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Madley News from the Past
Poachers, schooling, murder and ghosts
1790 – Private Tuition at Madley
The Rev. Henry Davis B.A. advertised places for ten pupils who were "designed for University or the superior lines of trade", with attendance to commence on 25th January.
He wished to continue to superintend the education of young gentlemen, limited to just ten, with a plan carefully adapted to the respective institutions in life for which they were intended.
He stressed that his small school included many important advantages not found in Public Schools, and that his pupils would be treated liberally with the material privileges of parlour boarders.
The fees were eighteen guineas a year (washing not included!), with an entrance fee of one guinea.
This small school continued successfully for a great many years.
1793 – Poachers cause a Problem at Madley
Ann Pateshall; Richard Aubrey, J. Matthews and John Greeen posted the following in the Hereford Journal in August 1793:
"Whereas the game in the several manors of Allensmore, Clehonger, Old Hill and Cagebrook in the parish of Madley have been for many years past greatly destroyed by poachers and unqualified persons; therefore, to prevent the like depredations, we, whose names are underwritten, do give this public notice that all persons who shall in future be found destroying the Game upon any of the aforesaid Manors, will be prosecuted as the law directs.
It is particularly requested that qualified Gentlemen will not sport upon any of the above Manors without making a previous application to us for that purpose".
1794 – Advertisement for Person to Preside over the Poor of Madley
A person to preside over the POOR at Madley, and to provide for them all necessary accommodations whatever. A large house and garden is ready, and shall be made perfectly convenient for that purpose.
For more particulars, enquire of Mr. Geo. Foote, Overseer.
1830 – Madley Turnpike Trust
On 2nd November 1830 the Trustees of the Madley Turnpike Trust gave notice that from 1st January 1831 tolls would be taken for building materials taken through the turnpike gate on the road from Bun's Lane to the White Hill in the parish of Weobley.
1851 – A Tale of Love, Murder and Hallucination
Hereford was awash with excitement over the murder of Richard Maskell and subsequent rumours and reports.
Mr. Richard Maskell a currier of Weobley aged 36, had six children with a seventh on the way and he was a highly respected businessman with a wide circle of friends.
Richard Maskell Disappears
On Monday 26th February 1833, he left home to travel to Hereford and was his normal cheerful self when he said goodbye to his wife. He was carrying about £260 (a huge amount of money then) which he intended to pay to Messrs Hatton of Hereford, and at midday he arrived at their offices in Church Street. He was invited to dinner by Mrs. Hatton, and he accepted – then went down the street towards Cathedral Close. He was never seen again.
The Woman from Madley's Secret
At the time of Richard's disappearance, a woman from Madley was in the service of a gentleman in Castle Street, and from there she went to London. 13 years later on her return to Madley she got to know the Davies family of Blackmarstone and she told them a tale of untmost secrecy – ufortunately, Davies was not one for keeping secrets and eventually the city police got to know of this secret.
The secret was this – When she was in service in Castle Street, two of her fellow servants were a coachman and a footman; the coachman died a natural death, but the footman committed suicide by taking a "lovers leap" into the Castle Millpond.
The coachman slept over the coachhouse and his son of four slept with him. The Madley woman was a Primitive Methodist and usually got up early so that she could attend prayer meetings at 7 a.m.. One morning she got up far too early, (1 a.m. to be precise) and once outside she heard a noise in the stable; she realised her mistake when she heard the clock strike so turned back to the house and as she did so her foot caught on something on the ground. It was a man's stocking soaked with blood.
She chucked the stocking over the wall just as the coachman and footman came out to ask if she had seen anything unusual. She told them about the stocking.
Some time passed, and during an exhibition on the Castle Green one night she went up to a back room of her master's house to watch; whilst there she opened a cupboard and found the matching stocking to the one she had tossed away, along with a blood soaked shirt. Apparently she took them both away and burnt them – goodness knows why!
The Little Boy's Secret
The coachman's little boy meanwhile told the house servants that he had a secret, but they were not to say anything because his father would beat him if he knew. He then said that he had seen his father and the footman cutting up a man and throwing the pieces in the old well. His father had told him that it was a big dog, but he said that he knew it wasn't because he had seen a man's legs.
All this happened at the time that Richard Maskell disappeared.
The Ghost of the Footman
The woman from Madley said that she kept quiet at the time because she had good reason, but she later talked to the footman who begged her to stay silent and then asked her to marry him! She constantly refused his attentions, he eventually he killed himself by jumping in the Castle Millpond.
After his death, the woman often heard strange noises at night, and is sure that she saw the ghost of the footman at the back door of her master's house. It happened so often that she moved to London, but the ghost followed her there. She wrote to the coachman, who admitted that he too had seen the ghost, and that he had had long conversations with it, but he reassured her that he had taken effective means to allay the disturbed spirit, and it indeed never appeared to her again.
Soon after this, the coachman died.
The Story Ends
The police decided to ignore the ghost part of the story, but nevertheless were keen to interview the Madley woman themselves. She kept to the story, but denied having said that the little boy had seen the legs of a man.
The whole business was closed and no attempt was made to verify the story, so the mystery of Richard Maskell's disappearance remains unsolved.
1899 – Death of Mr. W. Taylor of Madley
Mr. William Taylor of the Withies, Madley died after a short illness. He had been a builder on the Tyberton Court and Madley Estate for 26 years, and for 24 years was a member of the Ancient Order of Foresters, Court Unity at Moccas.
He was born February 28th 1836 and died February 15th 1899.
Posted in news from the past | Tagged madley, madley-newsfromthepast
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back up sights, sidewinders, sidewinder, side, flip up sights, back up sights, iron sights, 45 degree sights, 45 degree offset sights.
The Sidewinder 2 is the next evolution of our previously successful Sidewinder back-up iron sights. After receiving feedback from competition shooters and military personnel in the field, the sights have been upgraded to easily handle not only 5.56 but larger calibers as well as harsher environments.
The Sidewinder 2 is the next evolution of our previously successful Sidewinder back-up iron sights. After receiving feedback from competition shooters and military personnel in the field, the sights have been upgraded to easily handle not only 5.56 but larger calibers as well as harsher environments. Keeping our same design concept, the Sidewinders offer the on the go option for 45 degree offset or traditional in line capabilities – all in one package. Tool-less adjustment dials allow easy sight adjustments Whether you need a low profile, low snag inline backup for your red dot, or a short range, offset CQB sight backup for magnified optics, the Sidewinder can fill your needs. The low-profile SI-Ambush mounting system can clear even the largest of optics and the offset sight means instant access to your back up iron sights without removing your optic. Who said you had to compromise?
- 45 degree offset and traditional inline capabilities in one unit.


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Q: ASP.Net Cache object is not sharing between different PCs I have a ASP.Net 4.0 web application and I extract and put the data into the cache for 10 minutes by using the following code:
List<Student> students = new List<Student>();

if (System.Web.HttpRuntime.Cache["MyStudents"] != null)
{
    students = (List<students >)System.Web.HttpRuntime.Cache["MyStudents"];
    Response.Write("Get From Cache");
}
else
{
    students = MyClass.GetStudents();
    System.Web.HttpRuntime.Cache.Insert("MyStudents", students, null, DateTime.Now.AddMinutes(10), TimeSpan.Zero);
    Response.Write("Get From DB");
}

It works only for the single user or PC.  If I use another pc to browse the same page, it connects to the database at the first load.  But it uses the cache for the next time.  The problem is that it's not sharing the cache object between different session.
Could you pls advise me where I am doing wrong?  Thanks.

A: According to the MSDN docs you need to use Cache.NoSlidingExpiration rather than TimeSpan.Zero to disable the sliding expiration.

