text:
SKI END
We Shall Be Monsters
Hand Foot Fizzle Face
Old Paper Houses
A Man's a Man
Mysterious Murder
Please Make up Room
2 Stories that End in Suicide
[The American Museum of] Love & Geography
Tenticle: A Canticle
Tod & I
Supporthole
A Year's Worth of "Thanks"...
The year is drawing to a close, and as with every other year, it's like "what the f#@k is going on?!"
But despite the uncertainty and the worry --as with every year --Piehole has countless blessings to be thankful for, and that must be celebrated!
2015 was an incredibly fruitful year for us, from Old Paper Houses at the Irondale, to the sold out run of Hand Foot Fizzle Face at JACK, to the recent explorations of our newest project Ski End (working title). What has meant the most through all our growth and success has been the deepening of bonds with our community of supporters, friends, and family. You stoked our creative fires by sharing valuable feedback, donating essential funds, and showing up again and again to make something special happen. We are so lifted, supported, and inspired by you. Thank you!
But you know what? Let's get a little more specific...
As 2015 winds down, we're endlessly thankful for Jessie Renee Hopkins, Benoit Johnson, Emilie Soffe and Ben Vigus, and the countless hours they spent --as writers, performers and collaborators --throwing themselves wholeheartedly into a creative abyss and wrangling with all the stuff that was there... all while being some of the nicest, funniest people you'll ever get to spend time with.
We got the chance to perform with so many mega talented actors this year. The time, effort, patience and creativity they offered us didn't just make our shows shine on stage, but created a wonderfully charged rehearsal room, where chances were taken and discoveries made. Thank you to the incomparable Marcia Brannock, Nora Fox, Emily Jon Mitchell, Stacey Karen Robinson, and Joshua David Robinson.
We're thankful for the incredible artists and designers we've worked with this year, each of whom is an alchemist bringing so much of themselves to our work, uncovering secrets and surprises we never would have found ourselves... ahem... Krit Robinson, Lea Bertucci, Rebecca Breheney, Mike Costagliola, Nikki Delhomme, Deepali Gupta, Eileen Meny, Paul Piekarz, Matt Romein, Jason Sigal, Masha Tsimring, Joseph Wolfslau, and Serena Wong.
Thank you to our producers! Maddy Bersin and Katie Naka, you lightened our administrative work-load so we could focus on what was happening on stage. You brought our work to wider audiences. You put out bad fires and started good ones, and you are just awesome to be around. Thank you!
And, of course, none of this would be possible without the tireless, generous work of our stage managers and tech staffers. Mikenzie Ames, Matt Carrington, Kelsey Kennedy, Victoria Rulle and Hannah Spratt, thank you!
And to all the musicians, fortune tellers, DJs and poets who leant their talents to the Old Paper Houses post-show post-utopian hangout zone, thank you for making our dreams come true!
We're thankful for the production assistance and mentorship of New York Theatre Workshop, and our a residency at The Drama League. Both of these establishments created warm and welcoming spaces for us to test out ideas, make mistakes, and score some terrific victories.
Time and again, the New York Theater Workshop offered us mentorship, invaluable critique and that white whale of independent theater: space. Each of the three productions we've worked on this year was heavily supported by this generous establishment.
Thank you also to the Lower Manhattan Cultural Council! Being part of the Workspace Residency has been a game-changer for us. Every day, we head to our very own studio overlooking what feels like all of New York City, and --in between Mad Men impressions --we count our lucky stars for this opportunity. More on that here.
We're thankful to the lovely, dedicated staff of The Irondale Center who helped us stage our most ambitious production to date (as well as about a million other events). And we're immensely thankful to Alec Duffy at JACK theater for his support and faith, and for lending us a giant tent.
We are also tremendously thankful to the New Ohio Theater and IRT Theater for giving us the honor of being participants in the 2016-17 New Ohio/IRT Archive Residency. For the next two years, the New Ohio and IRT will provide us with administrative and financial support, workshop space, and a presentation in the 2016 Ice Factory Festival. In the Spring of 2017 the residency will culminate in a four week run as part of the New Ohio Mainstage Season. We are unbelievably grateful for this opportunity, and excited for the relationship we are about to build.
This year we continued our practice of hosting Piehole gyms --theatrical workout sessions where we get to meet new artists, performers get to stretch their muscles without being tied to a production, and as an ensemble we get to work out ideas and generate potential content. We are so thankful to the dedicated, game, and endlessly creative artists who joined us for these gyms in 2015: Patrick Harrison, Djaka Souare, Hye Young Chyun, Rachel Wohlander, Jessica Goldschmidt and Emily Hartford.
We ventured into a lot of hitherto uncharted water in 2015. In trying to become fluent in everything from legalese to exposure, we benefitted from the advice and support of several Piehole mentors. We are so thankful for the time, wisdom and kindness they've shared with us: Jonah Bokaer, Siobhan Burke, Linda Chapman, Roger T Danforth, Peter Durwood, Melanie Joseph, Andrew Kircher, Mimi Lien, Robert Lyons, Kristin Marting, Jim Nicola, Gabriel Shanks, Risa Shoup and Ariana Smart Truman.
And a great big "thanks" to the peers who have come to our work-in-progress showings and offered us their time as well as their thoughtful, invaluable feedback. Thank you Elena Araoz, Jeff Augustine, Max Bean, Lileana Blain-Cruz, Oona Curley, Tanya Desai, Jeff Doyle, Sanaz Ghajarrahimi, Lucy Kaminsky, Mark Lanham, Martyna Majok, Aaron Malkin, Brian Otano, Jonathan Payne, Allen Riley, Miriam Rosalky, Eva von Schweinitz, Amy Shire, Efrem Sidi-Shire, Rachel Silverman, Kathryn Wallem, Will Walsh and Nicole Watson.
Thank you to Miranda Thomas, Charlie Shackleton, Ann, Gertrude and Glenn Suokko for hosting us in the dreamy foothills of Vermont --and for literally giving us shelter from the storm. The space you gave us in your homes (and in the mill) allowed us to start development on our first **Brand New** show in 2.5 years, and the kindness and artistic dedication you demonstrate has been a source of endless inspiration. More on this incredible experience here.
And finally, thank you to our families and loved ones. You are the ones who make all this possible. Thank you for everything!
Forced Nature in "Boring" Spaces
For the last two summers, Piehole spent time in a semi-moldy, flood-damaged, abandoned ski shop in Bridgewater, Vermont which contained dead birds, a make-shift skate ramp made from a piece of plywood propped on a broken TV set, and a whole lot of inspiring cubby holes. We became obsessed with this space, and the potential it held for our next show. For the past two months, Piehole has been working in an unused level of a skyscraper in Lower Manhattan, with a fallen-from-glory feel (big windows, stunning views, caving ceilings, and strange bursts of wires vomiting from various holes in the floor). These spaces have invaded our imaginations and influenced everything we've been making, both consciously and unconsciously.
When I think about the work we've developed so far through the lens of these spaces, I keep returning to a nostalgic way of thinking: the glory, ambition and success that once existed in these spaces versus the ruins of now seemingly useless excesses. It's odd to feel nostalgia over something you don't really care about (i.e. skiing and banking). Our emotional relationship to these spaces has shaped our investigation of how people project emotions onto spaces.
Without getting into the logic or the history of what led us to which source materials, I'll just list our mishmash of sources: the ski shop, Romantic landscapes drawn from paintings and literatures, specifically Mary Shelly's Frankenstein and Emily Bronte's Wuthering Heights, along with our own thinking about our teenage selves, and what teenagers are like. We hit the rehearsal room with our ideas, discussions, and research, and worked feverishly toward the unknown. Our process culminated with a presentation of material to some trusty artist friends who gave us invaluable feedback.
It's funny to look back at this exploratory workshop and try to sum up what we created: Our actors discussed what it takes to be a positive force in the world, while trading off emotions and outdoor activities in an elaborate juggling act. We tried performing indoor emotions, outdoor emotions, and outer space emotions. We investigated what in the Universe it would feel like to try to turn emotions into objects that we can slot in and out, or look at for a long time without context. We conjured Nature in both dumb and beautiful ways. We collapsed emotions onto nature, drawing inspiration from the Romantic movement. We maximized our use of a fog machine. and made up songs about the healing effects of Alpine climes. We were trapped in an abandoned sporting goods store, which was scary until it wasn't, until it was again, but in a way that felt full of potential.
That's a big run down of a lot of play we made really fast. A lot will change and some surprising aspects of what we made will emerge and develop. And looking ahead, we're excited to round up some more teenagers to work with in our February workshop at the IRT space above the New Ohio, as part of the Archive Residency program. With teens, Romantic imagery, and feelings together in one space, we're excited to continue our attempt to reach the edges of emotions as we climb to the edge of a cliff, in a great big Frankenstein journey to the edge of the Earth.
A Room of One's Own
Our basements, closets, corners, and drawers are filled to capacity. 8 years of accumulated cardboard, wooden frames and platforms, puppets and embroidery hoops - with many of us having moved from apartment to apartment with an unbelievable pile of painted illustration board in tow - all of which is nothing compared to the effort of coordinating the creation of all these wandering objects. We've always been into "stuff," but where to house, assemble, and play with it has always been a struggle. Rehearsal spaces are wonderful, but they serve so many different people - storing a village of small cardboard houses in any of them would be, well, rude. For years we've fantasized - what if we had a dedicated space where we could have meetings, get on our feet and rehearse, AND store and create the objects that are so important to our work? We came close, once, when Jeff had a small shared studio space in 2009. We couldn't really rehearse there (which didn't stop us from trying) but we could craft and talk. Ever since that taste of the dream we've wanted more. Here are Tara and Allison discussing snacks and dreams on the fire escape of that building, overlooking a pit:
Ah, living and creating in Brooklyn in the late aughts. That's all well and good, but now, finally, we're ready for the big time. Here we are continuing that same conversation on the 30th floor of an office building in Lower Manhattan!
That's right, we've finally made it!! Have we sold out? Cashed in? Gotten involved in a pyramid scheme? No! We are incredibly grateful to announce that we are part of LMCC's 2015/2016 Workspace program. That means that we, along with a diverse community of other artists, are haunting an unused floor of an office building under the guidance of the Lower Manhattan Cultural Council. We have our own studio, space to rehearse, and the tremendous honor of making work alongside (and in conversation with) the other participants in the program. We've already started meeting in our office (and enjoying the power of being among the blessed few who don't have to wear suits in this building):
We'll be here until June - just heading on down to the Financial District to write on the windows with chalk markers and decorate the walls with inspiration (Romantic landscape paintings? Tiger Beat pin-ups? We'll have to see!) If anyone would like to point us towards particular haunted spots in this oldest part of fair Manhatto, we'll be receptive to the advice. In the mean time, we'll be dealing with the emotional implications of getting something we've longed for all these years - the opportunity to unite the disparate parts of our practice in one place. But don't worry - we'll never forget our roots:
Vermont 2.0 (or 1.5?)
Ah, the recent past. The recent past of two weeks ago; the slightly less but still essentially recent past of a year before that; the comparatively recent past of Hurricane Irene (the beginning of a fearful awakening here in the Northeast); the less recent but still modern past of textile mills in Vermont - I could go on.
But about what?
Piehole's (annual?) retreat to Vermont. That's what. We struck the Hand Foot Fizzle Face set, haphazardly stuffed a car with sleeping bags, snacks, and witch hats, and set off for a week of reflection, research, and mysteries. As is our custom, we were light on the official "planning" side of things.
After a satisfying but ominously damp night of camping, we returned to the "Ski End" in the old Bridgewater, Vermont mill - the site of some surprisingly generative work this time last year. It became the jumping-off point for what we hope will become our next piece. It had not changed. At all. Still empty; still in shambles; maybe a little moldier. What does it mean to encounter a place that you found unexpectedly inspirational and discover that it holds no magic powers? That it's so deeply, melancholically, static? Maybe that's part of the point. We tried out some video experiments to learn more about the space:
And we worried about the curiously beautiful decomposition of last year's dead birds - what were we breathing?
This revisiting of last year's muse raised a lot of questions for us - as did the rain pouring down back at our campsite. The former we'll be exploring for the next year; the latter was solved by a generous offer from a chance encounter. Thanks to the great generosity of Gertrude, Ann, and Glen, Vermont natives and friends of the Shackletons (our hosts for the final leg of the retreat), we stayed in this wonderful witch cabin up in the hills:
Our hosts were kind enough to share bits of their lives with us, both through their work as artists and craftspeople, and also through stories and snapshots running back through the recent past, the not-so-recent past, and the past-past, all intertwined with the history of the mill and the legacies of Woodstock and Bridgewater. We went to a museum to learn more:
So expect some musings about the relationship between captains of industry, environmentalism, and certain kinds of voice-overs. In our open-hearted exhaustion different facts and threads began to oscillate in and out of meaning; every spare moment was devoted to solving puzzles and jumbling them again. That is, aside from the vast expanses of time we spent cooking and eating:
As the week bled into the weekend we entered the warm bosom of the Shackleton homestead, where we gratefully let others take over the cooking. We spent the extra time discovering different spots in the woods and fields to plop down and do a Bernadette Mayer writing exercise, or to bring up a new question about the Ski End and its history (or someone's history, at least). More trips to the Ski End ensued; more chances to walk in the woods and talk with the gathering crowd of artists/people-with-a-creative-practice/right-good-thinkers/adorable dogs.
And so, after one night in a tent, two nights in a magick cabin, and four nights in a barn with approximately 30 other people, we called it a week. A week of hard work that can't be held in anyone's hand; of fewer-than-usual injuries; of worrisome sleepiness, hot dogs, and whiskey. Oh, and the past - and, I guess, the present, of course and...well, I mean you'll see - the future. Our thanks to Wink and Charlie, to Wink's mother who stayed on this plane just long enough to bless the event and whose legacy was felt by all, to Elliot (yes, it was an inside job) and Sophie, to the people who shared their stories with us, and finally to the teens who can't help but build a makeshift skate ramp with a broken tv and a plank of wood in all the abandoned spaces of America. A toast to all. Happy belated 4th of July.
The Male Gaze presents
THE VERMONT PHOTO ARCHIVES
(Hover on photos to view slideshow controls)
THE SKI END
THE WITCH CABIN
SLOPED STRUCTURES: MISC. VT
THE BRIDGEWATER MEET-UP
Solidarity Forever
Hi all, Allison here with a little reflection on HAND FOOT FIZZLE FACE in relation to WORK. Specifically, my work, or rather, the work for which I earn a modest salary at the Museum of Modern Art. Before I begin, let me just say that I truly value the work that I do, the people with whom I work, and the fact that I'm lucky enough to work at one of a very few unionized cultural institutions. That being said, my union, Local 2110, Professional and Administrative Staff Association of The Museum of Modern Art (PASTA-MoMA), is involved in a rather hairy contract negotiation with museum management. At first I was merely crestfallen to hear that the organization for which I'm able to work partially because it offers excellent health benefits was threatening to severely cut those benefits - until I realized how deeply my feelings on the matter were beginning to align with HFFF. Then I was...more productively crestfallen. The thing is, I've only been at the MoMA for about 9 months, but at every single staff meeting we've heard that this is the museum's best year ever, that the endowment is at an incredible all-time high, that retail sales are through the roof, etc. To suddenly hear a change of tune, right as our contract runs out, that things are inexplicably maybe going to start looking grim, has created the impression that not only is our work undervalued, but so too are our critical thinking abilities. Then, to threaten our health care specifically, to insist that we shoulder a new burden that threatens our medical care without a commensurate wage increase, feels like a direct assault on our bodies. Bodies, minds, work. Bodies, minds, work - and art. Specifically, some of the most admired, expensive art in the world.
