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Posted on 20 July 2018 20 July 2018 By AntBit
No Country For Old Men first published by EyeforFilm
"I was sheriff of this county when I was 25 years old. My grandfather was a lawman. Father too…"
The voice-over that opens No Country For Old Men is a nostalgic plea for tradition, as well as an elegiac recognition of its passing into oblivion. As he puts it himself, Sheriff Ed Tom Bell (Tommy Lee Jones) "always liked to hear about the old-timers", and now that he is approaching retirement, he is something of an old-timer himself – a last link to the history of Texas' Old West, and of the men who patrolled the frontiers of decency and lawlessness. These days, though, he feels less and less able to comprehend the new breed of violent criminal that has drifted into town.
Take Anton Chigurh (Javier Bardem), for example. We first see him using a pair of handcuffs to garrote the policeman who has just arrested him – and then murdering an uninvolved driver on the road for good measure, just so that he can take his car without leaving a witness. Coin-flipping Chigurh lacks all compunction or remorse, and plays rigidly by rules meaningful only to himself – and he will stop at nothing to track down a satchel full of hard cash that has gone missing after a drug deal that went badly wrong. Vietnam veteran Llewelyn Moss (James Brolin) has chanced upon the money while out hunting alone in the desert, and must now confront the full consequences of his failure to resist temptation, even at the risk of his own life, or indeed that of his beloved wife Carla Jean (Trainspotting's Kelly Macdonald, with nary a trace of her native Scots brogue).
No Country For Old Men is essentially a chase caper. Chigurh and a bunch of Mexicans are chasing Moss, professional fixer Carson Wells (Woody Harrelson) is chasing an increasingly out-of-control Chigurh, and everyone is chasing the money – with Sheriff Bell several steps behind trying to find some sort of sense in the moral chaos unraveling before him. Yet, this being a Coen brothers production, there is so much more to it than just the usual, narrow considerations of genre. Playing out against vast southern backdrops (beautifully framed by the Coens' regular DP Roger Deakins), the film allows its cat-and-mouse convolutions to take on the proportions of a biblical epic, as good and evil (and everything in between) are shown negotiating an ever-shifting borderland that is etched as much into the psyches as into the environment of its characters.
Adapted by the Coens from the 2003 novel of Pulitzer Prize-winning author Cormac McCarthy, No Country For Old Men is a morality tale played as darkly comic modern oater. It is full of the brothers' trademark wit and surreal flourishes, but also unremittingly tense and bleak, as a whole world of trouble closes in on the hapless Moss who, against all better advice, deludes himself to the end that he and his loved ones can take on what is coming to them. All three leads are a revelation, with Bardem in particular offering the most terrifyingly implacable on-screen incarnation of evil since Dennis Hopper inhaled gas through a mask as Frank Booth in David Lynch's Blue Velvet (1986).
Even though this would probably qualify as the Coens' most violent film to date, it is still remarkably restrained, never showing us more than we need to see, and leaving the huge shoot-out that first triggers its events, and several subsequent acts of slaughter, entirely off-screen but for their bloody aftermaths. Indeed, while the whole film seems to be propelling itself towards a couple of monumental showdowns between its principal characters, one of these is presented only in bold ellipsis, while the other never actually takes place (as though to suggest that the forces of light and shadow can never collide head-on).
Like the Coens' earlier Fargo (1996), No Country For Old Men features a psychotic killer as the wild card in an otherwise conventional crime scenario; and dead dogs here form a bewilderingly recurrent motif similar to the lost hats in Miller's Crossing (1990); but it is the Coens' broad kidnap comedy Raising Arizona (1987) that is unexpectedly evoked in the final scene, not because No Country For Old Men is, or in any way pretends to be, as riotously funny, but rather because both films close with the most imponderably terrible of circumstances being met with dreams of a better world to come. Here, good and evil will always co-exist, like two sides of a coin. It is an ending ambivalent enough to haunt you well after the final credits – perfect for a film whose long, twisted narrative roads, rather than converging on some obvious, hackneyed point of closure, instead open out to infinite horizons. It is what elevates No Country For Old Men beyond its undoubted genre thrills to the more rarefied heights of a true classic.
2LDK (2003)
Aragami (2003)
Archenemy (2020)
Muscle (2019)
King Cohen: The Wild World of Filmmaker Larry Cohen (2017)
The Man Who Killed Hitler And Then The Bigfoot (2018)

redpajama_set_name: RedPajamaCommonCrawl


text:
Lyautey l'Européen: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25
Pablo La Porte
Intercultural Research Centre
Much of the scholarship on Marshal Hubert Lyautey has portrayed his method of conquest and rule in Morocco as a conspicuous manifestation of his previous colonial experience, neglecting other equally revealing features of his administration, such as his assumptions, expressions of intent and responses to perceived European ambitions in the Western Mediterranean. Lyautey's lasting preconceptions about British and Spanish aspirations and capabilities, far from being marginal curiosities, became key tenets of policy and modus operandi in the French Protectorate. His over-simplified notions of imperial legitimacy, national traits and territorial priorities, although comparatively innocuous during the early years of French domination, would come to the fore during the Rif War (1921–26). Such perceptions became increasingly difficult to reconcile with the international agreements of 1912, and could explain Lyautey's resistance and hesitation in the face of changing scenarios of the Rifian conflict and, eventually, his final fall from grace.
https://doi.org/10.1093/fh/crv075
10.1093/fh/crv075
This is a pre-copyedited, author-produced PDF of an article accepted for publication in French History following peer review. The version of record French History (2016) 30 (1): 99-120 is available online at: http://fh.oxfordjournals.org/content/30/1/99
Accepted author manuscript, 429 KBLicence: Copyright Publisher
Fingerprint Dive into the research topics of 'Lyautey l'Européen: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25'. Together they form a unique fingerprint.
International Agreements Arts & Humanities
French Rule Arts & Humanities
Imperial Ambition Arts & Humanities
Western Mediterranean Arts & Humanities
Curiosity Arts & Humanities
Hesitation Arts & Humanities
Morocco Arts & Humanities
Grace Arts & Humanities
P.La_Porte@hw.ac.uk
School of Social Sciences - Assistant Professor
School of Social Sciences, Languages & Intercultural Studies - Assistant Professor
Research Centres and Themes, Intercultural Research Centre - Assistant Professor
Person: Academic (Research & Teaching)
La Porte, P. (2016). Lyautey l'Européen: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25. French History, 30(1), 99-120. https://doi.org/10.1093/fh/crv075
La Porte, Pablo. / Lyautey l'Européen : metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25. In: French History. 2016 ; Vol. 30, No. 1. pp. 99-120.
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title = "Lyautey l{\textquoteright}Europ{\'e}en: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25",
abstract = "Much of the scholarship on Marshal Hubert Lyautey has portrayed his method of conquest and rule in Morocco as a conspicuous manifestation of his previous colonial experience, neglecting other equally revealing features of his administration, such as his assumptions, expressions of intent and responses to perceived European ambitions in the Western Mediterranean. Lyautey{\textquoteright}s lasting preconceptions about British and Spanish aspirations and capabilities, far from being marginal curiosities, became key tenets of policy and modus operandi in the French Protectorate. His over-simplified notions of imperial legitimacy, national traits and territorial priorities, although comparatively innocuous during the early years of French domination, would come to the fore during the Rif War (1921–26). Such perceptions became increasingly difficult to reconcile with the international agreements of 1912, and could explain Lyautey{\textquoteright}s resistance and hesitation in the face of changing scenarios of the Rifian conflict and, eventually, his final fall from grace.",
author = "{La Porte}, Pablo",
doi = "10.1093/fh/crv075",
journal = "French History",
La Porte, P 2016, 'Lyautey l'Européen: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25', French History, vol. 30, no. 1, pp. 99-120. https://doi.org/10.1093/fh/crv075
Lyautey l'Européen : metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25. / La Porte, Pablo.
In: French History, Vol. 30, No. 1, 01.03.2016, p. 99-120.
T1 - Lyautey l'Européen
T2 - metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25
AU - La Porte, Pablo
N2 - Much of the scholarship on Marshal Hubert Lyautey has portrayed his method of conquest and rule in Morocco as a conspicuous manifestation of his previous colonial experience, neglecting other equally revealing features of his administration, such as his assumptions, expressions of intent and responses to perceived European ambitions in the Western Mediterranean. Lyautey's lasting preconceptions about British and Spanish aspirations and capabilities, far from being marginal curiosities, became key tenets of policy and modus operandi in the French Protectorate. His over-simplified notions of imperial legitimacy, national traits and territorial priorities, although comparatively innocuous during the early years of French domination, would come to the fore during the Rif War (1921–26). Such perceptions became increasingly difficult to reconcile with the international agreements of 1912, and could explain Lyautey's resistance and hesitation in the face of changing scenarios of the Rifian conflict and, eventually, his final fall from grace.
AB - Much of the scholarship on Marshal Hubert Lyautey has portrayed his method of conquest and rule in Morocco as a conspicuous manifestation of his previous colonial experience, neglecting other equally revealing features of his administration, such as his assumptions, expressions of intent and responses to perceived European ambitions in the Western Mediterranean. Lyautey's lasting preconceptions about British and Spanish aspirations and capabilities, far from being marginal curiosities, became key tenets of policy and modus operandi in the French Protectorate. His over-simplified notions of imperial legitimacy, national traits and territorial priorities, although comparatively innocuous during the early years of French domination, would come to the fore during the Rif War (1921–26). Such perceptions became increasingly difficult to reconcile with the international agreements of 1912, and could explain Lyautey's resistance and hesitation in the face of changing scenarios of the Rifian conflict and, eventually, his final fall from grace.
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La Porte P. Lyautey l'Européen: metropolitan ambitions, imperial designs and French rule in Morocco, 1912–25. French History. 2016 Mar 1;30(1):99-120. https://doi.org/10.1093/fh/crv075