redpajama_set_name: RedPajamaStackExchange


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Swimming into "A SQUID HAS THREE HEARTS"
Climate change. Childbirth. Helplessness. Hope. It's all in the water in A SQUID HAS THREE HEARTS, Umbrella Collective's latest workshop, taking place January 28th and 29th.
A SQUID HAS THREE HEARTS follows Quinn, a soon-to-be-parent who is forced to examine the environmental consequences of bringing a child into the world. The piece merges music and fluid physicality to create a story that lingers somewhere between fairy tale and hard reality.
We're so thrilled to have a stellar cast of actors and creators working on SQUID:
siQuinn . . . Gracie Anderson
Gracie is a performer based in the Twin Cities. A graduate of Perpich Center for Arts Education and holder of a B.F.A. in Musical Theatre from the University of Minnesota Duluth, Gracie has worked at Old Log Theater, Yellow Tree Theater, Artistry, 7th House Theater, Renegade Theater Company, and many more. In 2016, Gracie was named Best Emerging Actress in Minneapolis City Pages.
Ramona . . . Alexandra Nedved
Alexandra is a recent graduate of the University of Minnesota BA Performance Creation program. She also holds a double major in Global Studies with concentrations in South America and Environmental Sustainability along with a Gender Studies minor. Alexandra has a love of experimental art/theatre that blends language and movement to tell visceral stories. Theatrical creation has become a vehicle for personal as well as community-engaged transformation for her. In using theatre as a tool to explore complex social topics she hopes to create work that questions normalized institutions, invites discussion, and deepens our understanding of the interconnectedness of our world(s).
Squid . . . Cameron Reeves
Cameron Reeves is back again creating work with Umbrella Collective! Cameron comes from McHenry, Illinois and received his BFA in musical theatre from Drake University where he performed in several productions. He has had the pleasure of working other companies such as The Guthrie Theater, Minneapolis Musical Theatre, Sidekick Theatre, Frank Theatre, Playhouse on the Square, Nebraska Shakespeare, Heritage Theatre Festival, The Repertory Theatre of Iowa and Stagewest Theatre Co. He would like to thank his friends and family for their constant love, support and advice.
Miles . . . Courtney Stirn
Courtney Stirn is a jack-of-all-arts living in the Twin Cities, and is thrilled to be collaborating with old and new friends on this musical journey. Recent credits include As You Like It with 21/40 Productions, FRIGID with Umbrella Collective's Night of New Works, TART with The BAND Group, The Ravagers and Ex-Gays with Umbrella Collective, Much Ado About Nothing with Desperate for Approval, and The Smitty Complex with 20% Theater Company's Q-Stage. When not in a designated performance space, Courtney makes one by inventing silly voices with friends, noodling on musical instruments, and writing good words for the future.
Dana . . . Amber Davis
Amber has been working with Umbrella Collective in various capacities since 2010. They have a BA in Theater from Augsburg College, and studied at the School of International Training in Bali with emphasis in Balinese dance and puppetry. Amber is a person in their thirties. They like beer and roller skating.
CREATIVE:
Project Leader / Composer . . . Mark Sweeney
Mark Sweeney is a performer and writer based in the Twin Cities. He's performed at Actors Theatre of Minnesota, Artistry, Troupe America and HUGE Theater among many other local stages. As a producer, he co-created Perpetual Motion Theater Company and Catalog Models, both having sellout runs in the Minnesota Fringe Festival. He is a Nautilus Music-Theatre Composer/Librettist Studio participant and a proud company member of Umbrella Collective. Mark holds a BFA in Musical Theatre from Millikin University in Decatur, IL.
Director . . . Eli Purdom
This is Eli's fourth time working with Umbrella Collective, third time as a company member, first time directing! He is very excited to be working in this new capacity, and is thrilled to be continuing the work of Squid in this new iteration.
Music Director . . . Keith Hovis
Keith Hovis is a playwright and composer based in the Twin Cities. His work has been produced by Freshwater Theatre, Market Garden Theatre, Revisionary Theatre Collective, the University of Minnesota, Six Elements Theater, Box Wine Theater, Luther College in Iowa, and the Minnesota Fringe Festival. Keith's one-act musical, Mrs. Housel: A Suicide Suite was featured at the 2014 Ivey Awards, and his first full-length musical, Pioneer Suite, premiered with Freshwater Theatre in October 2015. His hit 2017 Minnesota Fringe Festival musical, Jefferson Township Sparkling Junior Talent Pageant, is currently in development with Park Square Theater, and a full-length version will premiere in June 2019. As a composer, his work has been commissioned by Theater Mu, Mixed Blood Theater, and Fortune's Fool Theater. Education: University of Minnesota - Twin Cities, Nautilus Music-Theater Composer-Librettist Studio.
Dramaturg . . . Laura Leffler
Laura is the Emeritus Artistic Director of Umbrella Collective. She led the company from 2007-2018 and dramaturged, performed, directed, wrote, and produced over 29 projects in that time. Additional theatrical adventures include assistant directing THE LEGEND OF GEORGIA McBRIDE (Guthrie), REFUGIA (Guthrie/The Moving Company), COME HELL AND HIGH WATER (The Moving Company), FISHTANK (Theatre de la Jeune Lune), BY THE BOG OF CATS... (Frank Theatre at the Guthrie), and more. She was named "Best Director" in 2018 by City Pages. She is the Associate Artistic Director at Park Square Theatre and will be performing in ANTIGONE there in February, and directing JEFFERSON TOWNSHIP SPARKLING JUNIOR TALENT PAGEANT there this summer.
& YOu!
We need YOUR help to bring A SQUID HAS THREE HEARTS to life!
Umbrella Collective believes the audience is a vital part of the creation process. Come experience a fresh new play-in-progress, and lend your voice to the play-making process! Umbrella Collective brings the rough drafts, big ideas, and burning questions to the audience par-baked to give YOU a chance to help shape the future of the work. Come join us at...
A SQUID HAS THREE HEARTS Workshop
Tickets are sliding scale $5 - $20 in advance and at the door. Get advance tickets here
January 28 & 29, 2019 at 7:30pm (Doors open at 7pm)
at SpringBOX, 262 University Ave W, Saint Paul, MN 55103
Please join Umbrella Collective as we celebrate our outgoing Artistic Director Laura Leffler at a special post-workshop reception on Tuesday, January 29th, 2019 from 9:00 - 10:00 PM.
A Letter from Laura
I suppose I'm going to make a bit of a speech.
Laura in LEAVES in 2013. Photo: Carl Atiya Swanson
It's a big thing, so I have been trying to find a way to organize my thoughts. I considered making a list. Then I remembered a notion I heard recently at a theatre convening - time is a colonial construct - and so then I figured that list making is probably a colonial construct, too.
So I turned to an old friend, that big queerdo from 19th century America, Walt Whitman. I turned to him, as I often do in times of questioning and times of worry, and I re-read "Song of Myself" in Leaves of Grass. And near the end of the very long poem in stanza 51, was the sentence that caught me. Diminutive in its parenthesis, but grand in its message: "(I am large, I contain multitudes.)"
And that seemed a fitting framework to think about the large news I have to tell. The long and the short is, I am stepping down as the Artistic Director and leader of Umbrella Collective.
This is not a decision I make lightly. I founded Umbrella Collective (formerly known as Savage Umbrella) over eleven years ago. That's one of the longest amounts of time that I've ever done anything. In 2007 I toured internationally with our very first show. It was immediately after the first version of THE RAVAGERS closed in 2011 that I got pregnant. I was pregnant when I directed CARE ENOUGH. I was nursing when I served the hosted appetizers during intermissions of EMMA WOODHOUSE IS NOT A BITCH. I was in the writing process for JUNE when my heart cracked open, and my queerness that had been knocking quietly at the door of my consciousness finally got loud enough to hear. This collective, this company, these people, have been the people and the comings and goings of my adult life. My heart! My life! My loves
Laura and Paul Rutledge in LEAVES, 2013. Photo: Carl Atiya Swanson
And now we are here in this moment, perched on the precipice between 2018 and 2019 and more than eleven years after that first wild tour. I find my time pressed and my energy wan. I'm in need of a recharge. There have been shifts in my personal life that have added responsibilities and subtracted even more energy and time. There are new professional opportunities in front of me, that I am compelled to explore. I am large. I contain multitudes. I don't know what the future will bring, but I have to make room to see.
"I and this mystery, here we stand."
On January 29th, 2019 I'll be stepping down from the Core Collective and move to Emeritus Artistic Director, in an advisory capacity. Hannah Holman will become Umbrella Collective's Producing Artistic Director. Core Collective Members Alana Horton and Megan Clark will take on more responsibility. The beating heart of the collective thumps on.
"Urge and urge and urge,
Always the procreant urge of the world."
Like an irritating emeritus professor who still hangs around campus too much, I intend very much to keep "office hours", as it were, with Umbrella. I am not leaving. I'm not moving. I have stories I still want to help tell with Umbrella Collective--WOLF SONG, and TWO RUM PARTIES, and A SQUID HAS THREE HEARTS, and all these other new beautiful, nascent ideas continue to live and breathe and move forward. I'll be around. Just differently than before.
Laura and Hannah Holman in THESE ARE THE MEN, 2015
I'll let Whit help me close:
"You will hardly know who I am or what I mean,
But I shall be good health to you nevertheless,
And filter and fibre your blood.
Failing to fetch me at first keep encouraged,
Missing me one place search another,
I stop somewhere waiting for you."
See ya real soon.
Please join Umbrella Collective as we celebrate Laura at a special post-show reception after A SQUID HAS THREE HEARTS Workshop on Tuesday, January 29th, 2019 at SpringBOX. The workshop performance will take place from 7:30 - 8:30 PM, and the reception will take place from 9:00 - 10:00 PM.
Autumn Under the Umbrella
Summer took its final bow and autumn has made its blustering chilly entrance. And with the new season comes a harvest of new theatre, and workshops, to attend. So, put on that extra layer, get your favorite spiced (or non-spiced) beverage, and go catch the collective making their thing. Here's a list of where you can see members of Umbrella Collective this fall:
at Theatre Latte Da
On the streets of Dublin, an Irish songwriter and a Czech immigrant are drawn together by their shared love of music. Over the course of one fateful week, their unexpected friendship and collaboration quickly evolves into a powerful but complicated love story, propelled by emotionally charged music. Winner of 8 Tony Awards including Best Musical, Once is an artistic triumph about the power of music to connect us all.
Antonia Perez quadruple threats her way through the show; singing, dancing, acting and playing instruments. Foster Johns coached dialects for this well received regional premiere.
September 12th - October 21st, 2018
The Ritz Theater, Minneapolis
$34-51 | Tickets
at Gremlin Theatre
Gremlin Theatre is proud to present one of the most famous thrillers of all time, staged in the up-close and intimate style of our new thrust theatre. Dial M for Murder is indeed a psychological game of cat and mouse; and of life and death.
Emily Dussault is 'characteristically superb' (Jay Gabler, City Pages) in this classic thriller.
September 7th - 30th, 2018
Gremlin Theater, St. Paul
Anyone under 30: pay half your age
at Frank Theatre
THE VISIT, by Swiss playwright Friedrich Durrenmatt, is the most well-known play by one of the most important playwrights since the Second World War. Set in a small town that is in a deep economic depression, the townspeople await the visit of Claire Zachanassian, who was driven out of town as a young girl years ago because she was pregnant. Now the wealthiest person in the world who has just married her 8th husband, she returns to a town that desperately hopes her millions will save them. She, however, has a different agenda, returning with the mission to buy justice: she will offer the town her fortune in exchange for the life of the man who not only spurned her but rigged the public trial against her.
Allison Witham joins the cast which also features a handful of friends of the Collective
Minnesota Transportation Museum, St. Paul
2018 Twin Cities horror Festival
The Twin Cities Horror Festival returns for its seventh season of horror based-theatricals.
This year Leslie Vincent joins friend of the Collective Keith Hovis in creating a new song cycle about serial killers entitled A Morbid History of Sons and Daughters.
While Nissa Nordland goes behind the scenes to stage manage Dangerous Productions' Home.
We've produced at the horror festival in the past and it is always equal parts entertaining and chilling--perfect for late October.
October 25th - November 4th, 2018
The Southern Theater, Minneapolis
$15 per show | All Access Pass on sale now
See you under the umbrella!
The Best Part of It All by Laura
A Glimpse Into the Final Throes of the Night of New Works Process
Taz Song'ony and Marcela Michelle-Mobama rehearse SPOOK. // Photo credit: Alana Horton
