I then introduced the 'pets' to my students via a slideshow, and asked if they would like to help me care for them. I used basic Spanish that my older students knew (or younger students could guess) with vivid but simple pictures. This was a great review for returning students, and fun for new students as they tried to see what they could understand. I purposefully leave the last slide blank, as one part of the student activity is to name the pet.
When students take the pet home, they get to pretend they are the pet and 'personalize' their experience. Each student gets a worksheet. At the top of the worksheet (not pictured below) there is a section for students to take a picture of themselves with the pet. Many students get very creative here and I have loved seeing the variety of pictures students bring to class. Some students photo shop a picture of themselves, some practice "Spanish" by watching a video of me with their pet, some take them to sports games, or on vacation. When students are unable to print a picture at home they have options. Their parent can send me the picture to print at school, I can take a picture of the student with the pet and print it at school, or students can draw a picture. The questions on the worksheet are designed to practice high frequency words the students learned the year before. It is a good chance to get some repetitions in, to learn something about the student, and to be a little silly. After students share with the class, I hang the pictures in the hall for the school year. Not only do I see students reading this all year in the hall, but it is a favorite piece of work to take home at the end of the school year. This year I am going to try to find time to create online albums of the "Pet Project" so students can browse through them any time of the year. They love reading about their classmates in Spanish!
I chose each of the animals as I thought each had an interesting relationship with a part of the Spanish speaking world. We talk about the bulls in Spain (G version for Kindergarten), the llamas in Perú (and Machu Picchu), the jaguar and the cultural ties to México, and the Eagle as a tie between México, and the large Spanish speaking population of the United States. Connecting the Spanish speaking world to animals is a lot of fun and very interesting for the students. After we introduce the pets I always start to see students using these animals throughout the school day (llama shirts, jaguar toys, eagle drawings, and bull moves when they run). Parents often want to know where I get the animals around the holidays, as many of the students want to keep their pet.
Three years into this project, and the animals are getting to be quite well known in the community. My students love to take them to community events and locations. A popular place to take the pet is to 'Mi Zarape' a local Mexican restaurant. I had a normally soft spoken Kindergarten student take the bull there when it was her week. Not only did she end up speaking Spanish with the server, they also took her back in the kitchen to take pictures with all the Spanish speakers in the building. I love both the connection this student was able to make with members of her community she might not have had before, but also the pride in her smile knowing that she can speak Spanish to heritage speakers successfully.
When I started this project I had no idea how popular it would be with students, and how much I would be able to get out of such a seemingly small activity. For those of you worried about the animals being dirty, a simple run in the washer and dryer actually makes them sterile enough to take into an operating room. I ask students and families to give their pet a ride inside a pillow case and the washing machine before returning to school.
If you can not get the funding for the stuffed animals, I think the project would work just as well with laminate cut outs of the pets. You can start this project very easily by yourself by choosing questions appropriate for your students, and creating worksheets and cut outs. My worksheets, complete with the parent note to explain the project, slideshows to introduce the pets, student worksheets, and a possible cut out (if you don't have the stuffed animals), are all available in my store here.
This project can still be completed in a similar matter with older students. My recommendation is to replace the 'pet' with a laminated cut out of a famous person you would like your students to learn about (Frida Kahlo, Barack Obama, etc.). Have them take the cut out around with them and take a picture. They can then answer questions about what they did with the cut out, write a short story about their time with the cut out famous person, or share a true story from the famous person's life. You may even have a bin of different famous people cut-out for students to choose from.
One last mini story about this project. As I leave it very open ended, students often get very creative with their projects. Below, shared with permission from the parents, is a video that two of my students were inspired to make (on their own, because the input was compelling). In the video a 3rd grade student of mine narrates, while his first grade sister moves the pet. A great example of compelling input, showing understanding without verbally communicating, and creative output (they even made a Minecraft world for the llama)!
One of my favorite ways to procrastinate is lurking in, I mean learning from, my teacher Facebook Groups. A question that seems to come up frequently is whether or not to have a Word Wall. In this post I plan to answer some frequently asked questions, explain why I love my Word Wall, and share a few of my student's favorite Word Wall activities.
Why have a word wall?