So here we are, aware of our suddenly more fragile-seeming bodies, tasked with the care of this massive collection of incredible, beautiful, moving objects. I mostly sit in my office tinkering with the collections database, but sometimes I have the great pleasure of entering the galleries and spending some time with the pieces it catalogs. It's startling to find that, when you realize that the institution partially responsible for the fame and value of these objects is trying to get your work/time/body at a discount (and during a flush year at that), the power of these pieces - well - it fizzles. They fizzle. They're just sitting there being worth more than your health, and their emotional resonance flattens. Sure, I believe that art can have immense value, and that we mere humans use dollars to demonstrate this concept, and all of this is no surprise, but suddenly the strangeness of Foirades/Fizzles - brief meditations on suffering and the human body wrapped in a luxurious, exorbitant package - started to vibrate in my own body. My own body which may end up forgoing that foot surgery I should probably have - it's not really that necessary and will only prevent my knees from decaying too fast which is probably a fool's errand after all, right? Maybe a new building to share more of the MoMA's collection with the public is more important than offsetting the cost of my partner's sure-to-collapse-someday lung - or maybe it does more damage to the work and the artists' intentions to finance a shiny new building (or package, if you will) on the backs of workers. I'm under the impression that there isn't too much union-busting, anti-labor art in the collection but hey, what do I know. On the other hand, maybe the more glamorous, expensive, and anti-labor the museum becomes, and the more at odds with some of the art/themes contained therein, the more new art can spring from the crackling cognitive dissonance of that juxtaposition - and so on...prodding...calibrating...fizzling...fizzling...fizzling...
Then the echo is heard...
Foirades/Fizzles. Published in 1976 by Petersburg Press.
Although the arranged marriage between Jasper Johns and Samuel Beckett that produced the art book Foirades/Fizzles was not a match made in heaven, we can guess why publisher Vera Lindsay thought it might be a good idea. Employing a variety of media including painting, various forms of printmaking, and collage, Johns' work regularly recycles materials and imagery from trash heaps, popular cultural, and his own previous creations. Says Joan Rothfuss, "he establishes a motif, most often in a painting, and then reworks it again and again, changing media, scale, or system, just to see what happens to it."
Beckett's prose work displays a similarly obsessive repetition, with facsimiles of phrases and characters recurring as the author circled around themes of human loneliness and isolation. S.E. Gontarski describes Beckett body of work as a process of distillation through which "novels were often reduced to stories, stories pared to fragments, first abandoned then unabandoned and 'completed' through the act of publication."
When Lindsay first paired the two artists in 1972, Beckett suggested that they work with the text of Waiting for Godot. Johns rejected the idea, preferring to work with unpublished (i.e. uncompleted) material (we can imagine Beckett's words fizzling in that unbridgeable gulf in one of the few photos of the pair). Instead, Beckett sent Johns collection of eight prose poems that were eventually published on their own 1976, the same year Petersburg Press produced 250 limited edition copies of Foirades/Fizzles. So much for using exclusive, unpublished work.
Untitled. 1972. Oil, encaustic, and collage on canvas with objects. 6' 1/16" x 16' 1".
Johns selected five of Beckett's eight fizzles, and then turned to a previous creation of his own. Untitled (1972) is a 6 foot tall panorama of four discrete panels—one of a crosshatching motif that appears in much of Johns' repertoire, two with flagstone imagery, and a fourth with plaster casts of human body parts mounted on wooden slats and affixed to the canvas. For the Petersburg book, Johns created a series of etchings that refract and rearrange the elements of Untitled (1972): variations on the crosshatchings, obsessively re-printed flagstones, and the body parts of the fourth panel rendered with different textures, contrasts, and scales. To introduce each fizzle, Johns also created stencils of the numbers one through five, a motif that he had been reshaping in paintings and prints for the past 10 years.
Scholars have devoted reams of paper to naming the precise logic that guided Johns in his obsessive duplication of the images in Foirades/Fizzles. "Above all," says Richard Field, "Johns wished to demonstrate that the four panels [of Untitled (1972)] were not a totally arbitrary assemblage." As if somehow, by creating variations on these motifs and by pairing them with further discontinuous texts, the reader might be able to invent the pathways that traverse the gulf between the four discrete panels. But whatever hope of clear insight we may have, the book refuses to supply the satisfying synthesis. As Rothfuss notes, when we linger too long amidst the handmade pages of Foirades/Fizzles, "we are left with a vague sense of something amiss."
The three slideshows in the blog post represent an attempt to trace down the echoes of the fizzled collaboration between Johns and Beckett: the three fizzles omitted from Foirades/Fizzles, paired with other Johns experiments with the imagery from Untitled (1972) and from his settings of numbers. They remind us that the sense of something amiss generated within Foirades/Fizzles also reverberates outwards, recycled again and again in image and text. Or, as one of the fizzles describes:
"Then the echo is heard, as loud at first as the sound that woke it and repeated sometimes a good score of times, each time a little weaker, no, sometimes louder than the time before, till finally it dies away."
"Three years in the earth"
In 2012, we worked tirelessly with a team of artists to explode a collaborative art book by Jasper Johns and Samuel Beckett into performance. The culmination of this attempt was a one-night only eruption hosted by Triple Canopy, where many things broke, not least of all our brains. One of our main collaborators on this piece, composer Lea Bertucci, then moved away from the city, and we moved on from the project.
Three years later, Lea returned to the city and we decided to pick it up again. With very little record of what we did in 2012, but with average-sized memories, we met up again to re-evaluate our previous approach, and to reconsider the Foirades/Fizzles anew.
Revisiting the book, we came across the photo of Johns and Beckett which we had seen many times before (the only one I've been able to find, PLEASE TELL ME IF YOU KNOW OF ANOTHER!). Although the two impressive figures share a couch, the central focus of the photograph is the space between the two artists, which appears as a massive, unbridgeable gulf.
I recalled that this image and the bizarre circumstances of the two artists' collaboration was the initial draw to this source material. The collaboration itself was conceived by a publisher, Vera Lindsay, in 1972, who put these two artists together to create a limited edition art-book, which now costs $30,000 per copy. Beckett and Johns agreed to the collaboration, and met, but did not necessarily…get along. Their contributions to Foirades/Fizzles were determined wholly independently of one another, both the writing and imagery having been created based on each artist's past work, rather than in conversation with each other's works. And yet, there is a palpable resonance between the images and text which extends through overlapping themes, evocations, and even processes. Both the imagery and text asks the viewer/reader to engage, to search for meaning, and to encounter the materiality of one's own body. Lightness and darkness exist in this pursuit, along with despair, hope, and humor.
Piehole obsesses over being human, what it means, and all the ways in which it is possible to feel like an alien robot. The strange Beckett-Johns encounter translates to the imperfect meeting of their work in Foirades/Fizzles, and cuts to the very core of the content of each artist's work. All of it fizzles. All of it promises and works to fulfill that promise, but falls short. And in this falling short, humanity leaks out, along with a great deal of bodily fluids. We aim to enlist the theatrical encounter to draw attention to all that is strange about human persons, and "the body on its way."
Having just completed a two-year project about utopian longing and communal striving, it feels a little funny now to say that we're doing a piece about the body's toil, failure and the steady unsteady movement toward death. And yet, this laboratory-cum-gymnasium of human existence that we're immersed in right now feels like a natural progression coming off of Old Paper Houses. In that project, we tried to examine what allows us to experience hope and make space for doubt in the context of communal expressions of idealism. HAND FOOT FIZZLE FACE is a continuation of this investigation, but with a focus on the inner world of the body and mind. As opposed to a meeting of the minds, HAND FOOT FIZZLE FACE explores the fracturing, fragmenting, multiplying selves that make up an ever elusive object-self.
Although for us the progression from Old Paper Houses to HAND FOOT FIZZLE FACE seems more and more inevitable and obvious, we still would like to bridge the gap, from 2012 til now, by listing all the matters of note that we can recall having happened to our bodies over the last three years:
Tried, unsuccessfully, to whiten my teeth
Some kind of ear problem
Some mysterious stomach bug in England
Switched birth control brands
Lost Blood from Time to Time
Lost health insurance
Lost 35 pounds
Gained 7-10 pounds
1 instance of terrible stomach flu
1 pedicure
1 super weird sunburn on my hand
Multiple colds
100s of yeast infections
At least 8 haircuts
Many sunburns
Last week, I got three blisters on my hands. This is the only time I've gotten blisters on my hands in the past three years.
2nd-degree burn from coffee spill on my left hand
Had a bad 3-day flu
Had carpal tunnels for a few months from a freelance job involving too many hours at a computer
Had hangovers/started getting better at preventing hangovers
Had craniosacral therapy to balance my energy
Got in a car accident
Got five haircuts
Got painful inner mouth canker sores from stress.
Got a filling
Got debilitating allergies every May that kept me from leaving my bed
Got a relatively bad corneal abrasion in the left eye from an accidental eye-poking. Was blind for 2 days.
Developed a greater discomfort with my sexuality
I have a collection of new scars from mysterious hives that I started getting along my jaw
Took a handful of ballet classes
Taken to Getting Up Again
Saw an X-Ray of my hips
Picked a new eyebrow shape
Fell down and sprained my wrist but after about two years it stopped hurting
Shaved my beard three times
Skin abrasions from rubbing against the seats and seatbelt in car accident
DTaP vaccine
Sprained my ankle running down subway steps when I was late for work.
Grew long beards every winter and shaved them off completely every Spring.
Airbag burns on my face and seatbelt bruises on my body from being in a car getting hit by another car and flying into a wall
Broke my foot
Bruised my toenail
Burned my hand
Broke a nail
Began needing more sleep
Started finding more grey hairs
Started getting my period again (i.e. switched birth control)
Started to feel hip soreness/pain for the first time, regularly
Started to feel knee soreness from time to time
Here is your body (and other questions)
The Fizzles are back! Well of course they never left because it is not in their nature to change, but we're here with them again, and things are off to a great start!
Thanks to our new residency at the wonderful NY Drama League, we were able to start testing out the material on willing and able members of the Piehole community. Under the supervision of a disembodied computer voice, we conducted a suite of experiments involving Beckett's 'Fizzles' text fragments alongside a range of stimuli, reactive response prompts, and followed by a sweet, savory and alcoholic refreshment selection. Piehole's LotF was in service of the development of our upcoming project HAND FOOT FIZZLE FACE, @ JACK this June.
New England is Beautiful
Our run of Old Paper Houses at the Irondale Center was the culmination of two years of striving, reaching for big yellow balloons, and affirming how, despite the cold and the fact that sometimes things end, we keep on marching forward and finding new ways to make meaningful experiences together. This was the largest Piehole production to date. It allowed us to share our work with new audiences. And it was accompanied by an unprecedented show of support from the Piehole community. For that we offer you our deepest thanks.
Because of your presence and participation our own little utopia flickered into life, full of work and play and transcendentalism (and free pizza and analog video art). Our infinite gratitude goes out to our incredible audiences, generous donors, sponsors, gifted designers, the wonderful Irondale staff and everyone who so joyously shared their talents in the 70s Room. You helped us create a meaningful-look-across-a-crowded-room for those seeking fulfillment, meaning and communion.
Among the great joys of this run of Old Paper Houses was the coming together we experienced with our audiences after each performance. In a show that considers how often endeavors towards intentional community collapse, it was important to give those who wanted it a space to create a meaningful moment of community.
If you joined us after the show in the 70s Room witnessed one of our many incredible performers...
watched yourself inside a video game,
received some much-needed spiritual guidance
been recruited by a witch
felt that "I'm ok, and you're ok"
not felt guilty about asking to have your picture taken
been part of a reunion (family, high school or work)
sung with your eyes closed
found something to do with your hands because talking to people can be hard
and maybe caught a glimpse of a Piehole grinning in the corner at how this intergenerational, post-utopianist hang-out brought about the sense of delight and presence that we strive for in all of our work.
Thank you. You made New England beautiful.
Hi everyone! Old Paper Houses is in full swing, and we've seen a lot of beautiful, friendly faces in the house so far. We love you! Tonight's a night off, so in addition to falling asleep on the floor for two hours, I thought I'd stop by to say a few words about our friends at Tender Buttons Press. If you've been to one of our post-show/post-utopian hangs you might have noticed a few lovely little stacks of books for sale. There are two titles - Sonnets (a reissue of Bernadette Mayer's important 1989 text) and Please Add to This List, a companion teaching guide to Mayer's work. If you're interested in the poetry that has sustained our brains over these past couple of years, you should definitely check these out! From Tender Buttons' website:
"Sonnets, first published in 1989 as Tender Buttons #1 is widely considered to be one of the most generative and innovative works of contemporary American poetry, radically rethinking the traditional sonnet form. This expanded 25th Anniversary edition includes a new preface by Bernadette Mayer, an editor's note by Tender Buttons Press publisher Lee Ann Brown, and a selection of previously unpublished archival material including the Skinny Sonnets, described as "Hypnogogic Word Playing in Reporters' Notebooks" which further expand our map of Bernadette Mayer's ground-breaking works of writing consciousness."
But look, that's not the whole story. Sure, it makes sense to have a couple of Mayer's works for sale (support poetry! support small presses!) but we're all about community and connections, right? So here's the deal. When we were just starting to get really deep into Old Paper Houses, over a year ago, Tara was assisting on Jay Scheib's Platonov. During that process she got to talking with one of the cast members, the brilliant Tony Torn, and when she mentioned that she was working on a show that drew from some Bernadette Mayer pieces he said "oh we know Bernadette, we love Bernadette." Turns out his wife LeeAnn Brown has published some of her work (with Tender Buttons press), and they're old friends. As Tara puts it: "Then as I was binge reading some more Mayer I noticed a reference to LeeAnn and Tony's wedding and thought, what is happening!" What is happening - such a wonderful, generative thought! Small worlds, coincidences - these things just feel so good! When we performed the previous version of Old Paper Houses Tony and LeeAnn came with Bernadette. This was a moment of abject terror and true exhilaration, of course - we could hear her wonderful laugh in the audience and had to do everything in our power to keep from exploding with excitement. If anything, that was the moment that galvanized us most to keep going with the piece - and so it brings us great pleasure that Tender Buttons is peddling their wares in our temporary world - and that this reissue is so beautifully timed! Suffice it to say - buy one or both of these books! There's definitely enough serendipity behind them to bring you good luck.
Look that's us with Bernadette after the show last Spring! AAAAHHHH!!!!
Cover image by Carol Rosegg
LIGHT AS A FEATHER / STIFF AS A BOARD Contact: pieholed@gmail.com
letterpressed logo by Lilah Freedland/ProFailure Press