Laurelthirst Public House – 2958 NE Glisan St.
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The LaurelThirst Public House has been part of the Kerns Neighborhood in Portland Oregon since 1988. Since its opening, The LaurelThirst has strived to provide a great place for people to gather and eat good and reasonably priced food, choose from a large selection of micro-brews and wines (many of them local) and a place to hear the best local music that Portland has to offer in a relaxed and friendly atmosphere. The LaurelThirst has been lucky enough to foster a community of exceptional and diverse people that includes its staff, musicians, neighbors and customers. It is a community that we are constantly thankful for.


Wake up to the fresh aromas of locally roasted Camp 4 Coffee and a new multi-course gourmet breakfast each morning to power the day's coming adventures. Chris trained under a nuetritionist to cook and prefers to use locally sourced foods when designing each mornings menu. The rotating menu includes Italian Fritatas, Old World Belgium Waffles, Quiches, Specialty Grain Pancakes with infused Vermont Maple Syrup, Spring Stratas, Mix Berry Stuffed French Toast and more depending on what season produce is available. Customizing each guest's stay, the owners work closely with the clientele when recommending and scheduling activities to make your stay truly memorable. The owners do it all, so feel free to to pick their brains for all the insiders' local knowledge. In the winter, find out about the best places to ski, snowboard, snowshoe, and snowmobile, and in the summer, there is endless hiking, biking, jeep tours, fly fishing and golf.
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Each of our six rooms offers a unique experience that is sure to fit your vaction needs. Each room has its own private bathroom offering Terry Cloth Robes and Egyption Cotton Towels. Our comfy beds offer Soft Luxurious Sheets, Down Comforters and plenty of Lush Pillows. And there are always extra pillows available upon request. The deluxe rooms offer plenty of room for relaxing while the basic rooms are for those on the go and are only looking for a comfortable place to rest between adventures.
Crested Butte is a small town surrounded by thousands of acres of wilderness offering hundreds of miles of hiking and biking trails to explore. As avid outdoor entusiests, Purple Mountain's owner and staff are more than execited to share our favorite trails and local secret spots with our guests. No matter your activity of choice, you can find the best information here. Summer activities include Hiking, Biking, Wildflower Eploring, Rafting, Stand Up Paddle Boarding, Flyfishing, Horseback Riding and much much more.
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We are located in the town of Crested Butte on a quiet street within walking distance of all the restaurant, bars and activities. We are also a short walk to the free 3 minute town shuttle up to Mount Crested Butte Ski Area.


Facebook is taking over the world, the company is even expanding in markets with unreliable internet connectivity.
Facebook (NASDAQ:FB) is the undisputed leader among social networks. The company has a massive user base of more than 1.4 billion average monthly users, and it continues growing at an impressive speed considering the size of the platform. In addition to this leadership position in well established markets, Facebook is now even gaining ground in corners of the world where most consumers don't even have access to good enough Internet connections.
As of the first quarter of 2015, Facebook has 1.44 billion monthly active accounts, a year-over-year increase of 13% versus the same quarter in 2014. Daily active users stand at 936 million, growing 17% year over year during the last quarter. The fact that daily users are growing at a faster rate than monthly ones is a big positive for Facebook, as it reflects increasing engagement.
Not only that, Facebook is also consolidating its presence across different platforms. WhatsApp has over 700 million users, and Instagram has more than 300 million active members. Services such as Facebook Groups and Messenger are also important when it comes to cementing Facebook's relationship with users and keeping those users actively engaged. As of March, Facebook Groups has 700 million users, and Messenger is above 600 million accounts.
Growth rates tend to naturally slow down as a company gains size over the years. In Facebook's particular case, the social network has arguably collected most of the low hanging fruit, meaning that Facebook is already quite ubiquitous among its target demographic group in markets where consumers have fluid Internet connections.
In another effort in the same direction, Facebook has recently launched Facebook Lite, a simplified version of its Android mobile app that uses much less data than the original app. Facebook Lite is 1% of the size of Facebook's main app. It includes main features such as news feed, status updates, and photos, but it does not support video or other functionalities that require big amounts of data.
Humanitarian reasons can be important to Facebook, but it's also worth noting that these initiatives are good for business, too. Facebook is a textbook example of a business operating under the network effect, meaning that the network becomes more valuable as it grows in size over time.
If nobody interesting is using Facebook, then the social network has no value to you. However, when many of your friends, family, love interests, or work connections are on the platform, you just can´t stay away from it for too long at the risk of missing out something important.