Did you know the 100 most commonly used words in Spanish make up roughly 50% of Spoken Language? In fact, learning the first 1000 most frequently used words in the Spanish language will allow you to understand 76.0% of all non-fiction writing, 79.6% of all fiction writing, and an astounding 87.8% of all oral speech. You can read more about this study here. As a language teacher, my primary goal is to help my students communicate in the target language. That makes these words super stars, and words I want my students repeating frequently. That is why a word wall, with compelling pictures, is a great use of classroom space. I love watching my students wander over to the word wall when in search of a word or inspiration for a story. Sometimes an intriguing picture on one a card they weren't even looking for will take their story off in a new and unexpected direction.
I like to have pictures, Spanish, and English on each word on my wall. I include pictures for several reasons. First, I am an elementary teacher. Some of my students are pre-literate, and some of my students are slow readers. Having pictures as well as the Spanish and English words helps students that are not strong readers (yet). Pictures on the cards also makes it easier to spot the correct card when students are looking for a particular word. When I designed the Word Wall for my classroom I spent hours looking for interesting pictures. While it was a lot of time to spend creating a resource, another advantage of having pictures on my cards, is that when I introduce these words to students, I have many easy ways I can talk about each word. For example, in the below picture for 'escribe' (write). I can say, "Is a boy writing or a girl writing?" What does he write?" "What does he write with (a pencil or a hand)? Why does he write (for more advanced students)? You can go on, and on, mini stories about the words help them stick in student's memories.
Finally, the pictures are compelling and interesting to look at, my students love exploring the word wall and talking about the pictures they see there. That is what we want when we teach a language, compelling input!
When it is time for a test, I use a big piece of butcher paper to cover the Word Wall. I take it'd down, fold it up, and put it above my cupboard after testing. I've used the same sheets of paper for several years.
Why not just the Spanish word?
Past practice seem to suggest that students should not see the English at the same time as the Spanish so we can be 'immersed' in our new language. That immersion is not nearly as effective though when the input is not comprehensible. When we talk to a young baby, we do not speak in complex sentences and hope to achieve understanding. Instead we speak to them slowly, using simple words and gestures. This helps the baby understand the language more quickly. As teachers, we can be even more efficient as we can directly teach students what each word means (since we usually can communicate in English clearly with the student). Telling a student the meaning of a word until they can acquire it speeds up learning time because all the time the student would have spent guessing the meaning of the word, can now be spent with the meaning known in meaningful repetition. Plus, look at the picture below. If the student had just learned the word 'rápido/fast' and did not have the English as a guide, they might not be sure if the picture meant man, run, fast, jaguar, scared, or any number of variants. The picture that may seem obvious to us, could be very confusing to someone else. Especially as some cultures emphasize different words as important in speech. For an interesting read on that topic click here.
In addition, I have found that once students do not need the English words, they simply stop looking at them and use the Spanish. I made the English words smaller in my set on purpose, so that the Spanish word would be more eye catching. You can buy my set here, or you could make your own set (free) with this list by clicking here.
What can that Word Wall do for me other than take up space and look pretty?
Simon Says- Use this activity to review previous words. I am sure many people have used this game before, but a quick explanation just in case. The game is that the teacher (or a student) is in charge. They Say 'Simon says (in the target language of course), "soft hair" and everyone would make the correct gesture. If they do not say 'Simon says' before they give the command "touch your feet" anyone doing the gesture is out (even if they made the correct one). This is a fun chance to practice some game vocabulary.
Charades or Pictionary- For these games, we play as a class the first time, and then in smaller student groups. When playing as a class, I use the Word Wall set that I have prepared for class activities. When students play in individual groups I give them this master list (I have a class set copied that I leave out for student access, as either of these games is good for students that finish early). To play Charades divide the class or group into two teams. one student draws one of the high frequency words from a hat. They act it out without words, if their group can guess it correctly they get a point, if they cannot guess it the other group can try to steal the question (this keeps both groups listening the whole time). Pictionary is similar to charades, except with whiteboards. Each student has a whiteboard, one person still draws (or chooses) the word to guess . Instead of acting it out like in Charades, they draw it out. When students on their team think they have the correct answer they write it on their whiteboard and hold it up. The other team can steal in case of a wrong answer. This can also be played with students yelling out their guesses, but I like the chance for extra reading/writing.
Storyboard - Arrange the 'game set' of World Wall words into presorted groups around the classroom (pick words that would be easy to include in a story, boy, water, man, etc.) Students have to 'collect' a word from each hidden spot, and then include their (in small groups of around 4) target words in a short story or comic strip. To increase repetitions, hang the stories or comic strips students make around the room and have students do a "Gallery Walk' and read the other stories. They can try to guess which words are from the list, or leave a comment in Spanish!