SecureNAT client computers that use ISA Server in their route to the Internet In a simple network, these SecureNAT clients have a default gateway pointing to the ISA Server computer. ISA Server provides application filters to handle complex protocols for SecureNAT. FTP support is provided by the FTP access filter.
Web proxy clients Web proxy clients make CERN proxy requests to FTP servers on the Internet. When an FTP client application is configured to use ISA Server as a Web proxy, FTP requests are handled by ISA Server Web Proxy Filter, and passed over Hypertext Transfer Protocol (HTTP) between the client and ISA Server. The FTP client application can be an Internet browser, such as Microsoft Internet Explorer®, or a command-line or graphical user interface (GUI) FTP tool (CuteFTP or WS_FTP).
For more information about having more granular control of client FTP commands, see the topic "FTP Access Filter" in "Configuring Add-Ins" in the ISA Server SDK at Microsoft MSDN.
Solution: Install Firewall Client for ISA Server software to configure the computer as a Firewall client, or configure the computer as a SecureNAT client. For more information about client configuration, see "Internal Client Concepts in ISA Server 2006" at the ISA Server TechCenter. You may not have to remove Web proxy settings on the client. For example, a browser such as Internet Explorer will try to make a SecureNAT client request before making a Web proxy request. Success is dependent on the ability of the browser to resolve the FTP server name to an IP address.
Solution: Set the DWORD value NonPassiveFTPTransfer to 0 in the registry on the ISA Server computer, which sets the mode to Passive. The default value is 1, indicating that Active mode is used. For information about setting this registry key, see the Microsoft Knowledge Base article 300641 "How to enable passive CERN FTP connections through ISA Server 2000 or ISA Server 2004 Standard Edition." The registry instructions in this article also apply to ISA Server 2006 and ISA Server 2004 Enterprise Edition.
Solution: If you are using Internet Explorer, you can configure the browser to access FTP servers directly. Alternatively, you can configure client computers as SecureNAT clients, or install Firewall Client software. ISA Server will detect these settings, and FTP traffic will be handled by the Microsoft Firewall service and will not be proxied. For information about configuring Internet Explorer to make a direct FTP request, see the section "How to enable Internet Explorer to make a request directly to the FTP server," later in this topic.
In the Browsing section of the Settings list and follow steps steps in above pictures.
Solution: Check that you have the hotfix installed that is described by the Microsoft Knowledge Base article 884580 "Active mode FTP client programs cannot access an FTP server from behind Internet Security and Acceleration Server 2004." This hotfix is included in ISA Server 2006 and ISA Server 2004 Enterprise Edition.
4. Click OK. Note: Do NOT allow active FTP access box ticked. This will potentially an unsafe feature to activate.
5. When using ISA Server Enterprise Edition, if this filter is enabled at the enterprise level, it is enabled for all arrays, and it cannot be disabled at the array level.