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text:
Ramsubramaniam
Ram (Aka) Ramsubramaniam
Kattradhu Thamizh (2007)
2013 - National Film Award for Best Feature Film in Tamil, Vijay Award for Best Film
Ram was born on October 11, 1974 in Chennai. He entered into Tamil industry in the year 2007. Ram, while he was pursuing a Master of Arts postgraduate degree in Tamil literature at the Madras Christian College, began writing short stories in Tamil language. He met director Thangar Bachan and worked with him in a few films, who recommended that he meet Hindi film director Rajkumar Santoshi. Since he could not understand Hindi and was unaware about Hindi films and hence did not know who Rajkumar Santoshi was, he was initially reluctant, but eventually decided to meet him and joined him as a script writer, moving to Mumbai subsequently. After assisting Hindi directors Rajkumar Santoshi and Govind Nihalani and working under Balu Mahendra, he made his directorial debut with Kattradhu Thamizh (2007), which fetched him strong critical acclaim. He launched his second film Thanga Meengal in 2011 with director-producer Gautham Menon's Photon Kathaas producing it and is slated for release in July 2013.
Ram worked together with Santoshi in several Hindi films, including Pukar (2000) and Lajja (2001), and helped him in shaping the story of Lajja. Besides Santoshi, Ram had also assisted Govind Nihalani, another Hindi film director, crediting the two for helping him become a filmmaker. Ram revealed that he first had planned to make a "cross-over English film on man-woman relationship" and approached Balu Mahendra to handle the cinematography, since he felt Mahendra's style suited his script best.
C. V. Sridhar
R. Parthiepan
Aishwarya R. Dhanush
Pandiarajan
Singeetam Srinivasa Rao
S. P. Jananathan
Vasanthabalan
I. V. Sasi
Mani Ratnam


text:
<?php

namespace EventCentric\DomainEvents;

use ArrayAccess;
use Countable;
use Iterator;

interface DomainEvents extends Countable, Iterator, ArrayAccess
{
    /**
     * @param callable $callback
     * @return array
     */
    public function map(callable $callback);

    /**
     * @param DomainEvents $other
     * @return DomainEvents
     */
    public function append(DomainEvents $other);
}

redpajama_set_name: RedPajamaGithub


The Father and the Head of the Ukrainian Greek-Catholic Church, His Beatitude Svitaoslav (Shevchuk) today, on September 29th, blessed the UGCC Chapel of the Intercession of the Most Holy Mother of God in the so-called Marian Valley, located close to the city of Brisbane.
The Marian Valley was established for veneration of the Immaculate Virgin Mary. Here various confessions, religious communities of different nationalities have their chapels of the Immaculate Virgin Mary, to which pilgrimages are held.
The Chapel of our Church in the Marian Valley was established by the parishioners of the Church of the Intercession of the Most Holy Mother of God in the city of Brisbane.
"This really is a great blessing and we are thankful to the Lord God," said the Prelate to the faithful, "and we should express our gratitude today for the fact that the first meeting that I have with your parish is here. In the Gospel, we heard how Mary met Elizabeth. And we heard about the secret kiss that the Virgin Mary gave her... While praying here, we felt the presence of the Holy Spirit, we felt the spirit of unity, the spirit of happiness, the spirit of peace. The Most Holy Immaculate Virgin kissed us with her secret kiss.
His Beatitude Sviatoslav reminded those present that it was precisely on the day of the Feast of the Intercession of the Most Holy Mother of God, that the Ukrainian Insurgent Army was formed. "The Virgin Mary today covers our Ukrainian army which is fighting and safeguarding the freedom and independence of our nation, our men who every day are sacrificing their lives for our native land," stated the preacher.
"May the Virgin Mary hold under her Intercessiopn each one of us. May here there be answered all the prayers which you will bring to her. May She take care of all of us, for there is no more powerful intercession, no more powerful intermediary, protectoress than she. May the Most Holy Immaculate Virgin cover all of us with her holy mantle," wished UGCC Head.


901 DECLARATIONS OF PERSONAL OR PERSONAL AND PREJUDICIAL INTERESTS AND SIGNIFICANT CONTACT WITH APPLICANTS, OBJECTORS OR THIRD PARTIES (LOBBYING) – There were no declarations of personal or personal and prejudicial interests.
902 MINUTES – Resolved – That the minutes of the meeting held on 16 December 2010, having been printed and circulated amongst the members, be taken as read and correctly recorded and be signed by the chair.
903 (15) LOCAL GOVERNMENT (MISCELLANEOUS PROVISIONS) ACT 1976 – TOWN POLICE CLAUSES ACT 1847 – APPLICATION TO RENEW OR REVIEW A HACKNEY CARRIAGE/PRIVATE HIRE VEHICLE DRIVERS LICENCE – MR D COCHRANE – The Service Director Neighbourhood and Environment submitted a report advising members of an applications for review of a Hackney Carriage/Private Hire Drivers Licence to be determined by the sub-committee.
Mr Cochrane, who attended the meeting for consideration of the item advised that he had witness statements that he would like taking into consideration.
After brief discussions the chair agreed that it would be beneficial to see all of the evidence from both parties.
904 (16) LOCAL GOVERNMENT (MISCELLANEOUS PROVISIONS) ACT 1976 TOWN POLICE CLAUSES ACT 1847 – APPLICATION FOR GRANT OF HACKNEY CARRIAGE/PRIVATE HIRE VEHICLE DRIVERS LICENCE – MR D M Kennington – The Service Director Neighbourhood and Environment submitted a report advising members of an application for grant of a Hackney Carriage/Private Hire Drivers Licence to be determined by the sub-committee.
Mr Kennington, who attended the meeting for consideration of the item, made submissions and answered questions relating to previous allegations and his appearance in Court.
Resolved – That on the basis that no evidence had been put forward by the relevant agencies to substantiate the allegations, and the fact that no further action had been taken, the committee's decision was to grant the applicant a Hackney Carriage/Private Hire vehicle Drivers Licence.
905 LOCAL GOVERNMENT (MISCELLANEOUS PROVISIONS) ACT 1976 TOWN POLICE CLAUSES ACT 1847 – APPLICATION FOR GRANT OF HACKNEY CARRIAGE/PRIVATE HIRE VEHICLE DRIVERS LICENCE – The Service Director Neighbourhood and Environment submitted reports advising members of two applications for grant of a Private Hire Drivers Licence to be determined by the sub-committee.
Mr Heaton attended the meeting for consideration of the item, made submissions and answered questions relating to previous convictions and associated matters.
Resolved – (a) That the licence be granted, and (b) that the applicant be warned as to his future conduct, and that any further offences would result in the applicant appearing before this sub-committee again for consideration and a more severe decision may be taken.
The Service Director Neighbourhood and Environment advised members of the sub-committee that Mr Dickinson had not arrived for the meeting and no apologies had been received.
Resolved – (a) The application be deferred, and (b) that the applicant be advised that should he wish to pursue the grant of a licence he needed to be in attendance at a future meeting of the sub-committee when his application would be considered.
907 (19) LOCAL GOVERNMENT (MISCELLANEOUS PROVISIONS) ACT 1976 – TOWN POLICE CLAUSES ACT 1847 – APPLICATION TO RENEW OR REVIEW A HACKNEY CARRIAGE/PRIVATE HIRE VEHICLE DRIVERS LICENCE – MR D R SHAW – The Service Director Neighbourhood and Environment submitted a report advising members of an applications for review of a Hackney Carriage/Private Hire Drivers Licence to be determined by the sub-committee.
To request the person undertake and pass a Driving Standards Agency test.
Mr Shaw attended the meeting for consideration of the item and was accompanied by Mrs Joy Wright, representative of the North Lincolnshire Taxi and Private Hire Association. The sub-committee considered the evidence and submissions from the applicant and Mrs Joy Wright relating to previous convictions and associated matters.
Resolved – (a) That the decision of the committee was to take no action against the applicant and allowed him to continue with his licence, and (b) that the applicant be advised that the sub-committee did not condone acts of violence and wished to give a strict warning as to his future conduct.


