text:
Silent Sky
January 19–March 5 / 2023
January 31 Tuesday Tuesday Talkback 7:00 PM Buy Tickets
February 1 Wednesday 1:30 PM Buy Tickets
February 2 Thursday 7:30 PM Buy Tickets
February 4 Saturday 2:00 PM Buy Tickets
February 7 Tuesday 7:00 PM Buy Tickets
February 8 Wednesday IllumiNation 7:30 PM Buy Tickets
February 10 Friday 8:00 PM Buy Tickets
February 11 Saturday 8:00 PM Buy Tickets
February 18 Saturday Community Day 2:00 PM Buy Tickets
February 22 Wednesday 7:30 PM Buy Tickets
February 23 Thursday 1:30 PM Buy Tickets
March 1 Wednesday 1:30 PM Buy Tickets
March 2 Thursday 7:30 PM Buy Tickets
March 3 Friday 8:00 PM Buy Tickets
March 4 Saturday PlayDate available! 2:00 PM Buy Tickets
March 5 Sunday 2:00 PM Buy Tickets
By Lauren Gunderson
Directed by Seema Sueko
"A deeply moving and profound play, written by one of our greatest living playwrights" - BroadwayWorld
"Silent Sky tells the story of pioneering female astronomers with humor and warmth" - The Washington Post
At the turn of the 20th century, years before women had the right to vote, one woman's breakthrough changed our perception of the stars.
Full of wonder, humor, and heart, SILENT SKY is the remarkable true story of Henrietta Leavitt, one of the pioneering women astronomers working at Harvard Observatory in the early 1900s. You will be enthralled by the story of this extraordinary woman who took on the astronomy establishment in order to discover the mysteries embedded in the sky. Henrietta transcended the odds while navigating love, family, and the universe, going on to make a world-altering advancement to the field of astronomy that forever changed our view of the cosmos.
Written by one of today's leading playwrights, Lauren Gunderson, this mesmerizing drama is directed by Seema Sueko, who recently brought this work to life at Washington D.C.'s Ford's Theatre.
Recommended for general audiences.
Sarasota Herald-Tribune: Joyful 'Silent Sky' inspires pride and heartwarming spirit at Asolo Rep
Sarasota Magazine: Silent Sky Shines at Asolo Rep
Sarasota Herald-Tribune: Asolo Rep's 'Silent Sky' goes to the stars with groundbreaking female scientists
SCENE Magazine: For the Glory of the Skies: Asolo Rep Stages a Story of a Pioneering Female Astronomer
Inside Asolo Rep: Friday, Jan 20, 10:30a
OUT@ AsoloRep: Wednesday, Jan 25
Tuesday Talkbacks: Jan 31
IllumiNation: Wednesday, Feb 8, 7:30p
Community Day: Saturday, Feb 18, 2p
Starry Night Series: Monday, Feb 27
PlayDate: Saturday, March 4, 2p
KENDRA JO BROOK*, she/her
FIRST SEASON (Henrietta Leavitt) is a Montana native and NYC-based, HOH actor and musician. Jo is the founder of the all-female bluegrass collective The Snowy Mountain Sisters. Credits include Silent Sky (Barnstormers Theatre), October Sky (Universal Stages), The Goree All-Girl String Band (NYMF), Wild Fire (Denver Center), Big River (Alpine Theatre Project), and Bright Star (Barter Theatre). kendrajobrook.com
LISE BRUNEAU*
FIRST SEASON (Williamina Fleming) is making her Asolo Repertory Theatre debut, despite having been directed as Desdemona by Michael Donald Edwards one or two years ago at Shakespeare Santa Cruz. She currently lives in DC, where she appears at the Shakespeare Theatre, Arena Stage, and Studio Theatre, among others. She has played on Broadway and at regional theatres across the country. As a director, she's helmed productions of Measure for Measure, Savage in Limbo, Twelfth Night, and more. While continuing to cause trouble at DC's upstart Taffety Punk Theatre Co., Lise trained at RADA and hopes 15-year-old Percy can join her at Galaxy's Edge.
CHRISTIAN DOUGLASS, he/him
FIRST SEASON (Peter Shaw) is overjoyed to make his debut on the Mertz stage and is a third-year student at the FSU/Asolo Conservatory. Previous credits include Cinderella's Prince/Wolf in Into the Woods, Pharaoh/Jacob in Joseph and the Amazing Technicolor Dreamcoat, Glen in The Wedding Singer at The Bigfork Summer Playhouse. He enjoys long car rides and quick walks on the beach. Big thanks to Jolene, Mom, Dad, Ryan, Katelyn, and Aunt Rose.
SUZANNE GRODNER*, she/her
TENTH SEASON (Annie Cannon) is thrilled to be back at Asolo Rep, where past shows include Grand Horizons, The Plexiglass Slipper, Nunsense, Tartuffe, and How the Other Half Loves. Broadway credits include Beautiful, Bye Bye Birdie, and The Rose Tattoo. Off-Broadway credits include Old Jews Telling Jokes, Sarah/Sarah, Cakewalk, and Death-Defying Acts. National/Int'l Tours include Beautiful and Ken Hill's Phantom. Regional Theatre: Over 80 productions in over 45 theatres, including V&S&M&S (Cincinnati Playhouse), Jane Austen's Emma (The Old Globe), The Sisters Rosensweig (Indiana Rep), Ragtime (TheatreWorks), Becky Shaw (SF Playhouse), among many others. TV/Film includes Ray Donovan, Law & Order/SVU/CI, Ed, and Muck. For Alba.
ZOYA MARTIN, she/her
FIRST SEASON (Margaret Leavitt) is thrilled to be making her Asolo Rep debut! Some credits include Malvolio in Twelfth Night, Henrietta in The Learned Ladies, and Abby in Belleville. She graduated with a BFA from Azusa Pacific University in Pasadena, CA, and will be receiving her MFA this spring from the FSU/Asolo Conservatory for Actor Training. Zoya sends love and thanks to her incredibly supportive friends and family!
MACARIA CHAPARRO MARTINEZ, they/them
FIRST SEASON (u/s Annie Cannon) is about to conclude their final year at the FSU/Asolo Conservatory, and it has been an odyssey of an education! They love projects that are impactful and important as well as silly little works of fun. Favorite credits include Mrs. Lovett, Belise in The Learned Ladies, and Telemachus in Asolo Rep On Tour's Looking for Ithaca. Macaria also reps UC Irvine as well as Ventura College! Kindly, enjoy the show!
ELLE MILLER, she/her
FIRST SEASON (u/s Henrietta Leavitt) is absolutely thrilled to serve as an understudy on the Asolo Repertory Theatre stage as a first-year FSU/Asolo Conservatory student. Her recent credits include Marianne in Constellations at the Jacoby Arts Theatre in Alton, IL; co-facilitator and cast member in the Theatre for Anti-Racist Action Allegiance via Principia College; Kent in King Lear via the Globe Theatre Education Program; and Portia in The Merchant of Venice.
AYDA OZDOGANLAR, she/her
FIRST SEASON (u/s Margaret Leavitt) graduated from Carnegie Mellon University with a BS in Biology and a minor in Drama and is thrilled to start her first year as a student at the FSU/Asolo Conservatory. At Carnegie Mellon, she performed roles such as Sophie in Mamma Mia! (2019) and Amelia in The Summerland Project (2020). With an interest in vocal performance, she has sung with the National Association for Music Education's (NAfME) All-Eastern National Treble Choir and Pennsylvania All-State Choir.
PETER S. RAIMONDO, he/him
FIRST SEASON (u/s Peter Shaw) is a third-year student with the FSU/Asolo Conservatory. He is from Buffalo, NY, and holds a BFA in Theatre Performance from Niagara University. His Conservatory credits include Belleville (Zack), The Learned Ladies (Clitandre), Twelfth Night (Antonio), and Asolo Rep's BardWired: Much Ado About Nothing (u/s perf., Claudio). Peter is grateful for the love and support of his family and thrilled to be alongside his cohort, beginning their first season with Asolo Rep.
CLARE WARD, she/her
FIRST SEASON (u/s Williamina Fleming) is originally from Helena, MT, and is no stranger to Asolo Rep, as she was the Asolo Angel coordinator for eight years. Clare has a degree in Theater Studies from Saint Mary University and is currently a paralegal at Legal Aid of Manasota. Clare makes her home in Southgate with her husband Alvin and her chat fou Teddy.
Meet the Creatives
KARMA CAMP, she/her
FIRST SEASON (Choreographer) has staged over 150 productions for theatre, film, TV, and events. Stage credits include The Graduate w/Kathleen Turner (Broadway), A Salute to the 1940s (Lincoln Center), off-Broadway, and regional productions. She is an artistic associate at the Tony Award-winning Signature Theatre, affiliated artist at the Shakespeare Theatre, and a recipient and 13-time nominee of the Helen Hayes Award for Theatrical Excellence. Last year she was honored to stage the opera tribute to Justino Diaz for the Kennedy Center Honors (CBS). Creative associate for Disney Cruise Line and Busch Gardens Williamsburg. Staff with Washington National Opera. TV credits: July 4th from the White House, National Christmas Tree Lighting, In Performance at the White House & New Year's Eve at Rockefeller Center (PBS), 25 commercials, and I Wanna Know with Reese Witherspoon and Owen Wilson.