text:
Q: Checking if a substring occurs in a separate column I need to check whether my data contains names that a benchmark study doesn't.
The problem that I have is that my names are truncated, so are generally a substring of the names reported by the benchmarking study.
For example, a truncated version of my data:
      Benchmark             `My Data`
Southern Corp                Avista
American Electric Power      Atmos
Atmos Energy                 Southern
Delta Natural Gas Co Inc     DUET
Avista Corp                  Duke Energy
Duke Energy Corp             American Electric
Pepco Holdings               Nextra Energy

For example, you can see that in "My Data", the name is reported as "Southern", but in the Benchmark it is reported as "Southern Corp", similarly, my data will report "Duke Energy" as "Duke Energy Corp".
I need to find out whether my data set contains any names that the benchmarking set doesn't.
So I'd need a flag or a helper column which tells me that my data set includes "Nextra Energy", but the Benchmarking doesn't.
I want the output like:
    Benchmark               `My Data`            Not in Benchmark
Southern Corp                Avista                      0
American Electric Power      Atmos                       0
Atmos Energy                 Southern                    0
Delta Natural Gas Co Inc     DUET                        1
Avista Corp                  Duke Energy                 0
Duke Energy Corp             American Electric           0
Pepco Holdings               Nextra Energy               1

Thanks!