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What is Nisarga Yoga of Nisargadatta Maharaj?
Sri Nisargadatta Maharaj (1897 – 1981), renowned spiritual teacher and the founder of Nisarga Yoga, did not ask anybody to follow any particular path. He just told those who came to listen to him to be what they were, in their natural, spontaneous state. He taught his disciples to stabilise in their beingness (also called 'I am-ness', consciousness) for beingness to reveal its Source (the Self), our ultimate origin. This is the practice and purpose of Nisarga Yoga. The word 'Nisarga' means 'natural' or 'innate'. Nisargadatta used the word to signify our natural state prior to erroneously identifying as a finite body and mind with its many struggles and ills.
We feel separate from our true Self, and we are trying to become reunited; that is Yoga. Yoga means 'uniting', it provides a bridge, a link, a fundamental means of connection. All of creation works naturally and spontaneously for protecting, perpetuating and expanding consciousness. This is life's ultimate meaning and purpose and the very essence of Yoga. Living is itself, therefore, a natural Yoga. Nisargadatta emphasised Yoga was not required before the appearance of the 'bridge'. Because the bridge (i.e. life) has appeared we feel separate and we are using the bridge to rediscover our wholeness. Therefore, living can either be seen as an absence of our natural state (wholeness) or a pathless path back to it. Either way, we must find out what our state was prior to the bridge. "Whatever the principle or the state was before this linking, before the existence of the bridge, was the perfect state" said Nisargadatta Maharaj. Yoga is the science and art of liberation through self-knowledge.
In the absence of beingness, there was non-duality. With beingness, duality began, along with pain and pleasure and the need for endless distraction. Without the sense of being, there is eternal peace. With consciousness comes the mind, which is invariably noisy. Nisargadatta asks us to inquire: what was our state before conception? Prior to having a body and mind, we had no consciousness, no being no sense of 'I am'. To be more lucid, Nisargadatta Maharaj tells us to meditate, but again, our meditation should not on the body but on the consciousness, our 'I am' knowledge. With this meditation, we will come to know the origin of the consciousness, its maintenance, and also what happens after the consciousness vanishes. All this knowledge we will get without asking for it, just by meditation.
"There is no basic difference," was Nisargadatta's reply to a typical question asked by one of the many seekers who had traveled far and wide to Bombay to sit in the presence of this spiritual master: "Maharaj, you are sitting in front of me and I am here at your feet. What is the basic difference between us?". Great though he was, Nisargadatta lived a modest and simple life up to his death in 1981, but his teaching, always delivered in a characteristically direct and uncompromising way, was extraordinarily profound. "I see what you too could see, here and now, but for the wrong focus of your attention. You give no attention to your self. Your mind is all with things, people and ideas, never with your self". What Nisargadatta was pointing to is that our habit of inattention and inadvertence causes us to lose sight of our underlying Beingness. Because of this distortion, we perceive a world divided into separate parts, making us view ourselves as fundamentally isolated, incomplete, and insecure. Existence gets distorted by concepts and projections and from these springs the cycle of desire and fear: solitary confinement by way of an obscured lens.
For lasting peace and contentment, we must dwell – that is, meditate – on the 'I am' and know, through inquiry, how it appeared. For Nisargadatta, the effort to understand ourselves is Yoga: "Be a Yogi, give your life to it, brood, wonder, search, till you come to the root of error and to the truth beyond the error." We have many desires, but our fundamental desire is to know and be the Self. Because we misdirect our longing, we have become a slave to our many desires. Without self-knowledge, our experience is shaped by desire and fear, pleasure and pain. Desire and fear are the obscuring and distorting factors. To react from desire and fear is captivity, but to respond from love is freedom. When the mind is free of distortion the consciousness becomes accessible. Therefore a principle of Nisarga Yoga is to gain clarity. Our consciousness is mixed up with dualistic experiencing. All we need to do is unravel consciousness from the jumble of experiences, and for this Yoga is required. Once we have known pure 'I am', without being this or that, we will easily recognise it amid daily experiences and will be less preoccupied or convinced by temporary names and forms.
Nisargadatta said that Yoga is about "levelling up all the mental ruts". The highest objective of true spirituality is to free oneself entirely from one's concepts and conditioning. It is within the nature of the mind to divide and oppose. But through Nisarga Yoga, a new 'mind' is born which unites and harmonises, which sees the whole in the apparently limited impermanent forms and the forms as perfectly connected.
How can we correct a tangle which is beneath the level of insight? Through Nisarga Yoga, by being with ourselves, the 'I am'; by observing ourselves in our daily life with mindful interest. "Have a good look at yourself, and all these misapprehensions and misconceptions will dissolve," said Nisargadatta. We can be interested in ourselves beyond all experience. We can be with ourselves, have compassion for ourselves. True refuge is found only in self-knowledge. The main thing is earnestness, said Nisargadatta. We must be honest with ourselves, and nothing will deceive us. We must see our world as it is, not as we imagine it to be. Discrimination leads to detachment; detachment ensures right action; right action creates the inner bridge to our true being. Nisarga Yoga is not at all difficult, but detachment is necessary. It is our attachment to the false that makes truth seem so unclear.
The 'I am' has boundless potency: all of manifestation is born from it. Imagination and memory form a body-mind and an identity, and the manifest believes it is a body-mind and with an identity. However, we are always the Supreme (Self) which appears at a specific point of time and space as the observer, a link between the play of consciousness of the person and the pure Awareness of the Absolute.
Nisargadatta didn't deal with any physical disciplines. He said by performing physical Yoga, such as asanas, certain satisfaction can be experienced, but this is not spiritual knowledge. 'Asana' means a yogic posture and the most reliable asana is the conviction of one's non-dual Self. While performing our daily activities, we can stay firm in our spiritual asana. In meditation, our "posture should be of thoughts and consciousness, by making them steady. Mere body posture is inferior and not adequate" advised Nisargadatta. According to Nisargadatta, real meditation is to abide in this sense of being. In fact, he said that meditation means "the sense of being holding on to itself".
The union of our natural state with consciousness is a great Yoga. In fact, Nisargadatta said that union with the body through consciousness is false Yoga. However, consciousness united with the Self is true Yoga, and beyond this is the Pure Awareness or Reality, the Self. There isn't a specific Nisargadatta Maharaj practice.
The knowledge 'I am' itself is only a temporary guide, albeit a very attractive one. When consciousness appears, our love for existence is the product of the primary illusion, Maya. Once we come to know we exist, we want to endure eternally, and so suffering starts. According to Nisargadatta, all of this is because of Maya. Therefore, with Nisarga Yoga we come to know consciousness intimately and gradually see it as useless, because it simply represents truth; it itself is not the ultimate state.
As his affectionate yet direct guidance suggests, Nisargadatta's Yoga means to stay attentive to one's beingness. This is most effective and transformative when we're attentive to being without effort or pretence, when we naturally live meditatively and inquiringly and are familiar with shifting the focus of Consciousness. This is the continual encounter of Self-intimacy: to surrender our "small" lives to our vast lives and to let them be our teacher, to wonder earnestly, to investigate, until we arrive at the crux of the mind's misunderstanding and thus to the clarity of non-dual Knowing beyond the illusory. Then we discover that it's impossible to be isolated or afraid because we are everything. What is there to be scared of? Who is missing from our lives? Yes, loneliness and fear may fleetingly pass through us, and we feel them fully, but we aren't fooled into claiming them. We know the difference between superficial experience and truth. This is the utmost secure human existence; it's true friendship, harmony, and wholeness, real intimacy of Self-with-Self.
Nisarga Yoga is the name of Sri Nisargadatta Maharaj's teaching and approach to non-dual / advaita spirituality. There are several references to Nisarga Yoga in Nisargadatta's book 'I Am That' (1973) which includes an appendix on the subject by the book's translator Maurice Frydman. The seven key principles of Nisarga Yoga were identified by non-duality author and therapist Nic Higham in 2018.