KATIE CISZEK, she/they
FIRST SEASON (Dramaturg) is a DC-based dramaturg, director, and directing assistant whose credits include The Kennedy Center, Ford's Theatre, Catholic University, and Adventure Theatre MTC. Katie was the 2018/2019 dramaturgy apprentice at Olney Theatre Center, where she served as dramaturg on nine productions. Other dramaturgy credits include Westport Country Playhouse, the Eugene O'Neill Theatre Center, and Barrington Stage Company. Education: James Madison University; theatre, media arts & design, and creative writing.
LINDA DIGABRIELE
FIFTIETH SEASON (Managing Director) has served as Asolo Rep's managing director since 1989. Prior to that time, she held other positions with Asolo Rep, including director of touring programs and stage manager. During her 12-year tenure with the touring programs, Linda orchestrated 26 regional and national tours for Asolo Rep's mainstage and educational companies. She has served several terms on the board of directors for the League of Resident Theatres (LORT), a national organization of regional not-for-profit professional theatres. Linda has been an advisory panel member for the National Endowment for the Arts and, for five years, the John F. Kennedy Center's Theatre for Young Audiences. She is a past president of the Florida Professional Theatre Association and has served the Florida Division of Cultural Affairs as a member of various panels including the Grant Awards Task Force, Theatre Grants, Arts in Educations Grants, and the Cultural Institution Programs review committee. Other boards of directors' appointments include ASSITEJ/USA, an international theatre organization for young audiences, the Florida Cultural Alliance, and the Arts and Cultural Alliance of Sarasota County. A graduate of Florida State University, Linda's professional theatre experience includes acting and directing. She is honored to have been recognized by the Florida Professional Theatre Association's Richard G. Fallon Award for Excellence in Professional Theatre and the Florida Theatre Conference's Lifetime Achievement Award.
SHAWN DUAN, he/him
FIRST SEASON (Projection Design) is a New York based projections/media designer. Recently in New York: Letters of Suresh (2nd Stage; Lortel Award, OCC nomination), The Chinese Lady (Ma-Yi/The Public; Lortel nomination, Drama Desk nomination). Broadway: David Henry Hwang's Chinglish. Other NYC: the Met Museum, New York City Opera, the Public Theater. Regional: Arena Stage, The Alliance, Berkeley Repertory, Dallas Theater Center, Denver Center, Goodspeed, The Guthrie, The Muny, Oregon Shakespeare Festival, Seattle Repertory, South Coast Repertory, and Yale Repertory. Tour/Concert work includes several shows in Las Vegas as well as numerous US/International commercial entertainment tours. Consultant work includes corporate events, activations, music festivals, and film post-production.
MICHAEL DONALD EDWARDS
EIGHTEENTH SEASON (Producing Artistic Director) has served as producing artistic director of Asolo Rep since 2006. He was previously the associate artistic director of Syracuse Stage and served as artistic director of Shakespeare Santa Cruz. A Garland Award and Drama-Logue Award winning director, Michael has directed at Cleveland Play House; Indiana Repertory Theatre; Geva Theatre; Syracuse Stage; The Shakespeare Theatre; San Jose Rep; Opera San Jose; the Oregon Shakespeare Festival; the Old Globe in San Diego; Virginia Stage Company; the Virginia Opera; the State Theatre of South Australia; Opera Australia; Victoria State Opera; and the Metropolitan Opera, where he staged revivals of Aida, The Barber of Seville, Porgy and Bess, and Phillip Glass' The Voyage. In previous seasons for Asolo Rep, Michael has directed Disgraced; Our Betters; The Grapes of Wrath; Clybourne Park; My Brilliant Divorce; Hamlet, Prince of Cuba; Las Meninas; La Bête; The Last Five Years; The Life of Galileo; Perfect Mendacity; The Winter's Tale; Equus; A Tale of Two Cities; Darwin in Malibu; Nobody Don't Like Yogi; Amadeus; The Smell of the Kill and, most recently, The Crucible.
SAMANTHA EGLE, she/her
FIRST SEASON (Intimacy Choreographer) is thrilled to be joining Asolo Rep for this production! Her work has been seen on the stages of the Denver Center for the Performing Arts, Arvada Center for Arts and Humanities, Colorado Spring Fine Arts, Denver Children's Theatre, Mizel Center for Arts and Culture, Athena Project Festival, Lagoon Theme Park, New York Fringe Festival, University of Northern Colorado, University of Denver, and numerous other educational institutions. She was a resident artist as an intimacy director at Arena Stage in 2019 and an apprentice with Intimacy Directors International. She is the founder of Humble Warrior Movement Arts, producing international virtual and local in-person stage combat and intimacy training. She is the regional representative and a certified teacher with the Society of American Fight Directors.
LAUREN GUNDERSON
(Playwright) has been one of the most produced playwrights in America since 2015, topping the list twice, including 2019/20. She is a two-time winner of the Steinberg/ATCA New Play Award for I and You and The Book of Will, the winner of the Lanford Wilson Award and the Otis Guernsey New Voices Award, a finalist for the Susan Smith Blackburn Prize and John Gassner Award for Playwriting, and a recipient of the Mellon Foundation's Residency with Marin Theatre Company. She studied Southern Literature and Drama at Emory University, and Dramatic Writing at NYU's Tisch School, where she was a Reynolds Fellow in Social Entrepreneurship. Her newest play, The Catastrophist, about her husband, virologist Nathan Wolfe, premiered digitally in January 2021. She co-authored the Miss Bennet plays with Margot Melcon, and her audioplay The Half-Life of Marie Curie is available on Audible.com. Her work is published at Playscripts (I and You, Exit Pursued by a Bear, The Taming, and Toil and Trouble), Dramatists Play Service (The Revolutionists, The Book of Will, Silent Sky, Bauer, Natural Shocks, The Wickhams, and Miss Bennet), and Samuel French (Emilie). Her picture book Dr. Wonderful: Blast Off to the Moon is available from Two Lions/Amazon. She is currently developing musicals with Ari Afsar, Dave Stewart, and Joss Stone, and Kait Kerrigan and Bree Lowdermilk. laurengunderson.com
TWENTY-FIRST SEASON (Resident Hair/Wig & Make-up Designer) designs for Asolo Repertory Theatre and FSU/Asolo Conservatory. Other credits: Sarasota Ballet, Palm Beach Drama Works, freeFall Theatre, Urbanite Theatre, Florida Studio Theatre, Westcoast Black Theatre Troupe, Banyan Theatre, Ruth Eckerd Hall, Venice Theatre, Dorset Theatre, Barrington Stage, and Open Stage Theatre. She has also done hair and/or make-up for Joan Rivers, Doris Roberts, Martin Short, Jane Russell, Arlene Dahl, Soledad Villamil, Jane Pauley, Richard Dreyfuss, Castille Langdon, Christopher Higgins, Mary Mara, Heather Robb, Lauren Sweetser, Justin Long, Paul Downs, Douglas Sills, and Nia Hills. Music videos: "Second Chance" by Shinedown, "Reverse Cowgirl" by T-Pain. Film/TV: Lady of the Manor; Paradise, FL; and The Real Stephen Blatt.
KRISTIN LOUGHRY*, she/her
FOURTH SEASON (Assistant Stage Manager) is thrilled to be back in sunny Sarasota! Previous Asolo Rep credits include The Cake, Grand Horizons, Eureka Day, and the unopened production of The Great Leap in the Cook. Additional credits include shows with Baltimore Center Stage, Hangar Theatre Company, Infinity Theatre Company, Lyric Stage Company of Boston, NewArts, New London Barn Playhouse, Primary Stages, Rattlestick Playwrights Theatre, Soho Playhouse, Virginia Stage Company, NYU Grad Acting, and The New School. Proud AEA member and Ithaca College alum.
VICTOR MEYRICH
FIFTY-FOURTH SEASON (Director of Production & Operations) is a graduate of Carnegie Tech and worked at New York Shakespeare Festival, Brandeis, University of California Institute of Repertory, APA, American Conservatory Theater, and again in New York. As head of production and technical staffs, he is responsible for the overall technical operation of Asolo Rep and its facilities. He wrote the architecture program for both the Center for the Performing Arts and the Koski II expansion and is the owner's representative on both projects. He has been a member of the Asolo Rep family since 1969.