Soccer/Volleyball- To play soccer take 3 or 4 of the words and hang them at the opposite end of the classroom in a line. Divide students into teams. Each team has a soccer ball. Call out a word in English, and have students kick the soccer ball to the correct word. Students can cheer for their team or help (but only in the Target Language of course).To play volleyball divide the class into two teams. One team serves, and the other team hits the ball back. Play continues until a team is not able to return the ball to the other side. For our example, lets say Team A knocked the ball into Team B's side and nobody was able to return the serve. Since Team A knocked the ball onto the other team's side, they get a chance to answer a Spanish question; if Team A has the answer incorrect or doesn't know the answer, Team B has a chance to steal (keeps students paying attention). Whichever team gets the question correct gets the point, and play continues. I like to use a row of desks as the net, and a giant beach ball (the kids like it better, and we describe the volleyball and practice size, colors, etc.). A team 'serves' and hits the 'ball' across the net to continue play to a set number of points (a chance to practice numbers in the TL).
Matamostcas/Scavenger Hunt- For "Matamoscas/Fly swatter" divide the class into 2 to 4 teams. Students can cheer for their team (but only in Spanish of course). The teams get into lines, the student in the front of the line gets a (clean) fly swatter. The teacher lays out the high frequency word wall words from her list (or stands next to where they are glued on the wall). The teacher calls out the target word in English, and the students that are competing (holding clean fly swatters) try to 'swat' the correct match to the word the teacher called out. Team mates can help in the TL. Play continues to a set number of points. When a player has taken their turn, they go to the back of the line and it is the next student's turn. Scavenger hunt is the same basic idea, except scatter the words around the room and let the students find the word the teacher calls out (no fly swatter needed).
Website- I only see my students twice a week for 36 minutes, so I like to sneak in as much Spanish outside of my class time as their busy schedule allows. One way I did that, was to create a website that students WANT to go to as often as possible. When I made my Word Wall, I created a separate page for every 10 words or so; each page includes cartoons, stories, songs, music, and a place to listen to the words with a video. My students love playing on my page, and several parents tell me their student cheers when it is time to do Spanish 'homework' If you would like to use the website resource (free), please click here.
I hope this has helped you in you decide whether or not a Word Wall is worth the space in your classroom, personally I find it to be an invaluable resource, and one that I will always welcome. Share below if you have ideas I missed and you want to add..
If interested you can buy my set here, or you could make your own word wall using this master list (free) by clicking here.
In response to a few questions I've received on this post I am adding these full sized pictures of what my walls look like, as well as my classroom doors.
This very modified version of 4 Corners is one of my students all time favorite games; most days students ask to play when they walk in the door. It's easy to set up, can be used to get more repetitions on almost any topic, and it's fun! A round takes about 5 minutes (though you could draw it out); and it can be played many times. While I developed this version when working with elememtary students; I've also taught Middle School; and feel it can be used with older students as well. My 7th and 8th grade students love games for review, and it helps create a warm classroom environment. My students start playing it in Kindergarten, but still ask to play by the time they are in 3rd grade (and all the grades in between). Read on for directions below, and ways to modify the game under 'pro tips'.
Happily there is very little teacher prep for this game. All teachers need to do is label 4 different corners in the room with one of the following numbers: 1, 2, 3, or 4. Although I cheat a little and explain this to my Kindergarten students in a mix of Spanish and English (I teach this early in the year; and don't want to lose any of the littles beforw we've even really begun); I review instructions entirely in the TL (target language) for all grades (including K) after they learn it the first time. Each of the different spors in the room have both the number and the word in the TL. My signs read: 1 uno, 2 dos, 3 tres, and 4 cuatro. You may also want to come up with questions to ask students ahead of time; however I never do that as I already have in mind what structures, vocab, or past topic I want repeitions on. I actually developed most of this game for review in a Science class I taught, so it really can be used in any subject. Spanish is my favorite way to play, as students are able to stay in the TL the whole time.
Okay, so how do you play?
Please note that all gameplay is in the TL (target language; for me Spanish). I am going to give instructions in English so this can be used by any language teacher. There are tons of opportunities for repetitions on high frequency words!