Configures the ODT on and off settings for active and inactive ranks during writes. Access restrictions: RO Can be read from when in ALL states. Cannot be written to and only updated when in CONFIG, LOW-POWER or PAUSED states.


Registration for this course is done via roll call.
Registration takes place at the first lecture or seminar. Students who are conditionally admitted need to prove they are eligible to the course before they can be registered.
Students who have applied late will be automatically placed on queue, and will be contacted by the department by email (from info@lingfil.uu.se) if they can be offered a place on the course. The email will be sent to the address given at the time of application. Please ensure that email address is valid.
Don't forget the guest lecture by Don Kulick at 14:15 on Monday 9th of May. It will be held in Engelska Parken 9:2027, which is a bit tricky to find. You enter the doors leading to the phonetics labs (Chomsky and Turing) and follow the corridor around to the left.
2. Highlight the close relationship between language, culture and thought from different perspectives, such as language structure, conversation patterns, language development, translation and literature.
Item (2): We will have a particular focus on language structure, rather than conversation, translation or literature.
The course provides an overview of the language and cultural meetings with a presentation of linguistic research in several areas.


Dr. David Maitland BSc PhD FRPS Nature, Science, Super-Macro, Videography A Zoology degree from St. Andrews University was followed by a PhD in Zoology from the University of New South Wales, Sydney, Australia. Photography featured prominently in my studies of animal form and function. I employed conventional 35mm macro photography along with transmission and scanning electron microscopy to discover how crabs breathe air through their legs and how maggots jump. I became a full time Nature photographer in 2006. I love to capture the quirkiness in a creature's character, its intricate details and the beauty and wonder of Nature.
"David's background is that of an Academic and naturalist – but the use of Photography to elucidate the intricacies of nature from an academic view point has now been transformed into a new sense of enquiry - the pursuit of art and wonder in Nature. Winner of the European Wildlife Photographer of the Year in 2008, and numerous awards in the Veolia Wildlife Photographer of the Year - amongst many others - have established David's position as one of the world's foremost nature photographers. David's quirky insight into nature's little details, has led to his collaboration on Brian Cox's 2013 "Wonders of Life" series on BBC2, as their specialist- and macro-photographer." 2013: Appointed External Examiner for the University of Falmouth BA (Hons) Marine & Natural History Photography degree programme.
Commissions: A specialist in macro, super-macro and microscopy, employing state-of-the-art techniques, David is available for bespoke advertising commissions. Videography and still photography of the highest quality. e-mail: david@davidmaitland.com for full details. Fine Art Prints: Photographs by David Maitland are available as signed Fine Art prints. e-mail: david@davidmaitland.com for full details. Courses / Workshops: Specialist tailor-made "one-to-one" or "you-and-a-friend" courses. Or, why not join a small group for one, two, or three-day courses in Close-up and Macro photography and Microscopy? Lakenheath Fen and Thetford Forest are close by to serve as a lovely "practice ground". e-mail: david@davidmaitland.com for full details. Students: David is available for tailored tuition to suit your needs, from portfolio reviews to one-to-one tuition. e-mail: david@davidmaitland.com for full details.
Awards 2012 VEOLA WILDLIFE PHOTOGRAPHER OF THE YEAR 2012 Runner-up in "Creative Visions" "Sands of Time" (Coral Sand). NIKON Small World Photomicrography Competition: Coral Sand wins 18th place. Mosquito gets an Image of Distinction award. www.nikonsmallworld.com EUROPEAN Wildlife Photographer of the Year 2012 : - Two photographs Highly Commended www.gdtfoto.de The ROYAL PHOTOGRAPHIC SOCIETY'S 155th International Print Exhibition: Two prints accepted for International exhibition.
Commissions: A specialist in macro, super-macro and microscopy, employing state-of-the-art techniques, David is available for bespoke advertising commissions. Videography and still photography of the highest quality. e-mail: david@davidmaitland.com for full details. Fine Art Prints: Photographs by David Maitland are available as signed Fine Art prints (some limited, some open). Print media is the superb Hahnemuhle Photo Rag. Prints are supplied unframed only. e-mail: david@davidmaitland.com for full details.
Courses / Workshops: Nature & Macro: Specialist tailor-made "one-to-one" or "you-and-a-friend" nature photography courses. Or, why not join a small group for one, two, or three-day courses in Close-up and Macro photography? Lakenheath Fen and/or Thetford Forest are close-by to serve as a lovely "practice ground". Super-macro: As a Multiple award winner in the Nikon Small World international photographic competition David can help you to improve your macro techniques. Learn how to do focus stacking, and take beautiful super-macro photographs of living things. e-mail: david@davidmaitland.com for full details.
Microscopy: David has a fully equipped microscopy "CSI" lab with Light and fluorescence microscopes capable of polarizing, phase-contrast, DIC, Dark field and fluorescence techniques, amongst others. e-mail: david@davidmaitland.com for full details. Students: David is available for tailored tuition to suit your needs, from portfolio reviews to one-to-one tuition. e-mail: david@davidmaitland.com for full details.
An endangered Gabon Black Colobus monkey, Colobus satanas anthacinus, awaiting preparation. Food Market, Libreville, Gabon.
BUSH-MEAT: In preparation for the bush meat trade, monkeys are thrown onto open fires to burn off their fur prior to being sold naked at food markets throughout central West Africa. Despite being banned, the consumption of bush meat remains popular and presents a serious threat to both wildlife and Humans: The wildlife is threatened with extinction and Humans run the risk of contracting deadly diseases like Ebola and HIV. With fur removed and remnants scraped away, a pile of naked monkeys and a porcupine (lower right) lie awaiting sale. Food Market, Libreville, Gabon.
In preparation for the bush-meat trade, monkeys are thrown onto open fires to burn off their fur prior to being sold naked at food markets throughout central West Africa. This is an endangered Gabon Black Colobus monkey, Colobus satanas anthacinus. Food Market, Libreville, Gabon.
An impressive and dangerous snake, the Jumping Pit Viper, or Jumping Tommygoff - Atropoides nummifer - keeps its eye on me, while I keep my eye on it... Close-up of the vertical cat-like pupil of its eye. Chiquibul National Park, Belize, Central America.
In preparation for the bush-meat trade, monkeys are thrown onto open fires to burn off their fur prior to being sold naked at food markets throughout central West Africa. Despite being banned, the consumption of bush-meat remains popular and presents a serious threat to both wildlife and Humans: The wildlife is threatened with extinction and Humans run the risk of contracting deadly diseases like Ebola and HIV. This is an endangered Gabon Black Colobus monkey, Colobus satanas anthacinus. Food Market, Libreville, Gabon.