ANDRE PLUESS, he/him
FIRST SEASON (Sound Design and Original Compositions) Broadway: Good Night Oscar (upcoming, Belasco) The Minutes (Cort/Studio 54), 33 Variations (Eugene O'Neill Theatre), I Am My Own Wife (Lyceum Theatre), Metamorphoses (Circle in the Square). Off-Broadway: The Clean House (Lincoln Center), Milk Like Sugar and BFE (Playwrights Horizons). Regional: multiple productions with the Oregon Shakespeare Festival, Center Theatre Group, Yale Repertory, Arena Stage, Goodman, Steppenwolf, Chicago Shakespeare, Court Theatre, Berkeley Repertory, Williamstown Theatre Festival, La Jolla Playhouse, The Huntington, and South Coast Repertory. Based in Chicago, Andre is an ensemble member of Lookingglass Theatre Company.
MILAGROS PONCE DE LEÓN, she/her
FIRST SEASON (Scenic Design) Recent regional credits include School Girls; Or, the African Mean Girls Play at Cincinnati Playhouse; Detroit '67 at Signature Theatre; Quixote Nuevo at Round House; and Steel Magnolias at Everyman Theatre. Additional credits include Silent Sky, Into the Woods, and Ragtime at Ford's Theatre; The Thanksgiving Play and Matilda at Olney Theatre Center; Gala Hispanic Theatre; Imagination Stage; The Kennedy Center; Ensemble Studio Theatre in NYC; and Children's Theatre of Charlotte, among others. Milagros heads the BFA program in Theatre Design & Technology at Penn State. She holds MFA degrees in Studio Arts and Scenic Design from the University of Maryland and a BFA in Painting from Catholic University of Peru. Milagros is a five-time Helen Hayes nominee for scenic design in the Washington, D.C. area, a member of USA-829, and an associate artist at Ford's Theatre.
RUI RITA, he/him
FIRST SEASON (Lighting Design) Selected Broadway: Skeleton Crew, Velocity of Autumn, Trip to Bountiful, Present Laughter, Dividing the Estate, Enchanted April. Off-Broadway premieres: Paradise Blue (Signature), Horton Foote's Old Friends & Orphans' Home Cycle (Hewes Award, Signature), Happiest Song Plays Last (Second Stage), Just Jim Dale (Roundabout), Nightingale, Moonlight, and Magnolias (Manhattan Theatre Club), Carpetbagger's Children, Far East (Lincoln Center Theater), Dinner with Friends (Variety Arts Center). Off-Broadway revivals: The Piano Lesson (Signature), Talley's Folly (Roundabout), and Engaged (Obie Award, TFANA). Recent regional credits include Alley, CenterStage, Center Theatre Group, Dallas Theater Center, Ford's, Guthrie, Huntington, Oregon Shakespeare, Old Globe. designbyrui.com
SIXTH SEASON (Local Casting; Associate Artistic Director) is a Tony-nominated producer and "Key" member of The Ring Of Keys and New Georges Affiliate Artist. They are in their sixth season at Asolo Rep, having directed Camelot, The Lifespan of a Fact, Midsummer Night's Dream, The Tempest, and co-directed We Need a Little Christmas with Michael Donald Edwards. Celine has developed new work with NYMF, The New Georges, The Musical Theatre Factory, The Kidoons, Tamasha, and National Queer Theatre, as well as creating Asolo Rep's premiere new work series, Asolo Rep Ground Floor. Other recent projects: Trayf (New Rep); Drowning in Cairo (N.Q.T); A Doll's House, Spike Heels (Studio Theatre); Motherf**ker with the Hat (FSU/Asolo Conservatory); the award-winning short film Wildflower. Celine was a member of the 2018/19 MTC Directing Fellowship class and was awarded an SDC Observership and Asolo Rep Directing Fellowship. They are an alumnus of the Commercial Theatre Institute, BMI Lehman Engel Workshop, NYU Tisch (BFA), and The New School for Drama (MFA). celinerosenthal.nyc
ELEVENTH SEASON (Production Stage Manager) Favorite Asolo Rep credits include stage manager for Knoxville, The Great Leap, The Sound of Music, Into the Breeches, The Music Man, Sweeney Todd, Sweat, Shakespeare in Love, Roe, and the 2020-21 Terrace Stage season, as well as assistant stage manager for Rhinoceros, Guys and Dolls, All the Way, South Pacific, and Hero: The Musical. Previous off-Broadway credits include work on Jesus Hopped the A Train, In the Blood, and The Wayside Motor Inn at the Signature Theatre. Nia has also worked with Creede Repertory Theatre, the Hangar Theatre, the Shakespeare Theatre of New Jersey, the Flea Theatre, and Penguin Rep.
IVANIA STACK, she/her
FIRST SEASON (Costume Design) is delighted to be part of her first season at Asolo Repertory Theatre. Her work as been seen at several regional and DC area theatres, including Arena Stage, Seattle Repertory Theatre, Baltimore Center Stage, The McCarter Theatre, Philadelphia Theatre Company, The Wilma Theatre, Gulf Shore Playhouse, Everyman Theatre, Andy's Summer Playhouse, The Second City, The Contemporary American Theatre Festival, Ford's Theatre, The Kennedy Center, Signature Theatre, Woolly Mammoth Theatre (company member), Round House Theatre, Imagination Stage, Olney Theatre Center, Studio Theatre, Theatre J, Pointless Theatre, and Gala Hispanic Theatre. Ivania has an MFA in design from the University of Maryland, College Park. Ivania is also a proud member of United Scenic Artists, Local USA 829.
SEEMA SUEKO, she/her
FIRST SEASON (Director) is a freelance director and the 2022 recipient of the TCG Alan Schneider Director Award. Raised in Honolulu, she received her MA in International Relations from the University of Chicago and serves on the boards of Stage Directors and Choreographers Society (SDC) and its Foundation (SDCF). Her current projects include adapting Kiana Davenport's novel Song of the Exile to a playscript and organizing learning circles about Solidarity Economy for the theatre community. For past credits or more information, visit seemasueko.com.
BINDER CASTING
(New York Casting) was founded 40 years ago and is now a part of RWS Entertainment Group. The office has cast 150+ Broadway, off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Binder is a proud 11-time recipient of the Artios Award for Excellence in Casting and is a supporter of Broadway Cares/Equity Fights AIDS. The office holds a deep respect for their legacy, as well as a commitment to growth. To facilitate this growth, Binder has partnered with the Disruptive Equity Education Project (DEEP) to dismantle harmful practices and to carry this work into their organization, client relationships, and audition rooms. They acknowledge that the work is on-going and strive to do better. bindercasting.com
CLAIRE SIMON CASTING
(Chicago Casting) Claire and associate Cassidy Price have worked in Chicago and the Midwest for 5½ years. Claire and her team have cast for the Lyric Opera of Chicago, Writer's Theatre, Indiana Repertory, Madison Rep, Milwaukee Rep, St. Louis Rep, Kansas City Rep, The Cleveland Playhouse, Asolo Rep, Syracuse Stage, Million Dollar Quartet in Chicago, and the Clarence Brown Theatre. TV: Chicago Fire, Chicago P.D., Somebody Somewhere, Dark Matter, Proven Innocent, Easy, Empire. Recent films include Candyman. Claire has been nominated four times for Artios awards, winning in 2016 for Excellence in Casting for her work on Empire and in 2006 for Prison Break. A board member of the Illinois Production Alliance, she and her team also started an annual food drive 16 years ago called Meal for Monologues, to collect food for the homeless.


The band are still feeling their way around on their debut disc, but for the most part they came out of the box fully-formed. Two obvious classics here: the sprightly and rhythmically quirky "Sarah's Ritt durch den Schwarzwald" (Sarah's Ride throught the Black Forest)-which does indeed have a galloping, equestrian feel about it-and the funky and intense "Kraan Arabia". Both wound up, understandably, being live favourites. On the other hand, I guess the temptation to fill a side of vinyl with a jam oriented piece proved too great for the band.
I recommend getting KRAAN LIVE before this, but this is by no means a bad album, just a little formative.
I cannot picture this kind of record with one or two less interesting moments (lengths?) Because not every musical detour always lead to the summit or across the border, but may just you back to where you came from. (Oh!!! Over Here!! Yes).