On a rainy summer night - in a too warm room - twenty five artists gathered together to share ideas and space. TWENTY FIVE. There was sharing and checking in, there was movement and gesture, there was dialogue and essay, there was laughter and moments so disturbing we shook, there was questioning and debating, there were opinions and truths. We talked about what comprises America, how we deal with trauma, how we define "normal," how we talk about sex, how ghosts live with us, Twister and lost needles, phone calls and paranoia, flashlights, aluminum foil, a Rubik's cube, and so much more.
It was a beautiful - if sweaty - night. It was a lovely alchemy of artists all working and learning together. It was intimate and vulnerable and loud and challenging. Anxious, jittery, moment-before-the-storm electricity flowed through us all.
And the best part of it all? We're inviting you in.
The cast of FRIGID rehearses. // Photo credit: Alana Horton
For three nights only THIS week - Monday, Tuesday, and Wednesday - we will gather at the intimate and yet loud Bryant-Lake Bowl and share with our audiences all the work and growth and learning that has been this Night of New Works process. We're excited - and nervous! - for the final component of the workshop process to arrive - and that's our time with you.
Join us and be a part of the conversation. We can't wait to see you there.
GET TICKETS>>>
The cast of FOILED shares a moment. // Photo credit: Alana Horton
Spotlight on New Work: The Ensemble
Creating new works involves great risks and even greater amounts of trust. A Team Lead fosters their ideas through the creative expression of the ensemble. In today's spotlight, Umbrella Collective focuses on the ensemble. We asked a member from each cast to provide their perspective on the process from the new work in which they're collaborating.
Night of New Works is less than a week away. We are excited to reveal what's been brewing in the rehearsal room. Have you reserved your tickets?
Kat Purcell from the Ensemble of Spook
What about this piece and/or process is important and/or exciting to you?
As a white artist, I am deeply humbled to be trusted and invited into the rehearsal room and on stage for this project. I'm excited to support the work of Ricardo, Suzanne, and the ensemble, and to learn and grow from that process.
What are you most excited about for the public works-in-progress showings?
I am excited to see in what way Umbrella Collective formats feedback sessions, to see how that shapes audience response and what it can accomplish for both audience and artists.
How would you describe SPOOK in three words?
Arresting, Sensory, Contemplative
Read an interview with the Team Leads of SPOOK
KJER WHITING From the Ensemble of Frigid
I think it's exciting to be able to approach the ages old concept of frigidity through a modern lens. The concept has barely changed in the cultural eye, while the science of the day has evolved throughout time. Putting a queer spin on it is important to me personally.
I am most excited to see how the people who choose to come explore these new works with us will critique the three projects.These are not completed scripts, and the input will be extremely beneficial to the creators.
How would you describe FRIGID in three words?
Average American experience.
Read an interview with FRIGID's Team Lead
ERIKA KUHN From the Ensemble of FOILED
This devising process has been super exciting because it's combined a beautiful medley of writing, improvisation, and honest conversations between the creators. I find devising produces stunningly vulnerable and earnest art; everyone has brought so much of themselves to make this story, and I'm so excited to share it.
I'm most excited to see what gets people reacting, or what makes people feel most. From the inside it's easy to miss what moments are the funniest, or most tender; sharing these pieces shows us what works.
How would you describe FOILED in three words?
Heartfelt, refreshing, paranoid.
Read an interview with the Team Leads of FOILED
Night of New Works
Experience three new works created by Beth Ann Powers, Ricardo Beaird, Suzanne Victoria Cross, Jex Arzayus, Sabrina Crews, and Steven Michael Hall. All three pieces performed each night.
September 10 - 12, 2018 at 7:30 PM
Bryant Lake Bowl & Theater
810 W Lake St, Minneapolis, MN 55408
Sliding Scale Tickets: $5 - $20
Spotlight on New Work: SPOOK
In the rehearsal room with SPOOK
Night of New Works can spark conversations that an ensemble or audience wouldn't have had otherwise. In our final team lead spotlight, we talk with Suzanne Victoria Cross and Ricardo Beaird. They both co-lead the new work SPOOK, premiering September 10th - 12th at the Bryant Lake Bowl.
What are the main themes and/or questions you are exploring in SPOOK? Why are they important to talk about through art right now?
Ancestral pain and trauma courses through our veins and aches in our bones. This pain manifest in ways not yet known or deemed appropriate for public expression. It is important to us that this pain and process is explored. This ghost story aims to explore how one seamstress is able to adapt, assimilate, and cope with the trauma of anti-blackness and simply living as a black woman.
A few more questions, we wanted to explore: In what manner does one grieve when their loss might not be acknowledged? Why are black folx left out of the horror genre when our history is a literal American Horror Story?
What is one thing in your process so far that has surprised you?
During one of our first rehearsals, we did a talking circle where we opened space for the ensemble to express anything that was bubbling up for them that day. So many themes and situations that they brought up mirrored the themes and situations we wanted to explore in the text. This is before we laid out any of the questions we wanted to address to the ensemble. It was incredible!
If your show was a cocktail or beverage, what would it be?
A Hot Toddy! A medicinal beverage that carries a vice. Comforting and biting.
Spotlight on New Work: FRIGID
Beth Ann Powers leads FRIGID
From FOILED to FRIGID. In the second of our series of spotlights, we drop-in with Project Lead Beth Ann Powers and ask about the new work, FRIGID. If these interviews peak your interest even the slightest then you're encouraged to join us as we put inspiration to action at Night of New Works, Sept 10th- 12th. Here's Beth Ann:
What are the main themes and/or questions you are exploring with FRIGID? Why are they important to talk about through art right now?
Who are the writers of our stories? What do we do when the only narratives we have of our own history are authored by others? Do we discard them? Do we reclaim them? And can we afford to get rid of them when they are often times all we have? FRIGID is an attempt to explore these questions by taking the reclamation path. It's not so much a history as it is a re-telling of a re-telling of a history. It is the story of the Frigid person as told by the Medical Man as told by the Frigid person. It is a group of people telling their version, not of who they are, but who they have been told they are, and then making the decision to find their own definitions, identities, and labels. This may or may not be the right choice when it comes to dealing with these narratives, but the only way to find out is to try.
In the FRIGID rehearsal room
What is one thing in your process so far that surprised you?
Apparently we are still learning the same lessons about love that we were in 1920. I think that I expected this to some extent but it has been quite a journey uncovering all the different ways that, while we are using different language, we are very much having the same conversations about communication, education, and fear as it applies to sex, gender, and relationships today as we were back then.
You know I tried really hard to come up with a joke about some kind of frozen cocktail to go with the title FRIGID but I came up short. I think I'm gonna go with an old fashioned because it sounds pretty classic but there are a million variations of it and you can kind of go with your own unique twist on it that works for you - just like love! Also it sounds old and we are talking about old stuff in this show so there you go.
Spotlight On New Work: FOILED
The ensemble of FOILED
Hey, what are all these new works about? As Umbrella Collective counts down to Night of New Works 2018, let's get to know a little about each project. First up, FOILED, lead by Jex Arzayus, Sabrina Crews, and Steven Michael Hall. We asked the team three questions and all three leads responded with their perspective.
What are the main themes and/or questions you are exploring? Why are they important to talk about through art right now?
SC: On the surface, FOILED's a dark comedy about a young humanitarian who gets consumed and vanquished by paranoia. On a deeper level, at least to me, it's about flawed, peculiar people connecting in extraordinary ways, but ultimately failing to understand each other. We've got a dynamic cast of complicated personalities that makes it easy to present this disorienting and timely narrative. As for themes... Well, there's a sort of hysteria surrounding millennials in our culture that's been hard to escape for a while now, and we have a lot of fun toying with the stereotypes perpetuated by pop psychologists, various media outlets and... well basically anyone who isn't a millennial. We also examine fringe theory, specifically the way conspiracy theorists are perceived by society, and whether that perception's still valid, given our dystopic, post-truth climate.
JA: (I think) it's important because we are in a state of distrust in our country now.
SC: I'd never devised before. Rehearsals were essentially a series of exercises, and I wondered how integral they'd be to the actual script. Turns out the exercises had an enormous impact. So much of what we developed together as an ensemble is reflected in the play; this is a true collaborative effort.
JA: One process that surprised me was how amazing our cast was at capturing their characters and life-like they brought the story.
SH: Through the devising process our talented ensemble brought our ideas and their characters to life. I was surprised every rehearsal by the wealth of content that was being generated.
SC: Wild Turkey cocktail with a twist
JA: I think we should be a viente soy latte with an extra pump of vanilla from Starbucks
SH: Four Loko (original recipe)
Get Tickets >>>
What's the deal with workshops?
Night of New Works is coming up next month! You might be wondering: what's it gonna be like?
Here under the umbrella, we believe together is better, and we live out this value in every step of our process — with our artists and with our audiences. We truly believe that our audience members are our valued collaborators. That's why we invite you in to experience the messy parts of new play making — the first drafts, the unfinished movement sequences, the big ideas. We want to show you something before it's finished because we want you to have a voice in the process.
We know that when you see a play — whether it's a brand new work or an adaptation of Shakespeare on-the-moon-recited-in-pig-latin — you walk out the door with all sorts of questions, thoughts, and ideas. Well this time... we don't want you to walk out the door with them! We want to know what they are. (No, seriously, we're really going to listen to your ideas!)
Our audience conversations are not your usual talkback. It's not about talking to the actors, creators, or directors — though there is always time afterwards for that kind of thing! We want to know what you think, so we ask you the questions to get those wheels turning:
What moments were most memorable to you?
Which characters or themes resonated most with you?
What are you excited to see more of?
What are you interested in seeing differently?
Were there elements that surprised you?
The goal is to invite the most interesting, resonant, delightful, and/or important elements to bubble to the surface to help us shape the next steps of the piece. (AND... something you suggest might make its way into a full production of the play — who knows!) Your answers also give us a lot to think about as we continue to make work that inspires vital conversation in the future.
We also want to stress that our audience conversations are extrovert and introvert-friendly. We invite you to participate in whatever ways are most comfortable to you. We always start out by saying silence is okay because thinking and processing time are important. If speaking up in a group of people is totally not your thing, we welcome you to listen and provide feedback on the surveys we provide. You can also always email us at hello@umbrellaco.org if you have another burning question or brilliant thought after you leave the workshop!
You might be thinking — but, I won't have any good ideas! To that we say: #1. we think you're wrong and you have lots of very creative questions and ideas, and #2. we think even the most "Minnesotan" audience member will be surprised by their own courage to share. Join us and see for yourself!
All of this is to say that when you attend any evening of Night of New Works in September, you'll be treated to three brand new works-in-progress that need your creativity and support. They will be fresh, raw, and rough-around-the-edges by design, and we can't wait to add your voice to the mix.
As Rachel Teagle of MN Playlist said last year:
"If making a play is like cooking a meal, the Night of New Works was like having the chef offer you a tasting spoon. Some flavors aren't fully developed, maybe something could use a bit more mixing, but you really get a sense of what these works could be when they're done simmering. And I'm hungry for more."
Come hungry for some new work and conversation. See you under the umbrella!
Experience three new works created by Beth Ann Powers, Ricardo Beaird, Suzanne Cross, Jex Arzayus, Sabrina Crews, and Steven Michael Hall. All three pieces performed each night.
GET TICKETS > > >