One student is it; to sneak in extra vocab we call the person that is it "Sir (El señor for Spanish) or Miss (la señorita)" whatever you call them, they sit in a chair facing away from the classroom. The key here is that they cannot see the other players. I have my students sit in my big rocking chair, with a blanket on the back of the seat. This makes it hard for them to peek without being super obvious. The student that is "It" counts to 10 in the target language. During this time all other students sneak to any one of the four labeled locations (1, 2, 3 or 4). I always tell my students to be very quiet so the person that is "It" doesn't know where they are (it keeps things a little quieter). Students must reach their corner before the person who is "it" reaches the number 10. Students may not hide or switch corners after counting has stopped or they are out.
Once the person who is "it" has stopped talking; the following conversation happens between the teacher and student who is "it" in the TL.
Teacher : Do you want 1, 2, 3, or 4?
Student: I want 3 (or whatever number they choose).
All students in the corners not chosen are "safe" so on this example corners 1, 2, and 4 are safe. Most of the students at the chosen corner are out.
At this point the teacher asks the corner that is out whatever structure or vocab you want to review.
If students in the chosen corner know the answer they raise their hand (calling out the answer doesn't count as a correct answer; this allows me to sometimes ask "easy" questions and sometimes very challenging questions. I pick who gets to answer, so I can scaffold the question to any students ability level and everyone feels successful). The first person called on that answers correctly is "safe" everyone else in the corner is out. The person that is "it" (plus everyone sitting down that is "out" count to 10 again, and all students who are "in" choose a new corner (or stay at their old corner).
Gameplay continues in this manner until only 4 students are left. At that point I ask thr student who is "it" to give me 3 different numbers (to eliminate 3 different students). No "saving " question is given when a student is in a corner alone; so giving 3 numbers here eliminates 3 out of the 4 students left standing). Last person that is standing gets to be "it" next time we play. If they have already been it, they pick someone else to be "it".
What do the students who are out do?
When a student is out they help tue person who is "it" count. If they do a good job at this they may get to help me make up a question for students still in OR they may be able to get back in the game (this keeps them all paying attention). If nobody in the chosen corner knows the correct answer to the "saving question" I ask the students who are out for an answer, the first person with their hand raised to answer correctly is back in the game. Students who are out pay close attention to questions and try to answer them (in their head) when I ask students who are still playing so they are ready if a corner doesn't know the answer.
1)Vary question difficulty. Sometimes I keep it as simple as a 1 word translation, sometimes I tell a short story and ask them to translate or answer a question about it, sometimes I use PQA questions. The point is to vary difficulty so all stusenra can feel succesful and/or challenged.
2) Consider letting students who are out help you make uo questions. Even my young learners get very strategic and try to ask tricky questions that they know the answer to, this gets them really thinking about their Spanish.
Use higher or lower #s when counting (i.e. 11-20, 20-30 etc) to practice different numbers.
Label the corners with different topics instead of #s (i.e. one corner could be "Brandon Brown", one could be a picture from a recent story, one could be school words, one could be colors, etc.) Tell students you will only ask saving questions about the topic pictured in that corner (i.e. only Brandon Brown questions in the BB corner). The corners players choose makes it easy to see where they feel confident and where they need help.
Put whiteboards and makers at each corner. Put a picture from a story earlier in the year up. Instead of verbally answering the saving question and raising their hand, each student must write a sentence about the picture in the TL. Everyone with a correct answer is safe (this draws the game out a bit and makes it longer).
Entering my 13th year in the classroom; I am a TPRS/CI Elementary Spanish Teacher. Passionate about TPRS/CI, Brain based learning, and using technology to bring the world to our students, and our students to the world.


Part of the message of angels to the women on Easter morning was "tell My disciples to go to Galilee." Jesus in talking to the women repeated those instructions to them. These verses are in Matthew and Mark, John and Matthew actually place them in Galilee, but why Galilee? There was one particular mountain in Galilee where Jesus wanted them to meet with Him, why?
The Book of Matthew may hold the answers. In Chapter 4 he quotes a verse from Isaiah 9 about Galilee, this verse just adds to the rich prophecies from Jacob and Moses about the tribes of Zebulun and Naphtali. Their lands help to make up the area around the Sea of Galilee.
∞ Jesus, thank You that You look out for us, and send us out to the nations.
This entry was posted in Bible Study, Passover to Pentecost and tagged Mount Tabor, the disciples to Galilee by Mark. Bookmark the permalink.


Eberhardt, Robert L. (1966) "The Population of Gray Whales (Eschrichtius gibbosus) on the Southern Coasts of Peninsula de Baja California, Mexico," Bulletin of the Southern California Academy of Sciences: Vol. 65: Iss. 4.