How cool does this sound : music with a Krautrock flair, strong song-writing ability, instrumental virtuosity, and a degree of free-spirited jamming ??????? KRAAN are just that (and more) !!! My first encounter with Kraan was during a lunch-break where I went to a nearby 2nd-hand LP shop and heard 'Bandits In The Wood' (from 'Let It Out') and I thought it sounded quite droll (silly me), I eventually purchased 'Andy Nogger' ( which was also available but had weaker cover-art...) and discovered a wonderfully entertaining LP. KRAAN was/is an incredibly strong instrumental combo to this day, amazing bass playing being the first and foremost trait of their music. They released one of *the best* live albums in the history of music (Live '75) - full of distinctive character and fantastic playing/jamming/improvising. On this debut LP, all the pieces were in place, it even sounds almost like a 'live-in-studio' recording - Peter Wolbrandt's funky guitaring, Johannes Pappert's snakey Sax playing (with a unique sound), a tight, jazz-inflected style to Jan Fride's Drumming along with excellent conga-work and Hellmut Hattler's Rickenbacker Bass - already demonstrating he can rip it up (and down) the fretboard in seconds flat. Songs are built around creative riffs and jamming, and incorporate Middle-Eastern scales. Side 1 - 'Sarah's Ritt durch den Schwarzwald' (6.23) opens up with cosmic sounds and breaks into a rumbling riff with a rather obscure progression, some vocals (courtesy of PW) great sax play and the rhythm section simmering along nicely. 'M.C. Escher' (6.14) has some Hammond Organ (credited to Romi) and is again an energetic, groovy jam. The first section has a killer riff and some Arabic tones, especially where the sax is concerned. We get more of that with 'Kraan Arabia' (9.54) - as its title suggests, where a mysterious phrygian mode is crafted into a Krauty work-out. The Saxophone here is sheer delight. The song picks up a few minutes in for some jamming. Hellhat manages a bass-solo, and the opening pattern is returned to, this time around with congas. Side 2 is largely taken up by 'Head' (18.36) which is again jammy, no doubt lots of improvising, great riffs, heavy parts, softer parts, it does all the right moves, and I must say the final riff which slowly builds from a lagging tempo to pure adrenalin, is a real buzz. The album closes with 'Sarah auf der Ganswies' (2.01) a light and delicate piece of music (totally lost within a cloud) complete with some manipulated sax sounds. A wonderful waffle of unique sounds and top-notch musicianship - 4.5 stars, easy.
KRAAN is led by mastermind Helmut Hattler who is one of the best bass players on the planet. In the early days they were fortunate enough to be able to live on an estate free of charge and with no conditions by one Lord Mettermich, a patron to the arts. It was formerly a stud farm and was located in the country. It was at this place that the band lived with up to 13 people, rehearsing for up to seven hours every day. There are some great pictures of the band and of this place in the liner notes. They were very much influenced by world music before they came to live in this place,having previously lived above an oriental folk club that subjected them to arabic music almost 24 hours a day on the weekends. They also listened to a lot of foriegn radio stations which is how they came to get their name when an announcer said a word that sounded like "kraan". They liked it and named themselves KRAAN. My first taste of KRAAN came when I bought their "Kraan Live" cd which is one of the best live records i've ever heard .Encouraged by Tom Ozric I started to dig deeper into this bands discography and it has been so rewarding for me. A perfect blend of Krautrock and jazz.
"Sarah's Ritt Durch Den Schwarzwald" has this spacey intro that is replaced a minute in by this fantastic melody that is led by these rumbling bass lines. Nice. Love this song. The vocals come in but they're brief. You have to hear the bass in this one ! A tasteful guitar solo 3 minutes in. A cool section a minute later as it gets dark and experimental with some sax. Then back to the previous melody with vocals 5 minutes in. Great tune. "M.C. Escher" has an incredible rhythm to it with some organ and lots of sax. Vocals after 1 1/2 minutes as the drums become prominant. The bass is huge ! Some killer organ and sax 3 minutes in. Back to original melody 4 1/2 minutes in. Sax solo to follow. Excellent tune. "Kraan Arabia" is a great title. Percussion to open with congas joining in. Sax follows as the arabic mood has been set. Bass comes in throbbing. Guitar and drums arrive as they just seem to jam after 5 minutes. Some laughing and carrying on after 7 minutes as bass continues. Percussion 8 1/2 minutes in brings back that arabic flavour. "Head" is an 18 1/2 minute track that took up most of the second side of the original album. This sounds so good as vocals join in around a minute as the sound becomes fuller. Cool guitar after 1 1/2 minutes. Some fantastic drumming in this one, especially 4 1/2 minutes in. A calm 8 minutes in is one of my favourite parts. Check out the guitar solo before 11 1/2 minutes that goes on and on as organ and sax come and go. Nice. The bass continues to be ground shaking by the way. Sax takes over 13 1/2 minutes in. Drums and bass start to build after 15 1/2 minutes as sax continues. The tempo picks up to a big climax to end it. "Sarah Auf Der Gansewies" is the 2 minute closing track. Gentle guitar and sax create beauty. Some deep bass lines and sax conclude this song and album.
As a bonus they add 4 tracks that were the actual demos that they had sent to the record label that signed them. It's all the songs that would end up on this studio album except for "Kraan Arabia". They sound excellent by the way and differ little from what ended up on this record. This is highly recommended to Krautrock fans.
KRAAN's beginnings date back in 1967 in Ulm with the meeting of teenagers Peter Wolbrandt,Helmut Hattler,Johannes Pappert and Jan Friede.The four young guys started jamming in a Free Jazz form,before getting serious about music and move to the small town of Wintrup.There is when they adapt the name KRAAN around 1970 and devote themselves to the success of their band.1972 sees the release of their debut self-titled LP on Spiegelei (the same album succeeded several re-issues in the future).
From the very first notes you will realize that you have to do with a hell of a talented band here! The first couple of songs is a haunting and rich mix of deep bass,strong drumming, very complex guitars,some light organ sounds and melodic saxes,which works extremely well.Classic Rock meets Psych meets Jazz Rock!''Kraan Arabia'' is even more attractive:here the track is built around furious Arabic tones through Pappert's sax and you should notice the fantastic rhythm section with great pounding bass by Hattler and energetic drumming by Friede.The style of the previous songs returns on the long ''Head'',a 18-min. Psych-Jazz paradise with a very spacey atmosphere at moments.Here a distinctive drum/bass duo and some light organ sounds support the magnificent work of Wolbrandt,who's style alternates between jazzy chords and rockier solos, and the unique sax parts of Pappert,which maintain a smooth Arabic feeling.Not that experimental but certainly an intricate piece of music.The album closes with a short psych 2-min. track,featuring every instrument in its smoothest sound,definitely a good way to close such a dynamic work.
The EMI re-issue on CD features also four out of the five compositions in their demo version,mainly with shorter running time,which have a historical importance,as with these tracks KRAAN achieved to gain their first contract,along with a short story about the band from the very beginning to the release of their first album.At the end I find myself surprised with this original blending of Rock,Psych,Jazz and Ethnic music by KRAAN and ,though I'm not a devoted fan of the German Kraut-Jazz scene,I can only recommend this album highly to every serious music fan out there.A great release indeed which deserves 4 stars!
Like most people I wasn't born with a taste for Kraut-rock. Even if you have the correct disposition to get into this often weird and rough kind of music, it remains a taste you need to acquire over years of listening. This catchy and engaging debut from Kraan could be a great place to start for that.
Listed under jazz-rock/fusion, the tag could as easily have been Canterbury or Kraut. Certainly this debut has the raw and unpolished feel of Kraut, with lots of jazz-rock à la Soft Machine and similar quirky vocals. In fact those vocals might be the hardest part to get into. In true Kraut fashion they are blunt, rough and rather non-melodious, at least when compared to symphonic Prog. But the vocals never dominate here, taking a spot in the background of the sound and gradually growing on the listener.
The songs are both grinding and melodic, offering plenty of catchy melodies to hang on to and with a firm grip on both rock and jazz. The first two tracks are classics, with chugging electric guitar strumming and excellent riffs, rough saxes, insane vocals and lots of sound effects. Kraan could easily please fans of early Hawkwind as well as Gong or even Caravan. Provided you can handle the non-melodic 'punk' vocals.
A personal favorite is the Middle Eastern tinged Kraan Arabia. The lengthy Head is the wildest and most experimental piece and it's quite similar to Can on their debut album with Malcolm Mooney. The quiet Sarah Auf Der Gansewies ends the album gracefully. The latest CD issue has a couple of interesting alternate takes of the main songs.
The Kraan debut is a rather late discovery for me but it has quickly risen to the top of my playlist. I'm eagerly awaiting the postman for the remaining missing links in my Kraan discography before I'll be able to claim this as the best Kraan album. Till further notice, this sure warrants a place in the top 7% of my ratings. A solid album and a mandatory listen in the Kraut field.
Cod English and poor singing can't detract from this very well played introductory album. Kraan, or 'Faucet' in Dutch, were probably Germany's foremost Jazz Fusion band in the 70's who were influenced by Pharoah Sanders and Zappa. However 'Kraan's' music was more structured and tight.
The opener is a brilliant tune summing up everything that's Krautrock in it's six minutes. Everything goes along nicely until the 18 minute jam in the form of track four - 'Head' which is really pretty crap, just sounding like the studio jam that it is. I do admit a certain fondness for drum flangers but this can't make up for the dire singing with lyrics that sound as though they were made up on the spot. Very ugly.
The bonus demos at the end are a complete waste of time, detracting rather than enhancing this cd release. They're basically the same tunes that you've just heard but with far poorer sound quality.