A: dat$flag <- NA
for(i in 1:nrow(dat)){
  if(any(grepl(dat$Data[i],dat$Benchmark))){
    dat$flag[i] <- 0
  } else{
    dat$flag[i] <- 1
  }
}

dat
                 Benchmark              Data flag
1            Southern Corp            Avista    0
2  American Electric Power             Atmos    0
3             Atmos Energy          Southern    0
4 Delta Natural Gas Co Inc              DUET    1
5              Avista Corp       Duke Energy    0
6         Duke Energy Corp American Electric    0
7           Pepco Holdings     Nextra Energy    1

redpajama_set_name: RedPajamaStackExchange


text:
N.S. musician won't need to pay mint for penny image
The Royal Canadian Mint has had a change of heart over charging Nova Scotia musician Dave Gunning for using an image of the penny on his album cover.
CBC News · Posted: Sep 13, 2012 2:40 PM ET | Last Updated: September 13, 2012
Nova Scotia folk musician Dave Gunning is now off the hook for a fee for using images of the penny on his album. (Matt Dunlap/Davegunning.com)
Mint spokeswoman Christine Aquino says it will no longer be charging Gunning a fee for every album he issues of his soon-to-be-released recording No More Pennies.
The Ottawa-based maker of Canadian coins already had waived its copyright fee on the use of the penny image for the first 2,000 copies of the album, coming out Sept. 18.
But it wanted $1200 for each subsequent 2,000 pressings of No More Pennies, which the Pictou County, N.S. musician conceived as a tribute to the vanishing coin.
Gunning's album cover features a person sitting at a lunch counter trying to scrape up enough change to pay for his cup of coffee, while on the back is a sunset with the sun as a penny setting below the horizon. Inside is a lithograph of an old steam train and the wheels of the train are little pennies.
It was already in production when the musician discovered he would have to pay the mint. Gunning's story prompted an outpouring of criticism toward the mint.
Aquino said the mint has told the musician he is off the hook for the fee.
The mint released a statement saying it supports the arts in Canada and proposing a review of its own intellectual property policies.
"The mint will assess our current intellectual property policy to determine if changes need to be made to ensure that it is being applied fairly on a case-by-case basis while protecting the interests of Canadians," the statement said.
Gunning said he is grateful for the change.
"They were just trying to do their jobs and my case was an odd one that fell between the cracks. They reacted very quickly and I'm very thankful for that as well. I'm impressed that such a large organization was able to change its policy so quickly and, furthermore, consider reviewing their rules," he said.
Gunning had planned to conduct a "penny drive" at his concerts this fall which would raise some cash to pay the mint for future albums. Many fans have promised to bring pennies to his shows.
The musician says he plans to accept the coins, and make a donation of $1,200 to the IWK Children's Hospital in Halifax.
The mint stopped producing the penny this spring and it will be slowly phased out.
Dave Gunning

redpajama_set_name: RedPajamaCommonCrawl


text:
Boncho Novakov (, nascido em 7 de maio de 1935) é um ex-ciclista olímpico búlgaro. Representou sua nação nos Jogos Olímpicos de Verão de 1960.

Ciclistas olímpicos da Bulgária
Ciclistas nos Jogos Olímpicos de Verão de 1960
Naturais de Razgrad
Ciclistas de pista

redpajama_set_name: RedPajamaWikipedia


text:
Henry Charles Vestine (25 de diciembre de 1944-20 de octubre de 1997), también conocido como El Girasol, fue un guitarrista estadounidense conocido principalmente como miembro de la banda Canned Heat. Estuvo con el grupo desde sus inicios en 1966 hasta julio de 1969. En años posteriores tocó en bandas locales pero ocasionalmente regresó a Canned Heat para algunas giras y grabaciones.

En 2003 Vestine ocupó el puesto 77 en la lista de la revista Rolling Stone de los "100 mejores guitarristas de todos los tiempos".

Biografía
Nacido en Takoma Park, Maryland, Vestine era el único hijo de Ernest Harry Vestine y Lois Vestine. Su padre era un destacado geofísico y meteorólogo. El Cráter Vestine de la Luna fue bautizado póstumamente en honor a su padre, que lo descubrió. Henry Vestine se casó con Lisa Lack, con quien se trasladó a Anderson, Carolina del Sur. En 1980 tuvieron un hijo, Jesse. En 1983 se separaron y Vestine se trasladó a Oregón.

El amor de Vestine por la música, y por el blues en particular, se fomentó a una edad temprana, cuando acompañaba a su padre en sus recorridos por los barrios negros en busca de grabaciones antiguas. Al igual que su padre, Henry se convirtió en un ávido coleccionista, llegando a poseer decenas de miles de grabaciones de blues, hillbilly, country y música cajún. A instancias de Henry, su padre también solía llevarle a espectáculos de blues en los que él y Henry solían ser los únicos blancos presentes. Más tarde, Henry contribuyó al "redescubrimiento" de Skip James y otros músicos del Delta.

A mediados de la década de 1950, Henry y su amigo de la infancia de Takoma Park, John Fahey, empezaron a aprender a tocar la guitarra y cantaron una mezcla de música pop, hillbilly y country, especialmente Hank Williams. Poco después de que la familia se mudara a California, Henry Vestine se unió a su primera banda de secundaria Hial King and the Newports. En su primer viaje de ácido con un amigo músico cercano, fue a un salón de tatuajes del este de Los Ángeles y se hizo el primero de los que serían numerosos tatuajes: las palabras "Living The Blues". Más tarde, en 1969, se convirtió en el título de un doble álbum de Canned Heat. A los diecisiete años ya era un habitual del circuito de clubes de Los Ángeles. Se convirtió en una imagen familiar en muchos clubes de negros, a los que solía llevar a sus amigos músicos para que se iniciaran en el blues. Henry se hizo amigo del guitarrista cajún Jerry McGhee. De él aprendió la púa plana y el estilo de tres dedos que se convirtió en una parte importante del estilo de Henry. Fue un temprano fan de Roy Buchanan y
sus guitarristas favoritos eran T-Bone Walker, Johnny "Guitar" Watson, Sonny Sharrock, Freddie King y Albert Collins. En Canned Heat pudo tocar y grabar con John Lee Hooker a quien admiraba desde finales de los años 50.

La década de 1960
A lo largo de los primeros y mediados de los años 60, Henry tocó en varias configuraciones musicales y finalmente fue contratado por Frank Zappa para los Mothers of Invention originales a finales de octubre de 1965. Vestine estuvo en los Mothers solamente unos meses y se marchó antes de que grabaran su álbum debut.  Las cintas de demostración de las sesiones de ensayo de Mothers of Invention en las que aparece Vestine (grabadas en noviembre de 1965) aparecen en el álbum de Frank Zappa Joe's Corsage; publicado póstumamente en 2004.

Su amigo Fahey sería fundamental en la formación de Canned Heat. Había presentado a Al Wilson, a quien conocía de Boston, a Henry y a Bob y Richard Hite. Wilson, Vestine y los hermanos Hite formaron una jug band que ensayaba en la tienda de discos Jazz Man de Don Brown. Bob Hite y Alan Wilson iniciaron Canned Heat con Kenny Edwards como segundo guitarrista, pero se pidió a Henry que se uniera. La primera aparición notable de la banda fue al año siguiente, cuando tocaron en el Monterey Pop Festival. Poco después de la publicación del primer álbum de Canned Heat, Henry irrumpió en la escena musical como un guitarrista que ampliaba el lenguaje del blues con largos solos que iban más allá de los géneros convencionales. Tenía su propio estilo y un sonido de guitarra agudo característico.

Vestine no pudo tocar en el Woodstock Festival en 1969, ya que había dejado la banda la semana anterior. En 1995, explicó a un periodista australiano que "en aquel momento, era un concierto más. Fue una pena que no estuviera allí, pero simplemente no podía seguir con la banda en ese momento". Había habido cierta tensión entre él y el bajista Larry Taylor. Cuando Taylor dejó Canned Heat, Vestine volvió; su alternancia en la banda se repetiría unas cuantas veces más a lo largo de los años.

Mientras Canned Heat tocaba en Woodstock en agosto de 1969, Henry fue invitado a la ciudad de Nueva York para trabajar en una sesión con el gran jazzista de vanguardia Albert Ayler. Ese trabajo de sesión dio lugar a dos publicaciones en el sello Impulse! Records.

Según el batería de Canned Heat, Adolpho "Fito" de la Parra, Vestine consumía frecuentemente metanfetamina y heroína durante su estancia en la banda. Esto, combinado con el abuso de sustancias de otros miembros de la banda, creó dificultades para el grupo. Durante este período, Vestine también desarrolló un intenso interés por las motocicletas Harley Davidson. Llegó a tener once de ellas. Antes de su muerte, estaba deseando tocar en la celebración del 75º aniversario de la banda. A lo largo de los años también mantuvo una estrecha relación con los Hells Angels.

La década de 1970
A lo largo de la década de 1970, Canned Heat se convirtió gradualmente en una ocupación a tiempo parcial, con actuaciones y sesiones de grabación ocasionales. Cuando el matrimonio de Vestine se rompió en 1983, se trasladó a Oregón. Allí vivió en una granja en la zona rural de Summit durante un año y luego en Corvallis, ganándose la vida haciendo trabajos esporádicos y tocando música en rodeos y tabernas en una banda de country con Mike Rosso, un viejo amigo del sur de California que también se había trasladado a Oregón. También tocaba con Ramblin' Rex.