redpajama_set_name: RedPajamaCommonCrawl


We make this for football tailgates a lot- always a crowd pleaser! We usually make it several days ahead of time -to get it to freeze. Then take it in a thermos. Be prepared to share, or hide it!
We decrese the sugar to just over 1 cup, then add mandarin oranges and cherries cut in half. It adds alot to the drink!


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"The Route of All Evil" is the twelfth episode of the third production season of the American animated television series Futurama, and the 44th episode of the series overall. It originally aired on the Fox network in the United States on December 8, 2002. In the episode, Dwight and Cubert form their own delivery company in an attempt to impress their fathers.

Plot
Having been suspended from school for salting the bully Bret Blob (who appears to have the same weakness as slugs), Dwight and Cubert find themselves stuck with their fathers. After the boys send the Planet Express crew on a fake mission to deliver pizza to a nonexistent planet and generally annoy the staff, their fathers order them to get jobs. They decide to start up a company to rival Planet Express: a paper route. They become so successful that they take over Planet Express when it is discovered that the Professor was declared legally dead three years ago (he was really taking a nap in a ditch in the park). The name of the company is then changed to the name of the boys' delivery route, 'Awesome Express'. Humiliated, Hermes and the Professor leave Planet Express. Meanwhile, Fry, Leela and Bender brew beer inside Bender, then they treat Bender like an expectant mom.

Dwight and Cubert end up taking on too many customers and cannot deliver the papers. In a panic, they run to Hermes and the Professor to solve the problem.  All the papers are successfully delivered; however, as they pass Bret Blob's house the boys admit that they broke his window last week. Hermes and the Professor take the boys to apologize. When Mr. Blob does not accept the apology and insults them, the boys' fathers take offense and start a fight. Blob beats them up, but later apologizes in the hospital. Bender comes in with his beers to enjoy, and everything ends happily except for Cubert and Dwight who are swallowed by Bret Blob.

Cultural references
 While Bender, Leela and Fry are buying beer near the beginning of the episode, one brand is called Klein's and is in a Klein bottle. One other brand on the shelf is St. Pauli's Exclusion Principle. The brand "Pabst Blue Robot" is a parody on the brand Pabst Blue Ribbon.
 When Dwight and Cubert deliver the paper the first time round, they also deliver one to The Little Prince. He even yells "Au Revoir", after he is shot off his planet by Hermes in the end, referencing to the French origin of the novella.
When Dwight and Cubert are being chased by the dog over the asteroid, an Exogorth comes up from the hole in the asteroid and eats the dog. This is a parody of the Exogorth trying to eat the Millennium Falcon in The Empire Strikes Back.
 Bender's naming ideas for his beer, "Benderbrau" and "Botweiser" are both parodies on the popular alcoholic brands Baderbräu and Budweiser respectively.

Broadcast and reception
In its initial airing, the episode received a Nielsen rating of 2.6/4, placing it 97th among primetime shows for the week of December 2–8, 2002.

References

External links

The Route of All Evil at The Infosphere.