Post a review of KRAAN "Kraan"


text:
Diana, Princess of Wales,on a state visit to Canada. (Bettmann / Contributor via Getty)
The day Diana came into my shop
I got the shy eyeroll, the coy smile, the blushing cheekbones
Dominic Hilton
In the summer of 1990, en route from London to the Florida Keys, my family spent the night on the floor of the airport in Bangor, Maine. It was my first taste of life in the United States, and I recorded the life-changing moment in my teenage diary. "THIS SUCKS," I scrawled in enormous letters, mimicking what I understood to be the American literary style of Fitzgerald and Hemingway. "IT, LIKE, TOTALLY BLOWS."
Our plane had been grounded, due to "an engine not working". These were the words told to us through a supersize smile by Tammy, the attractive flight attendant manning the desk at the departure gate. Tammy was wearing a tight-fitting lemon uniform that perfectly matched her hair and heels. When my father wasn't flirting with her, he was listening to an atonal string quartet on his Walkman. My mother was ignoring them both, her nose buried a dog-eared paperback of Gone with the Wind. It was 5am. On the far side of the lounge, my twelve-year-old sister was sitting cross-legged and alone on the bristly carpet tiles, playing solitaire. I moved over to join her, and she hungrily hoovered up the cards, asking if I wanted to play a game called "Shit".
"Shit?" I said.
Sophie stared. "That's right. 'Shit'."
I didn't trust my sister as far as I could throw her. She reminded me of Barbara Stanwyck's character in The Lady Eve, a film she'd watched on repeat back home until the VHS tape wore out. "Alright," I said hesitantly. "What are the stakes?"
She nodded towards my rucksack. "The usual."
Five losing hands in a row later, I accused her of making "Shit" up just to swindle me out of Opal Fruits. Her strawberry-coloured mouth contorted into a malevolent grin. Then she leaned forward and whispered in a vibrating American twang, "I need you like the axe needs the turkey."
On cue, an apple-faced couple shuffled across the floor towards us. The pair introduced themselves as Rhonda and Wade and looked to be in their late thirties. They were clad in enormous, ugly cargo shorts and matching T-shirts that depicted the St. Louis arch. Spotting an easy mark, Sophie invited them to join our game, changing its name to "Sugar".
"I just adore your accent," Rhonda told my sister as she settled in. "Are you from Canada?"
"London," Sophie said, dealing the cards one-handed, like a croupier.
Rhonda threw two pudgy hands to her mouth. "Oh! My! Lord!" she yelped. "You must know Lady Di!"
"You're really friends with Princess Diana of England?" Wade said, as if Sophie had suggested as much.
My sister stopped dealing. Dollar signs had appeared in her eyes. "Of course," she said. "We take tea together. All the time."
"At Buckingham Palace?!" Rhonda screeched, bouncing up and down on her ample buttocks like she needed to pee.
Sophie shrugged. "Or at our place. It depends."
"On what…?"
"Who's bought the cakes," Sophie said.
Thirty years on, my family repeats this anecdote ad nauseum. America makes an unforgivable hash of things in Afghanistan and you can count the seconds before a Hilton relates the story of Rhonda and Wade from St. Louis, the ignorant simpletons who believed that every Londoner took tea with their close pal, Diana, Princess of Wales.
The problem is that the anecdote doesn't work. Rhonda and Wade were an ideal target for my sister's cardsharp cons, but they weren't wildly off the mark about the life of an average Londoner. I didn't say so at the time, but the month before meeting them in Bangor International Airport, I had in fact met the "people's princess' in a quiet corner of Knightsbridge. We didn't have tea, Diana and I, and regrettably we didn't play a hand or two of "Shit", but we did spend a few minutes of quality time together, just me and her, enjoying each other's company in what I choose to remember as a Sliding Doors sort of way.
I recognised her immediately but for some reason, I didn't feel starstruck
Our brief encounter was not by design. My schoolyear had to complete a week's work experience in what our teachers called "the real world"—so my mother suggested I go and work for my godfather, who managed an haute couture fashion boutique in Beauchamp Place. The placement suited me just fine. My classmates were making cups of tea in high street estate agencies or wiping bottoms in care homes for the handicapped. My first day's chores including unhooking the bras of a gaggle of tittering lingerie models. I knew there and then that I'd learn more that week than I'd learned in a decade of school.
"You bastard," my friend Josh said when I detailed my responsibilities to him on the phone that night. "You utter, utter bastard."
Josh had spent the first day of his work life scrubbing toilets in a local Wimpy. If I had a complaint, it was that my mild-mannered godfather would disappear every day for hours on end to take stock in the basement, forcing me to secrete myself in the changing room with the models, who'd parade around carefree and completely naked, admiring their curves in the three-way mirrors as they playfully ruffled my mop of boyish hair.
The boutique was by appointment only. Wealthy private clients would be guided to plush, flamingo-coloured sofas, where they'd be served luxury cake and champagne as a camel train of beautiful girls strutted out of the wings to model the latest fashions. I'd direct proceedings from my catbird seat in the changing room, helping the carousel of hurried models to step out of their handstitched minidresses and into their silk camisoles, before sending them back out again, for the client's eyes only. Thanks to my mother, I now knew exactly what I wanted to be when I grew up.
I'd been on the job four days when my godfather finally came to find me. "Ah, here you are," he said, sheepishly entering the changing room to ask if I'd mind watching the shopfront for half-an-hour. The models all protested, claiming they'd miss me, but I was feeling smothered by their constant attention, and welcomed the chance to take a quick breather. No one random ever came to the boutique anyway, so I knew I wouldn't have to do anything. I stood behind the pointless counter, examining my nails and thinking about my wildly unreal life back in school, when a Rolls Royce limousine pulled up to the kerb outside. Two broad-shouldered men with earpieces climbed out of the car on each side, checking their perimeters. Then the man nearest to me opened the rear door of the vehicle, and a shapely woman's leg popped out, her heel lingering momentarily on the paving stone.
The woman was wearing dark glasses. She skipped up the steps, pressing the buzzer. Unsure what to do, I checked my own perimeters, seeing no one. The woman jabbed a finger against the glass door, signalling something I couldn't comprehend. "Eh?" I mouthed, throwing up my hands. Then I remembered how characters in films were always pressing buttons hidden under their desks. I fumbled around blindly at crotch height and eventually located a switch. I pushed it and the door clicked open. The woman entered the boutique, lifting her sunglasses from her big doe eyes to park them atop her bleached, blow-dried hairdo.
As my contemporaries wallowed in the grungy ennui of Generation X, I bought the tabloids just to clip pictures of Diana
I recognised her immediately as the most famous woman in the world, but for some reason, I didn't feel starstruck, and I wasn't anxious about breaching royal protocol. I failed to bow, curtsy or genuflect. I didn't adopt any of the formal codes of behaviour my mother had drummed into me. I forgot to address her as "Your Royal Highness' or "Ma'am". I just waved like a fourteen-year-old idiot and said, "Hi."
"Hello," she said timidly, studying me as she reached an elegant hand into her fashionable, oversize bag.
As with all of the most significant moments in my life, what happened next is a blur. The Princess asked after the designer, a friend of hers, and I apologised, saying she wasn't in the building, that I'd in fact not met her yet, a situation Diana called "dreary". She handed me a slip of paper, saying, "Here," and I slid it under the counter without looking or asking a single question about it. Her bodyguards stood watch outside the store, while I got the shy eyeroll, the coy smile, the blushing cheekbones. I remember thinking it maybe looked strange—an adolescent boy overseeing a fashion house—but Diana didn't say anything, and besides, my hormones were raging.
I apologised again for being useless, then the Princess turned to leave and there was an awkward, theatrical moment, as she stood with her hand on the door, waiting for me to remember to press the switch to open the latch. After her limo sped away, I took an instant to reflect upon my increasingly peculiar existence, then I deserted my post to race down into the basement. My godfather was veiled amongst rows of hanging negligees. When I told him what had happened, he barely looked up from his clipboard. "I'm not surprised," he said, matter-of-factly, "the Princess is a valued client."
His reaction was so blasé that it made me wonder if I'd imagined the whole thing. Had I been so bored upstairs, stood behind that pointless counter, examining my nails, that I'd dreamt up a pubescent fantasy just to pass the time? I started to question my own sanity, and to this day, though I'm told that yes, it did all really happen, I'm not one hundred per cent convinced.
In the years following our surreal encounter, I cultivated a semi-ironic crush on Diana. As my contemporaries wallowed in the grungy ennui of Generation X, I bought the tabloids just to clip pictures of Diana hugging AIDS patients or exercising in cycling shorts. I'd stare at a photo of her tight, stockinged leg climbing out of a limousine, and recall the very same scene back in Knightsbridge, wondering if she remembered me. In my dreams, we were lovers, our insatiable lust clandestine and forbidden, yet somehow public enough to get me invited onto talk shows.