Terry Robb llevó a Vestine a Portland e hicieron algunas grabaciones juntos. Henry comenzó a tocar con la Pete Carnes Blues Band y se dirigió a Eugene, Oregón cuando la banda se disol vió a mediados de los años ochenta. Tocó en la escena regional de clubes con varios grupos de blues y blues-rock, entre ellos James T. and The Tough. De esa banda sacaría a James Thornbury para una reconstituida Canned Heat.

Vestine hizo una gira con Canned Heat por Australia y Europa, donde la banda tuvo una popularidad que superó con creces el reconocimiento que obtuvo en Estados Unidos. Cuando regresó a Eugene, tocó con The Vipers, un grupo de veteranos músicos de blues de Eugene que actúan por todo el noroeste. Siguió grabando, incluyendo sesiones con grupos de Oregón como Skip Jones y The Rent Party Band, Terry Robb y The Vi pers. También grabó el álbum Guitar Gangster con Evan Johns en Austin.

Fallecimiento
Vestine había terminado una gira europea con Canned Heat cuando murió de un fallo cardíaco y respiratorio en un hotel de París la mañana del 20 de octubre de 1997, justo cuando la banda esperaba el regreso a Estados Unidos.

Las cenizas de Henry Vestine están enterradas en el cementerio de Oak Hill, en las afueras de Eugene, Oregón. Se ha creado un fondo conmemorativo en su nombre. El fondo se utilizará para el mantenimiento de su lugar de descanso en el cementerio de Oak Hill y, cuando sea posible, para el traslado de algunas de sus cenizas al Cráter Vestine en la Luna.

Referencias

Enlaces externos

 Henry Vestine en IMDb

Nacidos en Maryland
Fallecidos en París
Guitarristas de blues de Estados Unidos
Guitarristas de rock de Estados Unidos
Músicos de blues de Estados Unidos
Músicos de Estados Unidos del siglo XX
Miembros de Canned Heat
Artistas de Impulse! Records


text:
La première circonscription de l'Ain est l'une des cinq circonscriptions législatives françaises que compte le département de  l'Ain (01), en région Auvergne-Rhône-Alpes.

Elle est représentée dans la  législature par Xavier Breton, député Les Républicains.

Description géographique
La première circonscription de l'Ain, située dans le nord-ouest du département, a d'abord été délimitée par le découpage électoral élaboré lors du redécoupage des circonscriptions législatives françaises de 1986''
, et regroupait les divisions administratives suivantes : Cantons de Bourg-en-Bresse-Est, Bourg-en-Bresse-Nord-Centre, Bourg-en-Bresse-Sud, Ceyzériat, Coligny, Montrevel-en-Bresse, Péronnas, Pont-d'Ain, Saint-Trivier-de-Courtes, Treffort-Cuisiat, Viriat.

Depuis l'ordonnance  du , ratifiée par le Parlement français le , elle regroupe les divisions administratives suivantes : Cantons de Bourg-en-Bresse-Est, Bourg-en-Bresse-Nord-Centre, Ceyzériat, Coligny, Montrevel-en-Bresse, Pont-d'Ain, Pont-de-Vaux, Saint-Trivier-de-Courtes, Treffort-Cuisiat, Viriat.

Pyramide des âges

Catégorie socio-professionnelle
Répartition de la population active par catégorie socio-professionnelle en 2013

Historique des députations

Historiques des élections

Élections de 1958

Louis Robin, greffier, conseiller municipal de Marboz, conseiller général du canton de Coligny, était le suppléant d'Amédée Mercier. Amédée Mercier siégea comme apparenté au groupe socialiste.

Élections de 1962

Victor Janody, salaisonnier à Saint-André-sur-Vieux-Jonc était suppléant de Paul Barberot.

Élections de 1967

Jean-Marie Beaudet, agriculteur, conseiller municipal de Laiz était le suppléant de Paul Barberot.

Élections de 1968

Jean-Marie Beaudet était le suppléant de Paul Barberot.

Élections de 1973

Jean-Marie Beaudet était le suppléant de Paul Barberot.

Élections de 1978

Le Docteur Aymé Blanchet était le suppléant de Jacques Boyon.

Élections de 1981

Le suppléant de Louis Robin était le Docteur Louis Jannel, MRG, maire de Montrevel-en-Bresse.

Élections de 1988

Le suppléant de Jacques Boyon était Paul Morin, conseiller général UDF de Bourg-en-Bresse.

Élections de 1993

Le suppléant de Jacques Boyon était Paul Morin.

Élections de 1997

Élections de 2002

Élections de 2007

Élections de 2012

Élections de 2017

Élections de 2022

Les élections législatives françaises de 2022 ont lieu les dimanches 12 et .

Voir aussi
Liste des circonscriptions législatives de l'Ain

Liens externes
 Ordonnance

Références

1


Throughout the whole of Dalmatia, from Dubrovnik in the south to the town of Zadar in the north, and on all Dalmatian islands, we can rent kayaks and gear.
The transport and delivery of kayaks and equipment to the desired location are included in the rental price.
You can take over and return the kayaks and gear whenever and wherever you require.
We are renting all models of kayaks currently on the sales tab.
Send us a rental query!


text:
Hoboken woman arrested after holding onto three-day car rental for six months, police say
By Charles Hack/The Jersey Journal
HOBOKEN – A Hoboken woman who rented a car for three days but kept it for six months was arrested Monday after a police officer found that the double-parked car he was about to ticket had been reported stolen. .
Ivelisse Pabon-Rosado, 27, of Park Avenue, was charged with possession of stolen property, and Daniel A. Rodriguez, 27, of Sunrise Loop in Henryville, Pa., was charged with possession of marijuana and bail jumping, reports said.
A police officer was writing out a ticket for an unoccupied double-parked 2013 model Hyundai car on Park Avenue near Ninth Street at 11 p.m. Monday, when the vehicle came back reported as stolen by the Avis rental company, reports said.
Police questioned Rodriguez and Pabon-Rosado who approached the car after coming out of a nearby apartment building, reports said. Pabon-Rosado told the officer she had rented the car from Avis on Dec. 30, 2012. .
She said she called the company before the car was due back on Jan. 2, 2013, asking to extend the agreement and they said "OK," so she thought the matter was settled, police said.
Avis reported the vehicle stolen on Feb. 11, 2013, reports said.
Police arrested Rabon-Rosado and charged her with possession of stolen property, reports said.
Rodriguez was charged with marijuana possession after police found a bag containing marijuana in the glove compartment, police said.


Q: How do i file grievance on police officers? And doctors causing more pain and mental anguish& financial crisis.
you will want to consult a member of the Nebraska Assn for Justice who handles medical issues--they give free consultations. Do this promptly. Do not discuss with medical staff any negative feelings. Let them talk. Not only do you learn more but you may need follow up care now and it's not good to have doctors scared they will "be dragged into a lawsuit."
Q: If a sentinel event occurs, is the hospital liable for long-term damages?


The primary target for Moneval Solutions is the identified beneficiary whose quality of life, access to education, health facilities or institutional rights have been improved over what was before or perhaps without the project at all. The value we bring to the beneficiaries is the recognition that they are a central stakeholder to the process and whose voice and opinion matter. As with any activity they need to be properly identified, engaged with and opinion sought. It is obvious to us that without their inclusion and consultation the meaning that a project has will count for little. Our objective therefore is to ensure that they are met and they have an opportunity to raise their voice.
Donor organisations gain comfort from knowing their projects are on track, on budget and will deliver the expected value to the beneficiary. From a strategic perspective our combined monitoring, evaluation and technology services provide a unique mechanism for assessing the performance of delivery organisations that helps donor organisation identify and select high performing delivery organisations for future projects.
Our solutions aims to increase efficiency and bring value for money whichever level of monitoring solution is adopted as diagrammatically shown reducing in all cases risk of programme reputation and promotion of economic value.
Many Monitoring and Evaluation Systems on the ground have failed to produce quality data leading to integrity, validity and incompleteness of collected information on which to make decisions. Many NGOs/CBOs and third sector organisations for example have this problem and when combined with weak and inconclusive national reporting systems which have often collapsed Government's often turn to Donor collected data and information. Moneval is able to build upon these existing circumstances and provide solutions for its Clients that generate meaningful results and objective opinion whilst helping to create a databank of knowledge accessible by project staff, funding institutions and the general public.


Assists in evaluating helper/suppressor cell immune status in immunodeficiency diseases such as AIDS.
Maintain the specimen at ambient temperature. Do not refrigerate.
pick up and be received within 24 hours.
Whole Blood: Room temperature preferred.