Futurama (season 3) episodes
2002 American television episodes

redpajama_set_name: RedPajamaWikipedia


Oracle carpet cleaning Brisbane || How to pet urine from carpets?
When you have a pet, knowing how to clean pet urine is important. When you have a cat, knowing how to clean cat urine is important. Similarly, any kind of pets you have may have an accident at some point in your home so knowing how to clean pet urine will save you alot of headache. Pets can urinate all over the place, on anything if not trained. You should know how to clean pet urine in general and also how to clean pet urine on specific hard to clean items such as how to clean pet urine on feather duvet or how to clean pet urine from concrete.
The key to how to clean pet urine is to clean as soon as possible. The longer you leave pet urine unclean, the more the urine stain will be permanent and the odors long lasting as it may decolorize your furniture.
Pet urine is hard to clean on some surface more than others. Pet urine on carpet or fabric is hard to clean because it can cause the dyes to bleed and fibers to deteriorate. So, how do you clean pet urine?
The first thing to do is to absorb as much of the pet urine as possible using white cloths or paper towels.
Then blot the pet urine area with a white towel soaked in a solution of 1 teaspoon neutral white or colorless dish washing liquid or detergent in 1 cup of lukewarm water.
Then soak the pet urine area up with clean towel.
Then blot the pet urine area again with a solution of white vinegar and twice the amount of water. Then soak up with the towel.
Then cover up the area and allow to dry.
This is one way of how to clean pet urine. There are other ways to clean pet urine. Some, we will be discussing in another section.
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AMP Capital proudly presented the Telstra Perth Fashion Festival's 20th Anniversary Opening Night, Industry Forum, AJE standalone runway and more.
Before the festivities of Opening Night, Romance Was Born duo Luke Sales and Anna Plunkett flew into HATCH at Garden City on Monday morning to promote their latest creative endeavour and first publication, A Love Story with Fashion. Diehard Romance Was Born fans and inquisitive shoppers alike joined the dynamic duo as they welcomed and interacted with their fans, signing copies of their books with the help of retail partner Dymocks Garden City.
Later, on Monday evening, the curtain lifted on its 20th anniversary, Telstra Perth Fashion Festival launched with a dynamic display of Australia's top designers. From the intelligent sensuality of Dion Lee, to the cosmic disco vibe of Romance Was Born; the modern elegance of Scanlan Theodore to the contemporary versatility of Viktoria & Woods; the effortless tailoring of Morrison to the fluid drapery of One Fell Swoop – two of WA's own trendsetters – a showcase that demonstrated why Australia is helping shape global style trends thanks to these boundary-pushing designers.
AMP Capital was proud to present these iconic Australian designers in the stunning runway display on Opening Night, with the Perth city skyline as the backdrop. Managing Director of AMP Capital Shopping Centres, Mark Kirkland welcomed the sold-out crowd of over 700 local and interstate designers, influencers and fashion lovers alike.
TPFF Opening Night Highlights. Image Credits: Stefan Gosatti Photography, Telstra Perth Fashion Festival 2018.
Following the spectacle of the Opening Night runway, AMP Capital transformed the Camfield into a lush, tranquil oasis to host 85 VIP guests at an exclusive Networking Supper. The WA project leasing team were able to engage with some of the Festival's star designers, media personalities, fashion retailers and more. Guests were treated to experiential cocktails curated by Sweet and Chilli's Andy McIntyre, freshly shucked oysters, abundant grazing tables designed by Tiffany Keal, and desserts provided by WA's own Honeycake.
On Tuesday morning, Australian Fashion Industry tastemakers, innovators and disruptors discussed the business of fashion at the 2018 Telstra Perth Fashion Festival Industry Forum morning tea, presented by AMP Capital Shopping Centres. Facilitated by the formidable Editor at Large of Vogue Australia, Commentator of Channel 7 and news.com.au columnist, Melissa Hoyer, the conversation featured three prominent Australian keynote speakers in the creative fashion industry: Margie Woods (Viktoria & Woods), Adrian Norris (Aje) and Nikolina Ergic (One Fell Swoop). The morning's discussions charted market and consumer trends, manufacturing considerations and the Australian retail landscape, engaging panel and audience members alike.
Guests enjoyed a decadent high tea in true style at the brand-new QT Perth, curated by Daniel Romanin from One Fell Swoop, Marnee Rinaldi of Sugar & Nice and Executive Chef of QT Perth Nick Woods.
No one does effortless cool quite like Aje, and Tuesday night's standalone runway is no exception. The Australian label, which seamlessly spans the divide between urban and coastal styles with hand-loomed fabrics, hand-sewn embellishments and hand-painted prints, lends an artisanal feel to their garments. Featuring flawless florals on the runway, coupled with beautifully simplistic acoustic guitar and voice as the runway soundtrack, fashion lovers were inspired by the sustainable Aje Resort 18/19 collection which speaks to the rugged beauty of the Australian landscape. Inspired by prolific Australian artist Brett Whiteley and his wife and muse Wendy, designers Adrian Norris and Edwina Forrest presented a collection that is a beautiful fusion between art and fashion celebrating love, passion and teamwork.
AJE. Image Credits: Stefan Gosatti Photography, Telstra Perth Fashion Festival 2018.
AMP Capital teamed with their Garden City and Karrinyup teams to create an enviable, Instagram-worthy photo booth filled with bountiful spring-inspired florals, mirrors and lighting. The booth was located onsite at Fashion Paramount for the week of the Festival, allowing fashion goers a chance to share their best festival looks with the world, while the #AMPCapitalXTPFF opened Instagram posters a chance to win a $1,000 shopping spree at Garden City or Karrinyup Shopping Centres.


Ensure the implementation of all HR initiatives planned as part of Annual business HR strategy & Plan.
Driving employee engagement activities on floors and in various shifts ensuring increase in motivation & commitment for all employees.
Address concerns related to performance management, policies, compensation, benefits or any other related issue for employees to ensure satisfaction and promote employee involvement.
Regular audits of employment contracts and records of all employees.


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Best Of Fragile State | Chill | We're here to help you chill.
At last, The Best Of Fragile brings together all the must have moments. The finest hits, masterful music & the monumental mixes, lovingly compiled by Ben Mynott of Fragile State & beautifully re-mastered in crystal clear digital format. Phenomenally respected & so deeply admired Worldwide, with Top named DJ mixers clamouring to get the chance to remix the cool & gentle yet soaring & sophisticated sound of Fragile State, The Best Of Fragile State encapsulates the unique lush jazziness of their own brand of chilled chic with a seductively cheeky downbeat dance driven edge that can only be Fragile State. Fragile State still remain one of the World s top rated artists, despite no longer being together – making The Best Of Fragile State both a sublimely gorgeous listening experience and a high valued collectors set. With vinyl buyers willing to pay £800 for a copy of the now deleted 'Remixes/Classics', this is a must for all Fragile State followers, aswell as all genuine music lovers who know a truly classic album.