When she died in the car crash in Paris, I'd been out clubbing with Sophie in Central London. Our parents were in Macerata, Italy, and we'd staggered into their empty home with dry mouths and an intense sense of wellbeing. It was 5am. We fell onto the sofas, turned on the TV, and watched the news break. For a solid hour, we thought we were hallucinating.
Two years later, I fell in love with a woman everyone agreed was a dead ringer for Diana Spencer
"Your Princess is dead!" an economist told my father at breakfast in Italy that morning. Dad threw his head back and laughed, thinking he'd failed to understand a joke. "Yes, very good!" he replied, flashing the thumbs up at the baffled academic.
While I didn't feel anything much at all, my parents' reaction freaked me out. Sophie and I returned to our respective flats, and they returned home from Macerata to join the pilgrimage of grieving mourners to Kensington Palace. This was so stunningly out of character that my sister and I assumed some dastardly Italian scientist had replaced them with media-manipulated, hysterically sentimental replicas. "It's funny," my father said to us one night at a restaurant in Bloomsbury, "but I don't recall ever feeling this upset by anyone's death before."
"Not even your own parents?" my sister asked. "Or your siblings? I don't recall you ever once mentioning Diana before… all this."
Dad stared right through her across the table, like she wasn't there.
"Just promise me you and mum didn't leave a handwritten poem outside Kensington Palace," I said. "Or a stuffed animal."
"Flowers," he said. "We left flowers."
"Why?" Sophie asked him.
"I don't really know." He chewed his lip. "Everyone else was doing it, I suppose, so your mother and I just fell in line."
Two years later, I fell in love with a woman everyone agreed was a dead ringer for Diana Spencer. I didn't spot the resemblance at first, but after we ran away together, declaring ourselves soulmates, she took me to Cambridge, where she studied. Our first night there, we walked arm-in-arm into a busy Greek restaurant she was fond of, and in a joyful, welcoming way, all of the staff stopped what they were doing to yell, "Diana!"
She turned to me, bowing her head and smiling coyly as she rolled her eyes. "See?"
I saw, alright. I saw everything—including the note I'd left under the counter at the fashion boutique, about which I'd forgotten to ever tell anyone.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Constructions of social inclusion within Australian early childhood education and care policy documents
Sandie Wong*, Kay Turner
Social inclusion discourses have been powerful in informing early childhood policy contexts, both internationally and in Australia (the context of the current study) for the past decade or so. But little research has examined the productive aspects of social inclusion discourses particularly within early childhood education and care (ECEC) policy documents. This article reports on a content analysis of Australian ECEC policy documents. The analysis revealed that, despite the absence of the specific use of the term 'social inclusion' within these documents, multiple constructs of social inclusion were nevertheless evident. These constructs included social inclusion as 'poverty reduction', 'workforce participation', and 'normative'-constructs previously problematised and critiqued in the literature. More optimistically, however, the analysis also revealed constructs of social inclusion as 'a response to discrimination and inequality and a validation of diversity' and as 'participation in democratic decision-making'. We argue that the Australian ECEC policy context largely supports a concept of social inclusion that reflects social justice concerns and positions ECEC as an important contributor to a more socially just society. However, the absence of explicit social inclusion language within ECEC policy documents is a critical gap.
Contemporary Issues in Early Childhood
https://doi.org/10.2304/ciec.2014.15.1.54
10.2304/ciec.2014.15.1.54
Fingerprint Dive into the research topics of 'Constructions of social inclusion within Australian early childhood education and care policy documents'. Together they form a unique fingerprint.
early childhood education and care Social Sciences
inclusion Social Sciences
Social Justice Medicine & Life Sciences
Poverty Medicine & Life Sciences
Language Medicine & Life Sciences
participation Social Sciences
Wong, S., & Turner, K. (2014). Constructions of social inclusion within Australian early childhood education and care policy documents. Contemporary Issues in Early Childhood, 15(1), 54-68. https://doi.org/10.2304/ciec.2014.15.1.54
Wong, Sandie ; Turner, Kay. / Constructions of social inclusion within Australian early childhood education and care policy documents. In: Contemporary Issues in Early Childhood. 2014 ; Vol. 15, No. 1. pp. 54-68.
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title = "Constructions of social inclusion within Australian early childhood education and care policy documents",
abstract = "Social inclusion discourses have been powerful in informing early childhood policy contexts, both internationally and in Australia (the context of the current study) for the past decade or so. But little research has examined the productive aspects of social inclusion discourses particularly within early childhood education and care (ECEC) policy documents. This article reports on a content analysis of Australian ECEC policy documents. The analysis revealed that, despite the absence of the specific use of the term 'social inclusion' within these documents, multiple constructs of social inclusion were nevertheless evident. These constructs included social inclusion as 'poverty reduction', 'workforce participation', and 'normative'-constructs previously problematised and critiqued in the literature. More optimistically, however, the analysis also revealed constructs of social inclusion as 'a response to discrimination and inequality and a validation of diversity' and as 'participation in democratic decision-making'. We argue that the Australian ECEC policy context largely supports a concept of social inclusion that reflects social justice concerns and positions ECEC as an important contributor to a more socially just society. However, the absence of explicit social inclusion language within ECEC policy documents is a critical gap.",
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journal = "Contemporary Issues in Early Childhood",
Wong, S & Turner, K 2014, 'Constructions of social inclusion within Australian early childhood education and care policy documents', Contemporary Issues in Early Childhood, vol. 15, no. 1, pp. 54-68. https://doi.org/10.2304/ciec.2014.15.1.54
Constructions of social inclusion within Australian early childhood education and care policy documents. / Wong, Sandie; Turner, Kay.
In: Contemporary Issues in Early Childhood, Vol. 15, No. 1, 03.2014, p. 54-68.
T1 - Constructions of social inclusion within Australian early childhood education and care policy documents
AU - Wong, Sandie
AU - Turner, Kay
N2 - Social inclusion discourses have been powerful in informing early childhood policy contexts, both internationally and in Australia (the context of the current study) for the past decade or so. But little research has examined the productive aspects of social inclusion discourses particularly within early childhood education and care (ECEC) policy documents. This article reports on a content analysis of Australian ECEC policy documents. The analysis revealed that, despite the absence of the specific use of the term 'social inclusion' within these documents, multiple constructs of social inclusion were nevertheless evident. These constructs included social inclusion as 'poverty reduction', 'workforce participation', and 'normative'-constructs previously problematised and critiqued in the literature. More optimistically, however, the analysis also revealed constructs of social inclusion as 'a response to discrimination and inequality and a validation of diversity' and as 'participation in democratic decision-making'. We argue that the Australian ECEC policy context largely supports a concept of social inclusion that reflects social justice concerns and positions ECEC as an important contributor to a more socially just society. However, the absence of explicit social inclusion language within ECEC policy documents is a critical gap.
AB - Social inclusion discourses have been powerful in informing early childhood policy contexts, both internationally and in Australia (the context of the current study) for the past decade or so. But little research has examined the productive aspects of social inclusion discourses particularly within early childhood education and care (ECEC) policy documents. This article reports on a content analysis of Australian ECEC policy documents. The analysis revealed that, despite the absence of the specific use of the term 'social inclusion' within these documents, multiple constructs of social inclusion were nevertheless evident. These constructs included social inclusion as 'poverty reduction', 'workforce participation', and 'normative'-constructs previously problematised and critiqued in the literature. More optimistically, however, the analysis also revealed constructs of social inclusion as 'a response to discrimination and inequality and a validation of diversity' and as 'participation in democratic decision-making'. We argue that the Australian ECEC policy context largely supports a concept of social inclusion that reflects social justice concerns and positions ECEC as an important contributor to a more socially just society. However, the absence of explicit social inclusion language within ECEC policy documents is a critical gap.
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Wong S, Turner K. Constructions of social inclusion within Australian early childhood education and care policy documents. Contemporary Issues in Early Childhood. 2014 Mar;15(1):54-68. https://doi.org/10.2304/ciec.2014.15.1.54


Eddie Benton-Benai describes the roles that instruments such as the shaker, flute and drum play in Ojibwe life. Tribal members perform traditional music. Also shown are the Spirit Bird Singers, a group of younger musicians carrying on and extending the traditions.