Being supported by an highly developed and specialist IT team, we could give technical support on pre-sales & after-sales service for Stamping Component, شیٹ میٹل ڈالنا ویلڈنگ حصے , قیمتی دھات لیزر کاٹنے حصے , مصر دات ڈالنا حصہ , Our ultimate target is usually to rank as a top brand also to lead as a pioneer in our field. We are sure our profitable experience in tool generation will gain customer's trust, Wish to co-operate and co-create a far better foreseeable future with you! Innovation, quality and reliability are the core values of our company. These principles today more than ever form the basis of our success as an internationally active mid-size company for Stamping Component, we're now looking forward to even greater cooperation with overseas customers based on mutual benefits. We are going to work wholeheartedly to improve our products and services. We also promise to work jointly with business partners to elevate our cooperation to a higher level and share success together. Warmly welcome you to visit our factory sincerely.


A new study claims that being rich or poor can actually be alter the anatomy of the brain. Click to read more.
Can financial conditions actually shape brain anatomy?
When it comes to CBSE results, there is no difference between a kid who scores 90 and one who scores 95. This has to be accepted by the parents and students.
CBSE results are not the end of the world. Really!
A majority of teenagers look online for health information. Click to learn more.
What are teenagers researching online?
Click to know more about math anxiety and how it could be hampering your child's performance.
Not all children are born with the ability to read facial expressions, but they can be taught how. Click to learn more.


FKA Twigs' debut EP entitled EP2 in its entirety is a force that sweeps over you with such emotion and power in the most graceful and melodic way. Her voice brings forth a haunting simplicity yet there is an undeniable depth and intimacy. The video for Papi Pacify delivers what the entire EP embodies, a sensuality in lyrics, voice and beautifully produced electronic-ambient rhythm.


text:
História e Missão
SEAGF: Conselho Executivo Executive Council
SEAGF: Mapa
Atualizações e Notícias
AD na Albânia
AD em Francia
AD em Grecia
AD em italia
AD em Portogallo
AD em Spagna
AG of Greece
Greece is the country where the concept of democracy was birthed (Pericles) and philosophy was developed (Socrates, Platon, etc.). It is the birthplace of Alexander the Great of Macedonia (330 BC) who spread Greek literature throughout the world.
The Lord honored the Greek language by using it for the writing of the New Testament.
Pentecost in Greece in the 1st century
At AD 50, the apostles Paul and Silas, together with Titus and Timothy (Titus 1:5; 2 Corinthians 7:6), brought to Greece the gospel of Jesus Christ and the experience of Pentecost (Acts 16 – 18; 1 Corinthians 12 – 14).
They first visited northern Greece (Macedonia) by way of Neapolis (modern day Kavala) Acts:16:11. They preached the Gospel in Philippi, Thessalonica, Berea, Athens, Corinth, Crete, Nicopolis and elsewhere.
At AD 96, the apostle John was exiled to the Greek island of Patmos (Revelation 1:9). John was among the 120 disciples who were all baptized in the Holy Spirit on the day of Pentecost.
Pentecost in Greece in the 20th and 21st century.
I. Founders of the Work in Greece
Many Greek servants of God were persecuted for their faith. Some were beaten, others were imprisonned, and some were even exiled for their faith. All these servants of God played a very important role in building the work of the Pentecostal Church in Greece.
The first Greek pioneer for God was Dimitrios Katrisiosis. In 1924 he left his home village of Vagia and traveled throughout Greece preaching the message of God's salvation through Jesus Christ and His work on the Cross. He was persecuted and exiled.
Mihalis Kounnas preached the Gospel of Jesus Christ in Athens in 1927. During this time the first Greek Pentecostal church was established in Athens in the Petralona area.
Two other founders of the Pentecostal work in Greece were Charalambos Mamalis and Aristotelis Dictiopoulos. Bothe were Greek who went as immigrants to California. While there, they joined other Greek brothers in an Assemblies of God church. Later, they felt they had to return in Greece and work for the Lord with the cooperation of the AoG brotherhood.
Mamalis was the first who returned to Greece, in 1930, and he preached the Gospel with miracles following throughout Greece. In 1931, Dictiopoulos also preached the Gospel with the power of the Holy Spirit. Both emphasized the Baptism in the Holy Spirit in their preaching.
Mamalis eventually became the pastor of the largest Pentecostal church in Athens, which was located at Aiolou Street, and Dictiopoulos established the Pentecostal church in Macedonia, northern Greece.
II. Number – Structure
Today the Pentecostal Church in Greece numbers about 12,000 members.
The Pentecostal Church includes the following:
Greek Synod of the Apostolic Church of Pentecost, which is affiliated with the Assemblies of God worldwide.
Apostolic Church of Christ, which is affiliated with the International Foursquare Church.
The Church of God of the Full Gospel, which is affiliated with Church of God worldwide.
The Church of God of Prophesy, which is affiliated with the Church of God of Prophecy worldwide.
Free Apostolic Church of Pentecost. These churches do not fellowship nor cooperate with the other Pentecostal churches in Greece nor abroad.
III. Expansion of the Gospel
In Greece the gospel is preached in buildings that need special license from the government. Fortunately, it is now much easier to obtain a license than before. The Greek Orthodox Church strongly opposes all non-Orthodox churches, and considers their members as non-Greek and traitors of their ancestral traditions. Many times, leaders and other believers were accused for proselytism and went through trial. Most of them were declared innocent, but some were convicted and used the opportunity to evangelize prisoners. Lately, there is an ongoing trial for preselytism, which is now examined by Arius Pagus, the supreme Greek court.
Despite the persecution, there is evangelism in Universities, open meetings in squares and roads, and even door-to-door evangelism. Also, the Greek Pentecostal community runs a Bible school in cooperation with the Springfield-based Global University. At the past there was also a Pentecostal television station, but its operation was terminated.
IV. Missions
The Greek Dimitris Peponis has been a missionary in China with many blessings in his ministry. Today, Christos Moukas lives in Bulgaria and dynamically ministers with miracles and witnesses many conversions.
Our Youth organizes evangelistic crusades in cities and villages throughout Greece. They have especially visited prisons, orphanages, and earthquake-plagued areas helping spiritually and practically. At the same time they work in door-to-door evangelism.
Before the Greek financial crisis, Greek Pentecostals had organized humanitarian visits to various Balkan countries, giving encouragement, financial support, and spiritual help to our Balkan brothers.
V. Medical Missions
Greek Pentecostal doctors had organized medical teams and visited Romania, FYROM, Bulgaria, and Albania, offering medical assist. Also, in partnership with Doctors Without Borders, they visit poor areas offering free medical services.
Today, because of the financial crisis in Greece, our churches have focused on helping the poor, the unemployed, and the immigrants with food, clothing, and medicines.
Cooperation with Other Churches
The churches of our Synod maintain good, brotherly relations with the other groups of Pentecostal Churches in Greece. We organize various conferences in which members of other churches also participate.
Besides our cooperation with the World AoG Fellowship, our Synod cooperates with the PEF and the SEAGF.
SEAG Fellowship
SEAGF Executive Council
SEAGF Map
Contact SEAGF
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Q: How to make background image of a responsive (with shrinking of image) i have developed a webpage where i am using a background image for a div.Background image is not responsive when i resize the browser.my code for this div is

please help how i can make this image responsive so that if i resize the browser the will remain same

A: If you want to see the text on your image you should use this:

padding: 12.5%;
background-size: contain;
-webkit-background-size: contain;
background-repeat: no-repeat;
background-image:url('https://i.stack.imgur.com/tQQHA.png');

background-size: cover; don't save the real image size
Fiddle

A: Use background-size: cover; on your div, which scales the image as large as possible and maintains image aspect ratio. The image "covers" the entire width or height of the container.

Here's a JSFiddle.

A: Try using this method:
background-size: cover;

A: Use background-size: cover.
This will crop the image to maintain it's aspect ratio. This will not let the background image look stretched. Later you can change background-position for specific media sizes to show particular portions of the image.
P.S: Also avoid using inline styles if the styles do not have to be dynamic with some the back-end language like php.

A: Add this
{
padding:0px;
background-size:100%

}


Moustache - STALIN HAD ONE BUT THEN SO DID GANDHI.
The latest installment of the long running Australia Day Lamb Campaign has been released.
This highly regarded series of ads started in 2005 and stars Sam Kekovich. Sam has always been very forthright in his approach to eating lamb, especially on Australia Day, and he castigates anyone as being un-Australian if they disagreed.
In this day of inclusiveness Sam's brutal approach could be misconstrued as being overtly nationalistic.
Enter Lee Lin Chin, the legendary newsreader for SBS.
This is an inspired piece of casting, that brings a new face to the Australian Meat and Livestock campaign. It proves once and for all that you don't need to be a white Australian male to enjoy a lamb chop.
Not surprisingly the latest commercial has still received a number of complaints, this time from the vegan community. They believe that the torching of the kale, by the commandos, borders on violence towards those; "…soap avoiding, hippy, vegetarians" as Sam described them in the original ad.
Good ads stand out by being controversial – this one is no different.
The sales figures also back up the success of the campaign, with butchers reporting that lamb sales skyrocket by 35% around January 26th.
Watch the Australia Day Lamb 2016 ad here.
'F' is for Ford or is it for frightened?
What does the latest Ford posters say about the company?
For one it says they are frightened; frightened that their ever dwindling market share is going to vanish completely into an Australian heat haze.
Why else would you feature a poster campaign where the logo is larger than the product and the proposition is even smaller still.
Ford will stop manufacturing cars in Australia later this year, and it's my guess that these ads are more about propping up confidence in the dealer network, than they are about selling vehicles.
Given the new car sales figures for 2015, they should be worried.
Ford were 6th, with 70,454 sales (down 11.6%) and behind, of all manufactures, Mitsubishi with 71,752.
2015 was a bumper year for car sales with 1,155,408 vehicles sold – a 3.8% rise on the previous year.
Holden and Ford were the only companies to post a sales decline, with Ford having its worst year since 1966. Even the Mercedes-Benz C-Class comfortably outsold the Ford Falcon.
It appears that Australians have already given up on Henry.