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Data Center Map
GTT Stockholm News
GTT sells Infrastructure Division for $2.15 Billion (Hibernia, KPN, Interoute)
Oct 16, 2020 | GTT
GTT has announced that it has signed an agreement to sell its Infrastructure division to I Squared Capital (ISQ) for $2.15 billion. GTT signaled plans to sell the infrastructure business last fall when it hired Credit Suisse Group and Goldman Sachs as financial advisors. It's expected that IS...
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After a few months of planning and preparatory works the European consortium broke ground and started the construction works of building the prototype of one of the worlds most efficient data center. The project funded by EU's innovation and research programme Horizon 2020 kicked-off in October 2...
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Saint Mary's upperclassmen flock to "Black and White Ball"
Gina Twardosz | Monday, December 3, 2018
Saint Mary's drew up to 700 students to the Hilton Garden Inn near campus Friday night for the College's junior and senior winter formal.
Junior Emily Beam, president of the Formal Committee, said in an email that the event was themed "Black and White Ball" because "everything looked so elegant and classy."
"We figured it would be easy to accomplish with a small budget and nice venue," she said. "[Junior] Grace [Kelly, senior] Sam [Schickel] and I just really wanted to do something original."
Beam said she oversaw all the decision-making and logistics that went into planning an event of this caliber.
"I started working with my vice presidents, Grace Kelly and Sam Schickel, at the end of last spring and we made it our goal to have the basic details of the dance already planned before meeting with our committee in the fall," Beam said. "We searched venues, thought of themes and picked out potential dates before starting school this year. All the other details and ideas came from our committee members."
Since this is one of the only formals Saint Mary's hosts, Beam said it was important to her to make the event work for everyone.
"Personally, I feel a lot of pressure to try and make this event perfect since it's one of the events that our student body looks forward to all year," she said. "We had enough help from administration, our underclassmen committee members and chaperones so that there wasn't too much work that needed done during the dance."
During the ticket sales for the formal in October, students believed the event was open to all Saint Mary's students, not just upperclassmen. Beam said this was because she was told that the committee was required to plan one big formal for the entire school.
"After a lot discussion, we got the approval from administration to have two formals in order to give more students the opportunity to attend the dance," she said.
As a result, Saint Mary's underclassmen will have the opportunity to attend their own formal in the spring.
Though it was meant to make the events more inclusive, some students expressed disappointment with the scheduling change.
Sophomore Jo Ward said she will not get the opportunity to attend her formal now since she will be studying abroad next semester.
"I was a little upset since [my girlfriend and I] are both going to be abroad next semester and we won't be able to attend this year's underclassmen formal," she said. "Especially since they had the date in place for a little while, so when they changed it I was taken aback."
Ticket sales sold out quickly — students who did not purchase their tickets immediately after they went on sale did not receive one. However, Beam said she feels everyone who wanted a ticket eventually got one.
"Tickets always sell out quickly," Beam said. "We have an allotted number that we're allowed to sell due to fire codes and room capacity of the venue. This year we sold roughly 700 tickets — by 5 p.m. on the first day of ticket sales, I think we sold 487 tickets. We always allow girls to return their tickets and when tickets are returned, someone else can buy them. I think the majority of people who wanted to go got tickets and were able to attend the event."
Junior Kirsten Sherman said although she had fun at formal, she felt like the theme fell short.
"No one actually wore black and white, and the space didn't play to the theme," she said.
Rumors have spread that this will be the last year Saint Mary's hosts a formal or formals, but Beam said those comments are unfounded.
"There's always rumors that this will be 'the last' Saint Mary's formal," she said. "The reality of it is that it's up to the student body. If we want to keep having this dance year after year, it's important that we be respectful and follow the rules put in place by administration."
From a student perspective, Beam said she loves formal because it is a special night she gets to celebrate with her friends. From an event-planning perspective, she said formal is a way to see her hard work come to life.
Beam said Saint Mary's formal is a tradition that should be respected so that future generations can enjoy the event as well.
"I think this dance went way better than we were anticipating, so now it's really up to the underclassmen to present themselves in a proper manner so that the tradition can continue," she said.
Tags: Black and White Ball, Dance, Formal, Saint Mary's winter formal
About Gina Twardosz
Gina Twardosz is a senior English Writing and Communication Studies double major at Saint Mary's College. She's the co-editor of the Investigative Unit, a Saint Mary's social media liaison, and she occasionally writes for SMC News and Scene. Gina is a tried and true Midwesterner and yes, she does say "ope" often.
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Page last updated at 04:49 UTC, Saturday, 10 December 2011 PH
Since Steve Jobs died, there has been an avalanche of testimonials to his remarkable and well-lived life. There have also been a few uncomplimentary comments about his bad temper and callous manner of treating employees. In fact, his manifest human weaknesses, with which every one of us (not excepting the so-called "saints") is abundantly endowed, actually make his greatness stand out even more. No one is born a saint. One has to struggle throughout one's whole life to overcome human weaknesses to become a truly great man.
Much of the commentaries that have appeared in the international press have been inspired by the commencement address that Steve Jobs gave to the Stanford University Class of 2005. In that well-circulated speech, Steve recounted three personal stories and his advocacy of "following your heart and doing what you love to do." Among the three stories, the last two have received the most attention. The second had to do with the providential outcome of his being fired from the company he founded when he was 30 years old. A series of events led to his founding NeXT, his falling with love with his future wife and his establishing Pixar that created the world's first computer animated feature film, Toy Story and now the most successful animation studio in the world. The third personal story was the most written about: it foreshadowed his death. One of the most quotable phrases in that portion of his speech was "If you live each day as if it was your last, someday you'll most certainly be right."
Not enough, I believe, has been written about his first personal story: he called it "connecting the dots." He recounted how the "chance" events in his early life led to very happy consequences in his later life. In his words: "Again, you can't connect the dots looking forward; you can only connect the dots looking backwards. So you have to trust that the dots will somehow connect in your future. You have to trust in something--your gut, destiny, life, karma, whatever. This approach has never let me down, and it has made all the difference in my life."
He was speaking as a buddhist. Buddhism contains a great deal of truth that coincides with my own faith, Christianity. What he calls destiny, karma, I call Divine Providence. Everything that happens in the life of a human being is a result of the providence of a loving Father who can only wish the greatest good to his children. It is a Christian belief that everything that happens to each one of us is for our good, even those events and happening we call tragedies, trials and tribulations. Everything works unto good to those who love God. That is the teaching of St. Paul. Let me then reinterpret Steve's narration of his early life in the light of Divine Providence.
It was Divine Providence that made sure that he would not be aborted by his biological mother, who in his words was "a young, unwed college graduate student," and "who decided to put me up for adoption." Unwanted pregnancies need not and should not lead to abortion. Adoption is always a solution. Thanks to this providential happening, we had a genius like Steve Jobs who did much good in his relatively short life. After he was offered for adoption, it was also providential that the first ones who expressed interest in adopting him were a lawyer and his wife, presumably people of financial means. But the couple wanted a girl so Steve ended up with another couple of more modest means who were able to convince Steve's biological mother to sign the papers of adoption when they promised to send Steve to college.
When Steve reached the age of 17, he went to an expensive college. When he realized that all of the savings of his working-class parents were being spent on his college tuition, his noble heart told him it was not worth it and so he decided to drop out and "trust that it would all work out OK." That is another way of saying that he put himself in the hands of the providence of God. After dropping from college, he had to struggle to continue getting some kind of informal, non-degree education. In his own words, "I didn't have a dorm room, so I slept on the floor in friends' rooms. I returned coke bottles for the 5 cents deposits to buy food with, and I would walk the 7 miles across town every Sunday night to get one good meal a week at the Hare krishna temple. I loved it. And much of what I stumbled into by following my curiosity and intuition turned out to be priceless later on."
The example he gave should inspire many Filipino high school graduates who are not cut out for or cannot afford a college education. He decided to audit a course at Reed College on calligraphy. There he learned about serif and san serif typefaces, about varying the amount of space between different letter combinations, etc. Now that I am a Mac user, I can see how providential that course on calligraphy was: Mac is the first computer with beautiful typography. If Steve had never dropped in on that single course in college, the Mac would have never had multiple typefaces or proportionally spaced fonts. And as Steve remarked, tongue in cheek, in his Stanford commencement address, "since Windows just copied the Mac, it's likely that no personal computer would have them." Everything works unto good to the one who loves God. As he said, "If I had never dropped out, I would have never dropped in on this calligraphy class, and personal computers might not have the wonderful typography that they do." In his commencement address, Steve was connecting the dots that only God saw when he was still in his teens.
Let me end with a very practical advice to those who are seventeen or eighteen and looking ahead to their future careers. Think of manual skills that you are attracted to: mechanics, carpentry, sculpting, calligraphy, photography, cooking, gardening, whatever. If you don't want to go to college, follow your heart, not your parents who are usually biased against manual work and think that a college diploma is the end all and be all of professional success. The industrialization and agricultural development of the Philippines in the next twenty years will need numerous workers with technical skills that are better developed in vocational or technical schools rather than the universities. For comments, my email address is bernardo.villegas@uap.asia.


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Google Home Proves It Is Better Than Amazon Alexa in 3,000 Question Test
A test conducted by a digital agency showed that Goggle Home is six times better than Amazon Alexa in answering 3,000 questions.
Cortana Is Now Ready To Replace Google Assistant On Your Android Phone
To those who would like to give the app a try, the latest version of Cortana for Android can be downloaded from Google Play. To those who already have the app installed, expect the update to arrive any time now.
Andy Rubin To Create Amazon Echo's Rival
Andy Rubin announced his company's version of the Amazon Echo and Google Home -- the Essential Home.
This Unique Feature Of HTC U11 Is A Game-changer
The experience of squeezing the phone is a little unsettling at first and definitely takes some getting used to. The phone doesn't actually flex when you do this, the metal sides have pressure sensors that controls it.
Google I/O 2017: All Exciting Things You Need To Know
Google has announced a number of new and improved innovations at their recently concluded Google I/O annual developer conference.
Amazon Echo vs Google Home: The Battle Continues
The Amazon Echo and Google Home are at it again.
Amazon's Alexa Can Now Talk Like A Real Assistant With Its New Abilities
Alexa now supports Speech Synthesis Markup Language (SSML), which allows developers to control the tone, timing, and emotion of its voice. With this update, Alexa will whisper, emphasize, and even bleep inappropriate words if the developer chooses.
Go Ahead, Talk To Your Mercedes-Benz Through Alexa Or Google Home
Mercedes-Benz owners can now talk to their cars via Alexa and Google Assistant.
Samsung Removed The Ability To Customize Galaxy S8's Bixby Button
Philip Berne, head of the reviews program at Samsung U.S.A, has confirmed on Twitter that Samsung has indeed pulled the plug on the ability to remap the Bixby button.
Google Assistant Rolled Out, Might Take Weeks To Hit Android Phones
Google has made its official announcement onThursday that the Google Assistant will be rolled out. However, it seems that it may take a few weeks to come.
Google Assistant Is Available In More Android Devices Today
The Google Assistant is now made available to handsets running on Android Marshmallow and Nougat. Simply by updating Google Play Services, you will have it.
Google Home Is Finally Arriving To The U.K.
At the 2017 Mobile World Congress, Google has confirmed that Google Home will be hitting the U.K. market by end of June this year.
Google Announces Assistant To Be Made Available In Android Marshmallow And Nougat
The Google Assistant will be made available to Android Marshmallow and Nougat. The first roll out will come to the U.S. this week following other English speaking places as well.
Google Assistant Is Coming To More Android Devices
Google assistant´s availability for many Android devices represents a major threat to Apple and poses a major strategy of the search giant to make more people uses its voice assistant.
Siri, Google Assistant & Alexa AI Battle: Why Apple Refuses To Join Smartspeaker Trend
The Cupertino-based tech giant is not making the production of a smart speaker its priority, unlike some of its biggest competitions, namely Google and Amazon. Apple has another plan in place.