Hard to swallow: A young common frog, Rana temporaria, attempts to swallow an incongruously large earthworm. The striped body of the Tiger or Brandling Earthworm, Eisenia foetida, looks alien to the frog. In this case the frog manages to swallow the worm only to have the worm crawl back out of the frog's stomach and mouth a few minutes later – just too big for its stomach. Garden pond, Calne, Wiltshire, UK.
Hug : - A pair of common frogs, Rana temporaria, in Amplexus - the male is behind clasping, the female, fat with eggs, tightly around her arm-pits. Calne, Wiltshire, UK.
A small Reed frog, Hyperolius sp. rests during the day inside the young unfurled whorl of an Arrow-root (Marantaceae) leaf. Loango National Park. Gabon.
A female Strawberry Poison-dart or Poison-arrow frog, Dendrobates pumilio, carries a single tadpole to a nursery pond in the base of a Bromeliad plant. This is a classic example of parental care in the animal kingdom. Braulio Carrillo National Park, Caribbean lowlands, northern Costa Rica.
The gills of a field mushroom light up as rays of light when back lit.
A translucent and bioluminescent planktonic polychaete worm, Tomopteris (Annelida, Polychaeta), snakes gracefully through the water. Tomopteris is one of the few marine animals able to make yellow luminescence. The luminescent material is made in the parapodia (the animal's paddle-shaped limbs). North Sea, UK .
A gecko is silhouetted against a banana leaf. Sao Tome e Principe.
A Common frog, Rana temporaria, sits upon a fallen purple iris flower. Calne, Wiltshire, UK.
A picture of light reflected and focused through dew drops suspended from a garden spider's, Araneus diadematus, web. Calne, Wiltshire, UK.
Flower spikes of Yorkshire Fog, Holcus lanatus, create a purple haze in low summer sun. Calne, Wiltshire, UK.
Lacewing, Chrysopa carnea, rests amongst petals of a white Chrysanthemum flower. Helensburgh, Scotland, UK.
Like a stained-glass window, the wing of a mayfly lights up with spectacular iridescent colours. Calne Wiltshire, UK.
A Large Red Damselfly, Pyrrhosoma nymphula (Odonata, Coenagriidae). Peers from its perch on a grass stem. Calne, Wiltshire, UK.
A small jumping spider hides amongst the down of a dandelion clock. Algarve, Portugal.
Hunting at night, a Chevron Tarantula, Psalmopoeus cambridgei, feeds on a long-horned grasshopper or Katydid in Arima Valley, Trinidad. The Katydid's eyes are black in the daytime (light adapted) but appear red at night (dark adapted) as in this photograph.
A female net-casting spider, also known as the Ogre-faced spider, Dinopis subrufa, peers through the expandable web net she spins and holds in her front pair of legs ready to throw over prey like forest-floor cockroaches passing beneath. Rainforest Australia.
The eyes of this burrowing Frog are located towards the top of its head so that it can look upwards. Danum Valley, Kalimantan, Borneo.
The common frog, Rana temporaria, is a conspicuous inhabitant of our school pond – I'd been photographing the pond's life throughout the year and this very small juvenile has just swallowed a worm nearly as big as itself. Pausing a moment, the frog waits for the worm to crawl itself further into its stomach so that it can seal its mouth shut to permanently trap the worm! The frog now appearing as though comfortably chewing on a fat cigar! Calne, Wiltshire, UK.
Inflated like a balloon, a Mexican Burrowing Toad, Rhinophrynus dorsalis, lets out a series of deep moan-like calls to attract a mate as rains end of the dry season in Chiquibul Forest Reserve, Belize.
Giant whip spider, Heterophrynus cheiracanthus (Chelicerata, Amblypygi). Despite their spectacular and fearsome appearance, whip spiders are not poisonous, and are dangerous only to their prey;- insects and other arthropods, frogs and small lizards, but not to humans. The long front-leg spines form a basket to trap prey against the spider's mouth. Central Ridge Forest Reserve, English Man's Bay, Tobago, Trinidad & Tobago.
The fur of an endangered Gabon Black Colobus monkey, Colobus satanas anthacinus, smolders and shrouds the monkey in a blanket of acrid smoke during preparation for sale. Food Market, Libreville, Gabon.
The fur of an endangered Gabon Black Colobus monkey, Colobus satanas anthacinus, catches fire during preparation for sale. Food Market, Libreville, Gabon.
The head of the male Stalk-eyed fly, Diopsis macrophthalma (Diptera, Diopsidae) is drawn out and elongated into long "stalks" on which sit his compound eyes. The idea here is that males fight each other for females at special Lekking or mating sites. Males face each other off and the male whose eyes stick out furthest (longest stalks) wins the fight and the female. Here the male is cleaning the surface of his right eye with special grooming hairs on his front legs. Loango National Park, Gabon.
Embodying the essence of "insectiness" this long-horned beetle (Coleoptera, Cerambycidae). peers over the edge of a rotten log where it has been laying its eggs. Queensland, Australia.
About 5 days after fertilization, a frog's egg has developed into a complex wriggling, blind embryo with gills similar in form to those found in Humans, Birds, Fish and all vertebrates. Looking like an apostrophe, this is the tadpole of the Common Frog, Rana temporaria. Calne, Wiltshire, UK.
Brown Anole Lizard locally known as the Hu Wa, Anolis sagrei, on Thatch Palm, Thrinax morrisii. Thatch Palm is used to thatch buildings. Chiquibul Forest Reserve, Belize.
A mouse wanders through a frozen landscape formed by snow-covered strawberry plants in the dead of winter. St. Andrews, Scotland, UK.
Sleeping Eye: Seeing with your eyes closed - During the day, the eye of the Red-eyed tree frog or red-eyed leaf frog, Agalychnis callidryas, is closed, but the frog can still keep a look-out for danger through a web-like veil that masks the bright red eye from a predator's sight. Chiquibul Forest Reserve, Belize.
A Cane Flower or Torch ginger flower, Etlingera sp., provides a valuable food source for birds and insects. Tropical rain forest of the highlands of Sao Tome. Sao Tome e Principe, West Africa.
A Painted Bronze-back tree-snake, Dendrelaphis pictus, flicks its red tongue to sense for danger. Danum Valley, Borneo.
The toe pads of Gecko lizards (Reptilia, Squamata, Gekkonidae) are covered in millions of minute hairs which enable them to grip even the smoothest surface like glass, or even hang upside down from a ceiling. Here, an Australian species clings to glass revealing the dark bands of specialised hairs (not actually true "hair" as in mammals, but modified scales drawn into extremely fine hair-like structures) which grip the glass. Queensland Rainforest.
Capturing the essence of a stalking insect, a Preying Mantis prowls across the sunlit surface of a giant Arrow or Elephant Ear leaf. Main Ridge Forest Reserve, Tobago, Trinidad & Tobago.
A garden snail, Helix dispersa, peers into the camera lens - extremely shallow depth of field has been used to throw the rest of the snail into a distant blur. Calne, Wiltshire, UK.
A Slow Worm - Anguis fragilis - (a legless lizard), blows a bubble of slug slime after swallowing its favourite food a grey garden slug. Calne, Wiltshire, UK.
When young, green Iguanas - Iguana iguana - are bright green in colour matching perfectly the tone of their surrounding vegetation and becoming invisible to potential predators. Central Ridge Forest Reserve, Tobago, Trinidad & Tobago.
The backlit wing feathers of the Tawny Owl, Strix aluco. Calne, Wiltshire, UK.