I woke up this morning to instagram and facebook posts all about girl power, girl bosses, and women's rights. Today is the day that all over the world people are getting together to celebrate women. The theme of this year's International Women's Day is #PledgeforParity. Check out their website HERE and read all about the campaign, how you can become involved, and activities in your area.
Today, I would like to celebrate all the strong, amazing, and diverse women I know. Everyday I am in awe of all the accomplishments I see from women all over the country. Mothers, athletes, daughters, wives, sisters, friends, regardless of our title or status we are all women. Let's not compare ourselves to each other. As the saying goes, "comparison is the thief of joy." As women, we have so much to overcome. We may feel we need to work harder to prove ourselves. And, yes, this is very true, especially in the workplace. But, we should not have to work so hard to prove ourselves to each other. We are all doing the best we can. We are all working hard. We are all making the best choices for ourselves.
As mothers, our choices, our actions, make an impact on our families. Our children look up to us and it's up to us to be the best we can be for them. This is pressure enough. Let's not pressure ourselves even more with comparing what we do to what anyone else is doing. Let's not tear each other down, but build each other up. There is no room for that in our lives. Why wast time with criticism, when we can empower each other instead. Let's show compassion, love, and acceptance. It is so much easier to love, than hate. Our daughters will thank us for it.
To all the women in my life: Thank you! Thank you for building me up, for pushing me further. Thank you for sharing a little or a lot of your life with me. Thank you for running with me, for celebrating with me, for laughing with me, for putting up with me, and mostly, just thanks for allowing me to be me and for always being you. XO!
Posted in Inspiring Women Series, Motivation and tagged with international women's day, inspiring women, inspiration.
March 8, 2016 by Jessie Emeric.
Q. Have you always led an active lifestyle? If not, what motivated you to make changes in your lifestyle?
A. I have pretty much always led a very active lifestyle. I started swimming competitively when I was six years old all the way through high school. As an adult, up until I had my two children, most of my activity was in the gym, either doing group fitness classes or running on the treadmill. When I had my two kids, I took a break from exercise (other than lots of walks around the neighborhood) simply because I just couldn't find time to workout while taking care of my babies. Now that they're a little older, I've finally been able to fit it into my schedule and running has been an integral part of that. Between signing up for races and being part of an online healthy moms group, I get a lot of motivation to put in the work every day.
Q. What is your favorite race distance and why?
A. My favorite race distance is a 10k. I really enjoy the challenge of doing half marathons (which has been my longest distance to date), but it is HARD! I feel like with a 10k, I can go fast without burning out too early.
Q. What inspires you to want to run a half marathon?
A. Ever since I started running, and got a couple of half marathons under my belt, people kept asking me when I was going to do a full marathon and I kept saying, "Never!" I just had no desire. Then one day, a girl from a local running Facebook group I'm in posted a link to a particular marathon saying that it should be on every runner's bucket list. I was intrigued and started looking into it. I read up a lot on it, and watched some videos and that was it. I was hooked. I want to run it so bad (I'm not saying which one yet because I don't want to jinx it until I have my registration in hand). I absolutely love running anywhere that is picturesque and has an amazing atmosphere. This marathon I am considering (if I can get into is, as it is a very popular one) fills both of those categories, so that will be very inspiring to me. Stay tuned to my blog to see which one it is and if I get into it!
Q. During your training, are there any obstacles you had to overcome?
A. Probably the biggest obstacle is some GI issues that I suffer from. As much as I love running, running does not always love me. Most of the time, I can control it, but every so often, I have a bad day after a run. It is really horrible because it makes me sick for several hours after running, which is really hard when you're trying to take care of two kids. I've tried a lot of different things to help with it, which work most of the time, but not always. However, I just can't imagine not running, so I've learned to deal with it.
Q. Finding or making the time to run is hard. Do you have any tips that have helped you make exercise & running part of your routine?
A. Make a schedule and stick to it. Plan out your week on Sunday and write it down so you don't even have to think about it. I also like to get my workouts in first thing in the morning. It's hard sometimes waking up at 4:15 or 5am, but your body will adjust. Most the time I actually wake up before my alarm goes off. Oh, and coffee...lots of coffee!
Q. Overall, what is your favorite race experience?
A. I am very social and love running with other people. I recently ran (and won 1st place overall for the women) the Wildland Fire Awareness Trail Half Marathon. One of my running friends (who was injured at the time) gave her bib to her husband to run in her place. He and I run about the same pace and ended up running the entire race together. It was so much fun running it with someone, especially since we were able to push each other and not worry about holding each other back. I wish I had a running partner for every race!
Q. If you could only give someone just one piece of advice to running, what would it be?
A. Do not worry about your time. Everyone runs at a different pace and when it all comes down to it, 3.1, 13.1. 26.2, they're all the same distance whether you're a 6 minute miler or a 16 minute miler. And also, it's okay to walk! I learned this very quickly when I started doing races. The only person you are competing with is yourself.
Q. When you're not busy working out what kind of things do you like to do for fun?
A. I love going out and doing things with my kids. I'm definitely an adventurous mom, so on my days off from work, we're always doing something. I love all that Las Vegas has to offer. Despite what many people may think, it actually is a very family friendly city and there are so many fun things to do with your kids here. I also love reading, cooking, drinking wine and traveling.
Q. What are some of your favorite/must-have running products you can't live without?
A. First and foremost my Brooks. I fell in love with this brand after it was recommend by several runners in my healthy moms online group. I had so much pain in previous running shoes and these have just been amazing. I love my Amphipod hand held water bottle and my Garmin Forerunner 10 as well. I swear by Target running attire and I love my Sparkle Athletic running visor. I love trying out new running products!
Posted in Fitness, Inspiring Women Series, Motivation, Running and tagged with runner, running, brooks running, brooks run happy, interview, inspiration, inspiring women.
June 19, 2014 by Jessie Emeric.
Q. What motivated you to make changes to your lifestyle?
A. I have always tried to lose weight and get fit, but would quickly get discouraged and give up. In the fall of 2012 I was picked to be part of a challenge hosted by Fighter Diet and I fell in love with the workouts and diet. I loved how working out made me feel, and then I realized that I wanted to set a good example for my children.
Q. During your transformation journey, what has been the hardest thing(s) to overcome?
A. The hardest thing to overcome during my transformation journey has been overeating. I just can't stop at a bite, I have to eat the whole thing. It's hard work, but it's getting there.
Q. What do you do now to help motivate and inspire others?
A. I hope that I inspire others with my Facebook page and my blog where I write about my journey - both the good and the bad. I want others to know that there isn't just a "before" and an "after" picture, there is a lot of work in between, and it's ok to talk about it.
Q. Finding or making the time to workout is hard. Do you have any tips that have helped you make exercise part of your routine?
A. To make exercise a part of my routine, I schedule it into my day just like if it were a doctor's appointment.
A. For fun I love to take pictures, go running the local trails with my dogs Lola and Lily, horseback riding, and I love to read.
Q. If you could only give people one piece of advice, what would it be?
Q. What are some of your favorite/must-have workout products you can't live without?
A. My must-have workout products would be my iPhone, which isn't a workout product, but I can't workout without my music to motivate me.
Posted in Inspiring Women Series, Running, Fitness and tagged with inspiration, inspiring women, weight loss, fitness goals, fitness, healthy, healthy living, running, runner.
April 23, 2014 by Jessie Emeric.


The instantly recognizable 9000 Series chair is constructed from highly durable, long-lasting injection-molded polyethylene. These popular chairs are fixtures in thousands of classrooms across the nation and around the world. A mobile task chair with padded seat.
One-piece molded polyethylene shell, pneumatic cylinder with seat and back pads consisting of polyurethane foam covered with fabric. Chair swivels 360°.
One-piece molded polypropylene shell with upholstered seat pad consisting of polyurethane foam covered with fabric.