A beverage shrink sleeve is a great way to add visual interest, especially when it has cleverly placed cutouts to show off product contents. This 5.3125″ x 8.1496″ shrink sleeve label printed on PETG film with 4 color process inks (CMYK = cyan, magenta, yellow, and 'key' black) and several spot color inks to match Pantone colors.
Make your beverage products stand out with shrink sleeves that wrap around the bottle with 360-degree graphics coverage. They're more than a pretty face though – they're resistant to moisture, friction, and abrasion. Applying shrink sleeves, however, requires mechanical shrinking equipment to shrink the sleeve onto the container. We recommend that you or your co-packer use a steam tunnel because it uses less energy to run than other types of tunnels, produces better results, and is easier to configure.


Round strands coil sumptuously with smooth sauces – especially tomato with herbs that cling to the strands as it's twirled around a fork. Elegant thin varieties complement brothy soups while thicker lengths partner well with heavier sauces.
Ribbon-like strands – from wide to narrow – were the first pasta shapes created since they were easily cut by hand from flat sheets of pasta dough. This shape is very versatile and is suitable for a wide range of sauces from seafood, such as clam sauce, to hearty meat sauces like Bolognese and carbonara, as well as creamy sauces like Alfredo.
Perfect for both simple and more refined sauces, these shapes are frequently used in pasta salads with oil-based dressing or pesto. Their crevices are ideal for collecting vegetables, herbs and spices.
These open-fringed, elegant varieties are ideal for serving with dairy-based sauces like béchamel, chunky meat ragus or even tomato-cream sauces like vodka sauce.
These thicker-shaped pastas pair well with full-flavored sauces. Served hot, their contours are made to hold hearty meat sauces and sauces with chunky ingredients like peas or capers. Ridges, known as rigate, and angular-cut ends offer intriguing texture when served cold in pasta salads.
Delicate, compact shapes just right for scooping onto a spoon. These tiniest of shapes are used in soups and broth dishes.
Filled with cheese, spinach, vegetables or meat, large hollow pasta shapes partner well with tomato or cream sauce in baked casseroles.


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Cover Artists, Staff, Male Staff Members,
American Staff Members
American comics artists
American Roman Catholics
Will Eisner Award Hall of Fame inductees
Persondata templates without short description parameter
Graham Ingels
Cincinnati, Ohio, United States of America
First publication
Graham J. Ingels (June 7, 1915 – April 4, 1991) was a comic book and magazine illustrator best known for his work in EC Comics during the 1950s, notably on The Haunt of Fear and Tales from the Crypt, horror titles written and edited by Al Feldstein, and The Vault of Horror, written and edited by Feldstein and Johnny Craig. Ingels' flair for horror led EC to promote him as Ghastly Graham Ingels, and he began signing his work Ghastly in 1952.
Pulp illustrator
Born in Cincinnati, Ingels began working at age 14 after the death of his father, commercial artist Don Ingels, Graham was 16 when he entered the art field drawing theater displays. He studied at New York's Hawthorne School of Art.
Graham and Gertrude Ingels married when he was starting as a freelancer at age 20. He entered the Navy in 1943, and he began working that same year for Fiction House Publications, both in their pulp magazines and their comic book division. Black and white illustrations signed G. Ingels appeared in Planet Stories, Jungle Stories, North-West Romances and Wings. He contributed one painted cover to a 1944 issue of Planet Stories as well. For Planet Comics, he illustrated stories in the "Hunt Bowman" series and the "Aura, Lord of Jupiter" series.[1] He also painted a mural at the United Nations building.[2]
The Ingels had two children, Deanna (born 1937) and Robby (born 1946), who was named after a character created by child impersonator Lenore Ledoux for the Baby Snooks radio program. Artist Howard Nostrand, a friend of Ingels, recalled:
Robby was short for Robespierre. The reason why they called him that was left over from the old Fanny Brice show, Baby Snooks. Baby Snooks had a little kid brother named Robespierre. They called him that when he was a little kid, and the name stuck.[3]
A regular in Planet Comics and Rangers Comics in the late 1940s, Ingels worked for Magazine Enterprises and other publishers of comic books and pulps. He became an art director at Better Publications (Ned Pine's Comics Group later known as Nedor), where he gave early comic book assignments to George Evans, with whom he would form a long friendship, and a young Frank Frazetta, who credited Ingels as the first in the business to recognize his talent. During this period, Ingels created covers and stories for the company's Startling Comics and Wonder Comics; these and other Better Publications comics reveal certain panels by other artists have been redrawn by Ingels to improve the artwork.
Ingels drew crime comics for Magazine Enterprises (Manhunt, Killers) and Westerns for a variety of companies, including Magazine Enterprises (Guns), Youthful Magazines (Gunsmoke), Hillman Periodicals (Western Fighters) and D.S. Publishing Co. (Outlaws). D.S. also published crime stories drawn by Ingels in Underworld, Gangsters Can't Win and Exposed. There were also short stories and one painted cover by Ingels in Dell Comics' Heroic Comics around 1947.
Graham Ingels' horror host, the Old Witch
In 1948, Ingels was hired by Al Feldstein, the editor of EC Comics, to provide artwork for their titles which included Gunfighter, Saddle Justice, Saddle Romances, War Against Crime, Modern Love and A Moon, A Girl... Romance. The company's Western and romance comics were later canceled or converted to horror and science-fiction titles. In Grant Geissman's Foul Play, Feldstein explained that Ingels' early work for EC was disappointing, but publisher Bill Gaines was fiercely loyal to everybody, which is why Ingels remained at the company.[4] When EC introduced Tales from the Crypt, The Vault of Horror and The Haunt of Fear, it soon became apparent to both Gaines and Feldstein that Ingels was an ideal choice as an illustrator of horror.[4]
Ingels' unique and expressive style was well-suited for the atmospheric depiction of Gothic horrors amid crumbling Victorian mansions in hellish landscapes populated by twisted characters, grotesque creatures and living corpses with rotting flesh. A trademark image was a character with a thread of saliva visible in a horrified open mouth.
As the lead artist for The Haunt of Fear, he brought to life the Old Witch, horror host of "The Witch's Cauldron" lead story, and he also did the cover for each issue from issue 11 through 28. A prolific artist, Ingels also drew the Old Witch's appearances in Tales from the Crypt and The Vault of Horror, plus stories for Shock SuspenStories and Crime SuspenStories. The Old Witch's origin story was told in "A Little Stranger" (The Haunt of Fear #14).
Because of his many "Witch's Cauldron" stories, he was strongly identified with the character of the Old Witch, an association that continues until the present day. Ingels' artwork on the eight-page lead stories, and his splash pages particularly on issues #14 and 17, set a new standard for horror illustration that have rarely been equaled. "Poetic Justice" in the 12th issue, was adapted for the 1972 Tales From the Crypt film from Amicus studios in England, with Peter Cushing as the kindly old junk collector, and Ingels' "Wish You Were Here" (The Haunt of Fear #22) was also adapted.
When EC cancelled its horror and crime comics, Ingels drew for EC's New Direction titles: Piracy, M.D., Impact and Valor. He later contributed to EC's short lived Picto-Fiction line.
After EC ceased publication in the mid-1950s, Ingels contributed to Classics Illustrated but otherwise found little work, as discussed by Nostrand in Foul Play: "He was kind of a sad case, because when the horror stuff went out, Graham went out with it. His forte was strictly doing horror comics, and there weren't any more horror comics being done".[5]
Ingels took a teaching position with the Famous Artists correspondence school in Westport, Connecticut. He later left the Northeast and became an art instructor in Lantana, Florida, refusing to acknowledge his work in horror comics until a few years before he died. Journalist Donald Vaughan documented Ingels' life in Florida:
His relationship with Gertrude became increasingly strained, possibly due to his heavy drinking, and apparently Ingels simply couldn't bear the life he was living. So in 1962, he quietly packed up and moved to Lantana, where he painted and taught fine art from his tiny home. Oddly, he never officially divorced Gertrude, probably because both were devout Catholics. Relations between Ingels and his children were painfully strained for decades, but he finally reconciled with Deanna in the mid-'80s with the help of George Evans, who had stayed in touch with the Ingels family. However, Ingels never reconciled with his son, Robby, who couldn't forgive his father for running out. It was a situation that hurt Ingels to the very end. In Florida, Ingels became extremely reclusive and went to great lengths to avoid any association with his comic-book past. Evans recalls an incident in which a couple of comic-book fans found out where Ingels was living and flew to Florida to meet him. "He refused to talk to them," says Evans, "and he told William Gaines to put out the word that if anyone bothered him that way again he would take legal action to stop it."... There's no question, however, that Ingels' life changed dramatically once he settled in South Florida, thanks in great part to a girlfriend named Dorothy Bennett. An artistic soul in her own right, Bennett handled the day-to-day aspects of Ingels' teaching business, cherished his artistic talent and encouraged his various endeavors. The couple lived next door to each other for years and finally moved in together.[2]
Awards and tributes
"Horror We? How's Bayou?" in issue #17 is considered by many EC's best illustrated horror story ever and perhaps the best by anyone in any era. The homicidal maniac's creepy visage was taken from a vintage movie still of the 1920 silent film, Dr. Jekyll and Mr. Hyde, starring John Barrymore. The art for this tale won an award as best EC horror art at the 1972 EC Fan-Addict Convention.
File:Grahamingels.jpg
↑ Grand Comics Database
↑ 2.0 2.1 Vaughan, Donald. "Graham Ingels Was A Gifted But Troubled Man Whose Ghastly Drawings Gave Comic-book Readers The Chills". Sun Sentinel, November 5, 1995.
↑ Stewart, Bhob. "Howard Nostrand Interview," Graphic Story Magazine, Summer 1974.
↑ 4.0 4.1 Foul Play. Harper Collins. 2005. p. 93.
↑ Foul Play. Harper Collins. 2005. p. 96.
Toonopedia: Tales from the Crypt and The Haunt of Fear
In 2004, the webcomic Is This Tomorrow? featured Ingels in its series of comic book trading cards.[1]
Started in 2011, the Ghastly Awards adopted their name from Ingels's non-de-plume. The award, which honors excellence in horror comics, is presented annually. Ghastly Graham Ingels was, of course, the first Hall of Fame inductee.
↑ Is This Tomorrow?
Name Ingels, Graham
Retrieved from "https://heykidscomics.fandom.com/wiki/Graham_Ingels?oldid=98540"
Male Staff Members