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In just his second novel Nabokov had begun experimenting with narrative conventions. While it's maybe not quite as impressive taken out of context, I love the trick he plays in the extract below. Chapter 8 of King, Queen, Knave begins in one scenario with Franz and his lover Martha, but as Franz examines a photo of her husband Dreyer, Nabokov smoothly transitions to the scene within the image, lingers for a few moments, then hops out again. It's an effect that's simpler to achieve in film, but in prose it takes you by surprise. It leaves you feeling hyper-aware of each sentence as you begin to suspect that any sentence might spring off on an unexpected tangent.
One such blurry morning, a Sunday, when he and Martha in her beige dress were walking decorously about the snow-powdered garden, she wordlessly showed him a snapshot she had just received from Davos. It showed a smiling Dreyer, in a Scandinavian ski suit, clutching his poles; his skis were beautifully parallel, and all around was bright snow, and on the snow one could distinguish the photographer's narrow-shouldered shadow.
When the photographer (a fellow-skier and teacher of English, Mr. Vivian Badlook) had clicked the shutter and straightened up, Dreyer, still beaming, moved his left ski forward; however, as he was standing on a slight incline, the ski went further than he had intended, and with a great flourish of ski poles he tumbled heavily on his back while both girls shot past shrieking with laughter.
Here's a Spotify playlist that I made at the end of last year. It's a bit of a mishmash of old 78s, distortion and cheap Beatles pastiches (come on Spotify, surely you can talk the boys around by now?).
I'm a total sucker for songs with modular, separate elements that eventually come together in surprising ways.
'I lost my place / In your / Line of vision' begins the song, the vocal line stop-starting, timing at odds with the lone staccato guitar line. Then on the second vocal phrase the rhythm guitar and drums hit, just two beats for a fleeting moment.
Fifteen seconds in, Shahin Motia emits the perfect phrase 'I hate my body / I love your eyes' and the drums thwack again and again, battling the guitar riff with bloodyminded steadiness.
And then, suddenly, the whole band are in agreement. Thick guitars mesh together, the off-kilter drums manage to underpin the melody without appearing to relate to it, and Shahin sings 'You see, you see me, you see me / Hey, you see me, you see me'. It's mindless but it feels eloquent, somehow.
The song's modular, bitty. It never allows itself to reach a stable rhythm. The band occasionally drops out leaving just the knifing guitar, only to appear with a shriek moments later. Past the 50 second mark you feel that the band could fray and dissipate at any moment, and then at 1 min 03 secs it's all over as abruptly as it began.
Click here to listen to Girlfriend is Worse on Spotify.
Fair enough, U2 are now profoundly uncool. And on relistening, much of Zoo Station isn't nearly as special as I'd believed in 1991 – a large proportion of Bono's lyrics are banal ('I'm ready to duck / I'm ready to dive / I'm ready to say / I'm glad to be alive'). But the first 30 seconds are magnificent.
The track begins with a barely audible ticking, then a huge formless guitar riff lurches in and drops like a stone. The second time round the riff is followed by an industrial clunking that might be distorted drums but is almost felt rather than heard, like the thump of a migraine. Finally, a percussive tapping begins off-beat, perhaps a spanner hitting a pipe in a vast warehouse space. The riff and percussions repeat, slightly out of phase with one another. For the next few seconds the two patterns compete until they eventually mesh into a cohesive rhythm. The undistorted guitars arrive, Bono ruins the party, and the song becomes more and more conventional as the song progresses… but those first 30 seconds were glorious.
Click here to listen to Zoo Station on Spotify.
Let it be known that I choose Martin Starr (Freaks and Geeks, Adventureland) to play me in the film of my life.
To New Orleans, where we have picked up some local crew who are survivors of Katrina, which gives everything an added poignancy. We heard incredible stories: after the hurricane, the first gang that came to loot the shopping mall we were shooting in were all policemen – that was just how quickly the system collapsed.
See Hillcoat's film production journal here.


This morning I remembered the topic I wanted to write about on Friday. The problem was I didn't actually remember what I wanted to write. I had the topic but not the details. So I went about my day, keeping the topic in the back of my mind. And this is actually quite apropos to the topic – why am I choosing minimalism?
Minimalism to me seems the best choice for living with intent and meaning. Too much of my life has been chasing money to afford more stuff and a larger place to put the stuff. And then getting myself stuck in bad situations because I can't afford to do anything else. Or staying home doing nothing because I can't afford a vacation, or a weekend away, or a day trip, thanks to a large chunk of my income going towards rent, excess services, debt repayment, or more stuff to assuage my overall dissatisfaction. There's a reason it is called the Rat Race, that unthinking process of work, buy stuff, work.
That's not what I want to do anymore. I want to do stuff, not own it. I want to be able to go to a roller derby tournament somewhere. I want to take Jules to see the full solar eclipse in 2017. I want to spend a week in a cabin on a storm drenched coast, with the winds howling, a fire roaring, and my dog snuggled next to me. I want to write.
But that is hard to do when all of your money goes to other people for things you don't need.
These are the first skates I bought, five years ago, before I started playing roller derby. At the time I knew that I wanted to try playing and knew that I would need skates. So I picked these up at the Oaks Park skate shop. Just a few weeks later I would have to make a choice between joining a roller derby league and buying Devo tickets. I chose derby and that has made all the difference. Three or four months after this I ended up buying better skates. For those keeping track, that means these have been sitting around for four and a half years. No, I'm not going to throw them out. They will go to my league's loaner gear.