A P2Con (nucleotide) receptor activity within a clonal inhabitants (B10) of rat human brain capillary endothelial cells is coupled to inhibition of adenylyl cyclase and offers functional similarities towards the (previously designated P2T') receptor for ADP of bloodstream platelets. receptor, with pKB=7.6. That ligand is certainly inactive on the P2Y1 receptor in the same cells. Conversely, the competitive P2Y1 receptor antagonists, the 3, 5- and 2, 5-adenosine receptors are talked about. receptor, P2Y1 receptor, nucleotides, capillary endothelial cell, adenylyl cyclase inhibition Launch The cloned P2Y1 receptor (Webb for the receptor(s) of the type, being a provisional term pending the numbering to be produced when molecular identifications are released. The nucleotide specificity from the cyclase inhibitory activity in the platelet is certainly in general conditions similar compared to that which has been related to the P2Y1 receptor. There's, actually, been much issue concerning whether one receptor in the platelet may operate the dual Alisertib transduction pathways observed above (analyzed by Boarder & Hourani, 1998). Latest evidence has, nevertheless, strongly indicated the current presence of two distinctive P2Y-type receptors in platelets as mentioned above (Hechler receptor, an ATP derivative, AR-C66096 (2-propylthioadenosine-5-(,-difluoromethylene)triphosphonate or PSFM-ATP) which really is a selective antagonist of platelet aggregation continues to be attained (Humphries receptors weren't open to us. Furthermore, analytically natural nucleotides (Hechler receptor, the triphosphates getting antagonists (Hourani & Hall, 1996). We now have examined, with complete safety measures, the pharmacology from the putative receptor from the B10 cell and its own distinction in the P2Y1 receptor there. The lifetime of a geniune receptor on microvascular endothelial cells will be of intrinsic curiosity. A preliminary survey of a few of this function has been provided (Simon receptor to become studied. Incubation from the B10 cells with 1 or 10?M forskolin (by itself) led to an instant intracellular accumulation of cyclic AMP to a well Alisertib balanced level. Co-addition of Alisertib 2-MeSADP or ADP or ADPS using the forskolin led to a marked reduction in that deposition, taken up to represent the inhibition of adenylyl cyclase. The concentration-response curves installed a straightforward logistic formula (Number 1); the potencies from the second option two nucleotides had been approximately 200C500 collapse less than that of the very most potent agonist, 2-MeSADP (Desk 1). 2-MeSATP was also an extremely powerful agonist, with an EC50 worth in the reduced nanomolar range, nearly as solid as the related diphosphate (Number 1 and Desk 1). Open up in another window Number 1 Concentration-dependent inhibition by nucleotides Rabbit Polyclonal to PAR4 from the forskolin-induced cyclic AMP build up in B10 cells. The utmost activated activity is defined at 100%, described in the current presence of forskolin and IBMX only (observe Strategies). The reactions were assessed on (a) a subclone with the capacity of a optimum inhibition by adenine nucleotides of 60C70%, or on another subclone (b) with the capacity of up to 95% inhibition Alisertib (observe text).The info are represented as the means.e.mean from (a) 5C15 indie determinations for every agonist, each performed in triplicate about subclone a, or (b) consultant tests, performed in triplicate about subclone b, with two from the nucleotides, illustrating the partial agonist activity of ATP. The curves are theoretical suits to a logistic formula. Desk 1 Agonist and antagonist potencies at two nucleotide receptors in B10 cells Open up in another windows ATP and 2-ClATP are poor partial agonists, that may Alisertib act as obvious antagonists ATP and 2-ClATP possess previously been reported to compete antagonists in the receptor on human being platelets (examined by Hall & Hourani, 1993). Nevertheless, in our research on rat B10 cells we noticed a incomplete agonist actions of ATP and 2-ClATP within the forskolin-induced cyclic AMP build up (Number 1b and Desk 1). Their potencies are both fairly weak if in comparison to that of 2-MeSADP. As opposed to the behaviour of the two agonists, the utmost reduction in the activated cyclic AMP level was noticed with 2-MeSADP, 2-MeSATP and ADP (Number 1a), and they were considered as complete agonists in the series examined. The properties of these agonists, and the experience of ATP and of 2-ClATP as incomplete agonists, were constant when seen in two subclones (a and b) of the initial (Feolde receptor of human being platelets, to stop.


Dr. Parrish Brady gives a tour of the many insects on display at Explore UT, including a glowing scorpion from Africa. To my surprise, the tour ends with a challenge to eat a live mealworm. Do I choose BBQ or Ranch or take the mealworm straight?
Dr. Brady is a Postdoctoral Fellow with the Integrative Biology section of the College of Natural Sciences at UT Austin.
There will be another great opportunity to learn about insects at the Insecta Fiesta at the Lake Austin Center – UT Austin Brackenridge Field Lab on April 21, 2012.


Iran National Baha'i Archives Manuscript Collection 67:125-9.
The Khutbat al-Tutunjiyya or (loosely) "Sermon of the Gulf" is a five or six page oration, sermon or discourse attributed to Imam `Ali (d. 40/661) who is considered by Shi`i Muslims to be the divinely inspired first Imam or successor to the Arabian Prophet Muhammad (d. 632 CE). Though considered ghuluww ("extremist"), heterodox or inauthentic by some Muslims on account of its high imamology and other doctrinally unique and unusual cosmological, theological and related statements, It was regarded very highly by the fountainhead of Shaykhism (al-Shakhiyya) Shaykh Ahmad al-Ahsa'I (d. 1241/1826) and his immediate Persian successor Sayyid Kāẓim Rashti (d. 1243/1844). The latter wrote a lengthy Arabic commentary upon about half of the Khutbat al-tutunjiyya which was published in a lithograph edition in Iran 1270/1854.
"I [Imam `Ali] am the one presiding [standing upright] over the two gulfs (al-tutunjayn).
The reference to two gulfs here is understood in early Shaykhi literatures to be indicative of two cosmic streams generated from the primordial "Water" (al-mā') as two watery expanses reminiscent of those spoken about in Genesis 1:6f . On one level this syzygy like duaIity is indicative of (1) the "Divine Mercy" (rahmat) and (2) the "Divine Wrath" (ghazb) or of other related yet antithetical dimensions like "Paradise-heaven" and "The Fire-hell".
We learn from these words that al-Bursī thought that the "Sermon of the Gulf" was delivered by the first Imam between Kūfa (now in Iraq) and Medina (now in Saudi Arabia) (Mashariq: 166-170). The Khutba (sermon) is declared deep and profound to the degree that it is something way beyond accusations of anthropomorphism ("making God of human form"), or of having an over elevated or high imamology or other apparently ghuluww ("extremist") theological components.
With the vision of [mine own] eyes did I see [the Mercy of] God (Allāh ) and Paradise (al-firdaws).
The recent printing of the Mashariq anwar of Rajab al-Bursi referred to above does not read "I saw God" but has "I saw the Mercy of God" for direct vision of God is generally regarded as impossible in the Abrahamic religions -- Judaism, Christianity and Islam. It appears that this is a pious toning down of a controversial line in the Sermon of the Gulf for the text cited by the Bab in his early Tafsir Surat al-Baqara (Commentary upon the Surah of the Cow) (Qur'an 2) and other writings does not have vision of the "mercy of God" (rahmat Allah) but has `Alī declaring his direct vision of God. On a history of religions level this is obviously designed to express Imam `Ali's superiority to Moses and Jesus who, in Jewish and Christian scripture and tradition, are expressly denied the request for a direct vision the Godhead (see Exod 33:18-23; John 1:18, 4:24; Qur'an 7:143f). In several of his works including the Tafsīr al-hā' (Commentary on the Letter "H" ) I and II , the Tafsīr Sūrat al-ḥamd (Commentary on the Surah of Praise", Q. 1) and the al-Lawāmi' al-badī` ("The Wondrous Brilliances") dating from about 1846-7, For ther Bab the reference to the vision of God in the Khutbat al-Tutunjiyya was essentially a vision of the Mashiyyat (the Primal Will of God) focused in his divine Manifestation (mazhar ilahi).
"We did speak forth through two letters although there was not divulged even a [single] letter through the two foremost souls [= ? Shaykh Ahmad Ahsa'i and Sayyid Kāẓim Rashti]. Not even a single letter shall be discovered of the mystery of the two Gulfs (al-tutunjayn), save through My Logos-Self (nafsī) the True One, which is the bearer of the Two Names (hamil al-ismayn )" [=  `Alī +  Muhammad = the Bab?]".
Several of the most important references and interpretations of the twin gulfs cosmology of the Kh-T in the Qayyum al-asma' are found in Surah 109, the Surat al-`Abd (Surah of the Servant). Witin a very long verse we find an esoteric, imamological expression of the claims and eschatological function of the Bab as the one (like Imam `Ali) presiding over those now recreated spheres of existence which are the "twin gulfs" etc. There we again find aspects of the Bab's eschatologically charged development of Sayyid Kāẓim Rashti's exegesis of the twin-gulfs cosmology. The motif of [Imam]`Ali presiding over (waqif `ala) the "twin gulfs", for example, is associated with the Bāb operating (with the permission of God) as the eschatological Judge (ḥākim) throughout all existence as encompassed by the twin "gulfs" of (loosely) "heaven" and "hell".
Trans. Stephen Lambden 2006, 2010.
The text translated here is that in INBMC 67:125-9 (see above).