Directed by Playwrights Horizons founder, Bob Moss (Fiorello!, A Class Act), Mary Mott (Butter to the Edges) shares her funny, personal and poignant thoughts about the things we tend not to talk about. Like in her other shows, Mary is the friend you just want to sit on the couch and talk to. So come, and bring a friend...or two.


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BP AGENT TO TEXAS SENATE: 'TEXAS MUST TAKE AN AGGRESSIVE STANCE AGAINST CRIMINAL ORGANIZATIONS'
by BOB PRICE20 Apr 2015Austin, TX
AUSTIN, Texas – U.S. Border Patrol Agent Hector Garza testified before the Texas Senate Subcommittee on Border Security in support of creating a multi-state border security compact. Garza told the Senators that Texas must take an aggressive stance against the organizaed criminal enterprises that are smuggling thousands of illegal immigrants into the United States. The bill, SB 1252 by Senator Bob Hall (R-Edgewood), would require the Governor of Texas to negotiate an Interstate Border Security Compact to allow states to enforce federal immigration law.
Garza was in Austin representing the members of the National Border Patrol Council, Local 2455, where he serves as president. "I am here today to provide you a glimpse of what is really happening on the Texas/Mexico border," Garza told the committee attended by Breitbart Texas. "I will speak to you today about the federal government's failure to secure our border by not enforcing our immigration laws.
Agent Garza told the committee that the federal government has some of the "most restrictive prosecutorial guidelines for smuggling cases." He said that because of this, many cases of human smuggling are not prosecuted.
Members of the committee seemed shocked to learn that the U.S. Attorney's Office for the Southern District of Texas sets a threshold for prosecution whereby a smuggler must be transporting six or more illegal immigrants before they can be prosecuted.
Senator Hall said, "This seems like saying that if a bank robber steals less than $1,000 from a bank, we won't prosecute them."
Chairman Brian Birdwell (R-Granbury) asked Garza to repeat his testimony about the threshold because he wanted to make certain it was entered into the record. He seemed astounded by the order by the U.S. Attorney's Office to ignore the violations of the law.
Breitbart Texas has learned this policy varies from region to region and from time to time based upon how busy the local prosecutors are at the time. At one point last summer, Border Patrol agents in Falfurrias told Breitbart Texas their threshold was set at fifteen illegal immigrants. Consequently, agents have seen smugglers adopt the threshold as a limit on how many they smuggle in order to avoid prosecution.
Garza said that if a U.S. citizen is caught smuggling people at a level of five or less, they are simply released with no charges.
"They say that crime doesn't pay," Garza said, "but by failing to secure our borders, crime not only pays, it is reaping huge dividends to these smuggling organizations."
Senator Hall asked Agent Garza if the Border Patrol is catching a higher percentage of people crossing the border illegally. Garza replied that it is impossible to determine that because they don't know how many people are actually crossing. He also said that supervisors pressure agents to be conservative on how many people escape capture.
He explained that if a van carrying twenty immigrants is stopped and they take off into the woods, the agents will try to capture as many as possible. If they capture twelve of them, then eight escape. But, if they report eight as having escaped, supervisors will pressure them to report a smaller number unless they can prove it was exactly eight that escaped.
"The State of Texas needs to take an aggressive stance against these criminal organizations that are literally bringing in thousands and thousands of illegal aliens into our country," Garza concluded. "If the State of Texas does not act now, Texas will continue to be viewed as an easy entry point for alien smugglers because there is no fear of prosecution if caught."
The bill provides "that this state enacts the Interstate Compact for Border Security and enters into the compact with all other states legally joining in the compact in substantially a certain form." It sets forth the language to be used in the form and sets up fees and fines for offenses that might be derived as part of the compact. Breitbart Texas will provide additional coverage of SB 1252 in future articles.
Bob Price is a senior political news contributor for Breitbart Texas and a member of the original Breitbart Texas team. Follow him on Twitter @BobPriceBBTX and on Facebook.
NBPC LOCAL 2455 PRESIDENT HECTOR GARZA TESTIFIES BEFORE TEXAS SENATE SUBCOMMITTEE ON BORDER SECURITY
May 6, 2015 Membership Meeting at the Laredo Energy Arena


Andhra Pradesh Chief Minister N Chandrabab Naidu, key interlocutor among 21 opposition parties demanding verification of at least 50 per cent of polled votes against VVAPT slips, Monday alleged the Election Commission was functioning under the 'guidance' of Prime Minister Narendra Modi and the BJP.
Opposition parties on Sunday had held a meeting to discuss the issue of EVM malfunctioning and said they will approach the Supreme Court again to demand that at least 50 per cent of paper trails be verified with EVMs.
The Telugu Desam Party (TDP) chief also asked the people of Karnataka to vote in favor of the JD(S)- Congress coalition candidates in the coming Lok Sabha polls.
"Yesterday I met the Election Commission. All of you are here and I want to tell you one thing. This Election Commission is working under the guidance of Narendra Modi and BJP," Naidu said, addressing a public meeting in Mandyas Pandavapura.
Alleging that the independent functioning of all constitutional organisations is under threat,he said "We are all together to fight against EVMs...as of today EVMs are vulnerable."
Demanding verification of VVPAT paper trails of 50 per cent of the EVMs, he said "...we all suspect that the government of India and also the Election Commission of doing some fraud in VVPAT."
Naidu on Monday campaigned in Mandya,where Chief Minister H D Kumaraswamys son Nikhil is the joint candidate of the ruling JD(S)-Congress alliance.
Noting that this was a very important election for the nation and not just for Mandya or Karnataka alone, he said, "I'm appealing to all of you in Karnataka ...you have to vote for the JD(S)-Congress candidates.
Naidu alleged that the current Prime Minister was the least accountable one in the last 70 years.
"He never addressed one press conference...Democracy is in danger," he said, as he alleged that the CBI, Enforcement Directorate, Income Tax department, Reserve Bank of India, and the Election commission of India were being misused by Modi and BJP President Amit Shah.
"Has Narendra Modi done anything for Karnataka in the last five years? We are paying taxes, nothing has been done for our states...even for Andhra Pradesh and other South Indian states and several parts of the country," he said as he hit out at Modi on various issues, including theRafale deal.
Praising former Prime Minister H D Deve Gowda and Karnataka Chief Minister H D Kumaraswamy, Naidu asked people of Mandya to vote for Nikhil and defeat BJP in the state.
Interestingly, multi-lingual actress and widow of actor turned politician M H Ambareesh- Sumalatha, who is from Andra Pradesh and reportedly belongs to the Naidu community, is contesting as independent against Nikhil, for whom Naidu campaigned on Monday in the Vokkaliga bastion.
With an intention to avoid large-scale damage to JD(S) with splitting of Vokkaliga votes as both Nikhil and Sumalatha hail from the community, a campaign is on in Mandya to project her as an outsider, with several party leaders questioning her identity and stating that she is not a "Gowdthi" (not Vokkaliga), pointing at her Telugu background.