Our Master [Imam] `Alī said (upon him be peace) in the Khuṭbat al-Tutunjiyya ("Sermon of the Gulf") according to his statement expressive of a thousand degrees of praise and salutation (ālāf al-thanā' wa'l-taḥiyya), "Praised be to God, who hath cleft the firmaments asunder, etc". And the teacher (al-mu`allim) [Sayyid Kāẓim Rashtī] said -- may my spirit be a sacrifice for him -- `I indeed do say, `In the Name of God' and `Praised be to God', for `I seek commencement in God'" in commenting upon a mystery of the utterance (fī sharḥ sirr min al-kalimat) which hath been commented upon by the Word of Truth (kalimat al-ḥaqq) (= Sayyid Kāẓim himself) – may my spirit be a sacrifice unto him – through the Khuṭbat al-Ṭutunjiyya ("Sermon of the Gulf") that he might instruct the people [about] the [alphabetical] Script of the All ["Universal Script"] through the decree of the Book (kḥaṭṭ al-kull min ḥukm al-kitāb) as befits the portion so merited (kalimat al-thawāb) and in accordance with what God had willed respecting this Snow-White Leaf (al-waraqat al-bayḍā').
Now as for the allusion (al-ishāra) unto the utterance (kalimat) of the Imam -- may my soul be a sacrifice for him -- "There is indeed no Path for anyone; neither [attainment] through allusion (al-ishara) nor through its Logos-Self (nafs)!" So when the utterance (al-kalimat) was related unto God they were silenced such that there was no comprehension (ma`rifat) for anyone about [the meaning of] his utterance (kalimat) since his utterance (kalimat) --upon him be peace -- was a narrative expressive of His station (maqam) for none is able to know what He is except He Himself. Praised be unto Thy Lord, the Lord of Power (rabb al-quwwat) above whatsoever they describe.


text:
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Some awesome releases out today. These foil covers look super nice just to collect. I have this idea in my head to just display my favorite autographed comics by the cover artist in my office. It won't be any of the fancy super expensive things, but just the covers I like the most. I wonder how it would look, or if it is cheesy?


text:
I'm sick, I can't walk': Israel Matseke-Zulu reveals why he exited Gomora'
I'm sick, I can't walk': Israel Matseke-Zulu reveals why he exited Gomora'The actor who played Gomora's' most-hated villain, Don is reportedly using a wheelchair.
by Rae Seleme
Gomora' actor, Israel Matseku-Zulu as Don. Image via Twitter @M_Theo
Talented actor, Israel Matseke-Zulu, who played the role of Don, on Mzansi-Magic's most-watched telenovela, Gomora has revealed the reason he exited the show.
Zulu told Daily Sun that he was forced to exit Gomora because he is sick and started getting sick shortly after joining the popular telenovela.
Also read: Gomora' November Spoilers: Don is finally killed and Mazet is paralysed
The Long Awaited Voetsek of all time #GomoraMzanzi pic.twitter.com/ARLcemytQe
KhuzwayO (@Njabulo17149180) October 25, 2021
MY LEGS ARE IMMOBILE' The actor stated in the interview that the health condition he's facing is gangrene which has made one of his legs immobile.
The reason I am leaving the show is that I am sick. I decided to leave the show because I saw it was becoming difficult for me to walk.'
The actor adds that he was using a wheelchair to get on set towards the end of his last scene.
Fans of Zulu were saddened and surprised by his departure as he was a permanent cast member of the show and has been part of the award-winning show behind the scenes as a location scout.
Ladies and Gentlemen he finally said Futsek #GomoraMzanzi pic.twitter.com/Zio1ZZ1RBl
Jeso Kreste (@Jeso_Kreste) October 25, 2021
Also read: Where's Diamond Mabuza?': Gomora' fans are disappointed in Melusi
The decision to leave the show wasn't easy for Zulu who is hailed as one of Mzansi's most talented actors.
Performance is my life, this was one of the hardest decisions that I had to take, but I saw that my health matters the most and I need to recover.
He also says his decision to leave was hard because he realises that viewers have fallen in love with his character. He also encourages audiences to not boycott the show because of his exit and continue watching.
Zulu joined the show in September as Sibongile (Nandipha Khunoe) and Teddy's (Sicelo Buthelezi) father and was shot dead on Thursday night (18 November) by his baby mama and lover, Zodwa (Sannah Mchunu).
#GomoraMzansi appreciation post salute grootman I enjoy every single episode with you sbongile pic.twitter.com/xvHA5Rs2oZ
Zazoooh (@noxolo_malevu) November 18, 2021
Mayoclinic.org states that gangrene is the death of body tissue due to a lack of blood flow or a serious bacterial infection.
The clinic site adds that gangrene affects the arms and legs, including the toes and fingers and that treatments include surgery to restore blood flow and remove the dead tissue.
Also read: I found Gomora High': Inside Israel Zulu's exit and role behind-the-scenes
LINK: https://www.thesouthafrican.com/lifestyle/sa-tv-film/im-sick-i-cant-wa...
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Square Rigger. Plan 891. Type Model RC Sport Trainer. Wingspan 54in.Highwing. Engine Glow K&B .40 Control 4 channels. Designer Paul Denson. Magazine RCModeler June 1983.
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text:
How Presidential Pardons Work
By: Patrick J. Kiger | Updated: Dec 15, 2020
The Pardon Process
It's a holiday tradition for the U.S. president to pardon the Thanksgiving turkey. Here Barack Obama pardons Abe, at the White House in 2015. The turkeys do NOT need to go through the pardon attorney's office to get their approval. Chip Somodevilla/Getty Images
Vast numbers of people convicted of federal crimes request clemency, but only a few of them actually receive it. In order to help make sure that the clemency process is conducted fairly, the Department of Justice has an institution, the Office of the Pardon Attorney, which has the job of accepting and reviewing applications and preparing recommendations for how the cases should be handled [source: Thompson].
After a petition for executive clemency is received, the pardon attorney conducts an investigation of the facts of the case, with the help of the FBI and other federal agencies. Once that's completed, the attorney presents the petition and all the research on the case to the deputy attorney general, along with a recommendation of what should be done. The deputy then transmits it to the attorney general, who reviews it and writes a recommendation, which is then submitted to the president [source: Thompson].
The Department of Justice also has set up guidelines for reviewing pardon petitions, and what factors should be considered in deciding whether to grant them. The factors to taken into consideration include:
Post-conviction conduct, character and reputation
The seriousness of the crime, and how recently it occurred
Acceptance of responsibility, remorse and atonement
Need for relief
Official recommendations and reports relevant to the case [source: Thompson].
For commutations, the pardon attorney traditionally has looked at questions such as whether a person is serving an unusually harsh sentence, is in ill health, or has cooperated in an investigation or prosecution but not been rewarded for it so far. But in 2014, the Department of Justice announced a list of six new factors that it would use to prioritize applications.
The applicant is in prison serving a federal sentence that is more severe that what he or she would have received for the same crime today.
The applicant is a nonviolent, low-level offender without significant ties to major criminal organizations.
The applicant has served at least 10 years of the sentence.
The applicant doesn't have a significant criminal history.
Good conduct in prison.
No history of violence prior to or during current term of imprisonment. [source: Thompson].
Presidents, though, can also go outside of this system. The Washington Post reported in February 2020, for example, that most of President Trump's 24 grants of clemency up to that point had gone to offenders who didn't go through the pardon office system, or else hadn't met its requirements [source: Reinhard and Gearan].
Patrick J. Kiger "How Presidential Pardons Work" 9 August 2007.
HowStuffWorks.com. <https://people.howstuffworks.com/presidential-pardon.htm> 30 January 2023


Sudanese Foreign Ministry official Abdelghany Naeem, on Tuesday, said his country hopes the revival of President Donald Trump's travel ban on Sudanese citizens will not affect the planned lifting of US economic sanctions on the conflict-stricken nation.
The Supreme Court of the United States on Monday partially lifted an injunction against the travel bans issued by President Donald Trump. The apex court's decision allows the travel ban on nationals from Iran, Libya, Somalia, Sudan, Syria and Yemen that lack strong ties with the United States.
"We hope that this ban decision will not affect next month's decision to lift U.S. economic sanctions, especially because Sudan has completed all the roadmap requirements that were asked," the Foreign Ministry official told Reuters.
Sudan is listed by the US as a country supporting terrorism. Portions of a decade-old sanction were eased by former President Barack Obama before he left office. Before the sanctions were lifted on 13 January, Sudan had been under US trade embargo since 1997.
If President Donald Trump approves the lift, Sudan will, for the first time in two decades, be able to receive imported goods and services from the US.
The lift will also release frozen Sudanese property and assets held in the US.
Posted by Khalid Al Mouahidi on June 28, 2017. Filed under News. You can follow any responses to this entry through the RSS 2.0. You can skip to the end and leave a response. Pinging is currently not allowed.