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The #1 Archive for Musical Theater
Jazz-Operetta of the 1920′s
Vienna Waltz Operetta
Offenbach & Co.
Holland Mania
US-Operetta
Hungarian Operetta
Nazi Politics
Cultural Politics after 1933
The Situation after 1945
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<FATINITZA Operette in 3 acts
Francis Lopez (b Montbéliard, 15 June 1916, d Paris, 5 January 1995)>
DIE FLEDERMAUS Comic Operetta in 3 acts
kevinon 19/06/2010 /0 comments
Kurt Gänzl
The Encyclopedia of the Musical Theatre
The greatest theatrical success of composer Johann Strauss, and the most internationally enduring of all 19th-century Viennese Operetten — the second fact indubitably owing something to the first — Die Fledermaus has come to represent the `golden age' of the Austrian musical stage to the modern world, much in the same way that Die lustige Witwe has come to represent the `silver age' of the early 20th century Viennese theatre in the general consciousness.
Johann Strauss, as seen by the Viennese newspaper "Der Floh" in 1869.
Like Die lustige Witwe, Die Fledermaus had a libretto based on a French comedy by Henri Meilhac, this time written in conjunction with his habitual partner, Ludovic Halévy, and said to be taken, in its turn, from a German original, Das Gefängnis by Roderich Benedix. Le Réveillon had been produced for the first time at Paris's Palais-Royal just 18 months prior to the appearance of the Operette, with MM Geoffroy and Mme Reynold appearing as Gabriel and Fanny Gaillardin, from Pincornet-les-Boeufs, and Hyacinthe, the comedian with the famous nose, as Alfred, the chef d'orchestra of the Prince Yermontoff (played in travesty by Georgette Olivier). Alfred tracks his ex-beloved, Fanny, to her provincial home and persists in serenading her with a violin fantasy from La Favorita whilst awaiting her husband's condemnation to prison for insulting a garde-champêtre, before getting closer. Pellerin was Duparquet, the friend whom Gaillardin once stranded after a masked ball, still ridiculously dressed in a bluebird costume, and who now persuades him to postpone prison for a night out at the Prince's pavilion in the company of some pretty actresses from Paris. He is, in reality, plotting his revenge. Lheritier played the prison governor, Tourillon, off in an aristocratic disguise to the same party.
Following the Palais-Royal production, Maximilian Steiner, co-director of the Theater an der Wien, ordered a German translation from the veteran playwright Carl Haffner.
He did not judge the result worth producing, but subsequently he — or music publisher Gustave Lewy — had the idea of making a musical libretto from the piece instead, and he handed Haffner's version over to house-composer and adapter Richard Genée. Genée was apparently no more fond of Haffner's version than Steiner, and he later asserted that nothing of that first adaptation remained in the final text of Die Fledermaus. However, so as not to offend the old playwright (who died in 1876), he agreed that his name should remain on the playbills. The libretto of Die Fledermaus contained one major alteration to the text of Le Réveillon (which, in other places, in spite of Genée's assertion, it followed virtually line for line) — it introduced two major female rôles into a play which had been an almost wholly masculine affair. An Operette, and certainly one written for a theatre whose co-director was none other than the great Marie Geistinger, could not manage without its prima donna and its soubrette. Le Réveillon's Fanny and her maid are not seen again after the first act. The gambolling of Gaillardin at the ball, and the little episode of the chiming watch, were in the play directed on to one farmer's girl/actress, Métella, whilst the centrepiece of the third act is a long and highly comical scene between the imprisoned Alfred and Gaillardin, who comes there disguised as a lawyer in order to get to see the man who has been arrested in a compromising situation with his wife.
Die Fledermaus's Viennese Rosalinde (Marie Geistinger) is wooed by an Alfred who is a throbbing vocalist rather than a chef d'orchestre but who, like his predecessor, is bundled off to prison in place of her legitimate husband, Gabriel Eisenstein (Jani Szíka).
Marie Geistinger as Offenbach's Helena, one of her greatest theatrical triumphs.
When Eisenstein turns up at the ball chez Prince Orlofsky (Irma Nittinger), he is enchanted not only by the actress Olga — who is his own maid, Adele (Karoline Charles-Hirsch), in disguise — but by a mysterious Hungarian countess who woos his watch from him. The countess is Rosalinde. After their merry evening, Eisenstein and Frank, the prison governor (Carl Adolf Friese), end up facing each other at the jail with their night's disguises torn away, and the confrontation with the `false' Eisenstein takes place, before Rosalinde puts the cap on things by producing the watch she wooed from her husband, and Falke (Ferdinand Lebrecht) reveals that the whole thing has been a set-up. As in the play, the final act opened with a low-comedy scena for a tipsy jailer.
If the libretto replaced many of the subtleties and comicalities of the play with more conventional and well-used elements, it did, nevertheless, produce two fine — if not particularly original — leading lady's rôles, as well as many a chance for music. Strauss, to whom the libretto was given for setting, took fine and full advantage of them. Geistinger was well-served, with a showpiece csárdás (`Klänge der Heimat') in which to prove her Hungarianness, and paired with Eisenstein in a delicious sung version of the watch-scene (`Dieser Anstand, so manierlich'), whilst the soubrette had two showy coloratura pieces, a mocking laughing song (`Mein Herr Marquis') reproving the disguised Eisenstein for mistaking her for a ladies' maid, and a tacked-in ariette à tiroirs (`Spiel' ich die Unschuld vom Lande'), allowing Adele to show off her range as she demonstrates her suitability for a stage career. The bored Orlofsky summoned his guests to enjoy themselves in a loping mezzo-soprano `Ich lade gern mir Gäste ein'. The men were less showily served, although Falke led a swaying hymn to brotherly love in `Bruderlein und Schwesterlein' and Alfred indulged in some operatic extravagances as well as an intimate supper-table duet with the almost errant wife (`Trinke, liebchen, trinke schnell'). Orlofsky's party also provided the opportunity for a display of dancing.
Many myths have grown up around the show and its original success or non-success, particularly in Vienna. The truth is that Die Fledermaus was well — if not extravagantly — received, and, like virtually all Strauss's pieces, good, bad and ikndifferent, was quickly taken up to be mounted in other Austrian, German and German-language houses where his name was a sure draw. In Vienna, it was played 45 times in repertoire before the summer break, and was brought back again in 1875 and in 1876, reaching its 100th performance on 17 October 1876 with Frlns Meinhardt (Rosalinde) and Steinherr (Adele) featured alongside Szíka, Alexander Girardi (Falke) and Felix Schweighofer (Frank). Thereafter it remained fairly steadily in the repertoire at the Theater an der Wien, good for a regular number of performances in most years, reaching its 200th performance 15 May 1888 and the 300th on 9 December 1899. If the original run, within the repertoire system, had been less stunning than the show's later reputation might have suggested, and indeed far from the record compiled by such pieces as Die schöne Helena at the same house, its initial showing was above average and its (not unbroken) longevity in the repertoire exceptional. Carl Streitmann, Phila Wolff and Gerda Walde featured in a new production in 1905 (1 April), and the piece was seen at other theatres including the Hofoper, at the Volksoper for the first time in 1907, the Raimundtheater in 1908, the Johann Strauss-Theater in 1911 and the Bürgertheater in 1916, making up part of the repertoire of any self-respecting Operette theater in Vienna in the same way that it did in the provinces. Amongst the memorable Viennese Fledermaus productions of later years was one at the Staatsoper in 1960 which featured Hilde Güden (Rosalinde), Rita Streich (Adele) and Eberhard Wächter (Eisenstein).
The Friedrich-Wilhelmstädtisches Theater in Berlin.
In Berlin, the show was produced at the Friedrich-Wilhelmstädtisches Theater with a singular success which allegedly gave a boost to its reputation back in Vienna. The 200th performance was passed within two years of the first, and Die Fledermaus went on to become the most popular Operette of the 19th century on German stages. Budapest also saw its first performance of the show in German, as did New York when the Stadt Theater mounted the piece just seven months after the Viennese première with Lina Mayr (Rosalinde), Ferdinand Schütz (Eisenstein), Schönwolff (Frank) and Antonie Heynold (Adele), but neither city proved in much haste to provide a vernacular version. It was eight years before the Hungarian capital saw an Hungarian-language production, and, although the piece got regular showings in New York's German theatres — including an 1881 season with Geistinger starred in her original rôle alongside Mathilde Cottrelly (Adele) and Max Schnelle (Eisenstein) — it was over a decade before New Yorkers got Die Fledermaus in an English translation.
The first English-language version was mounted on the vast stage of London's Alhambra Theatre (ad Hamilton Aidé) as a Christmas entertainment for the 1876-7 season with a cast headed by Cora Cabella, Kate Munroe, Adelaide Newton, Guillaume Loredan, Edmund Rosenthal and J H Jarvis. It ran for a sufficient season of some four months, and encouraged the theatre to try Strauss's earlier Indigo the following Christmas, but — although a performance of the original version was given at the Royalty Theatre in January 1895 by a touring German company — it was more than 30 years after this before another English Fledermaus was seen in the city. The following October, Australia was given its first glimpse of the show, under the aegis of Martin Simonsen's company (and billed, with typical local mendacity, as having been played 500 nights at the Alhambra) at Sydney's Queen's Theatre. Fannie Simonsen was Rosalind and Henry Bracy Eisenstein with Minna Fischer (Adele), Maud Walton (Orlofsky), Henry Hod[g]son (Frank) and G Johnson (Falke) in support. The company left town after ten days.
Boston (which had already seen versions of Le Réveillon as The Christmas Supper (ad Fred Williams, George A Ernst 24 March 1873, and On Bail ad W S Gilbert) got America's first English-language Fledermaus, under the clever title The Lark, in March 1880.
The piece had been re-set in America by adaptors Nat Childs and F S Harris, and since the Boston management were aggrieved over the idea of composer Strauss wishing actually to be paid for the use of his orchestrations, local m.d. John Braham stuck his own under the published melody-lines of the 17 pieces of Strauss used for the occasion. J B Mason and Rose Temple played Harold and Lillian Allison, who were Boston's equivalent of the Eisensteins, and Alice Carle was Bessie Dooling, ie Adele. This version was later seen at San Francisco's Tivoli Opera House (July 1880). New York's first English Die Fledermaus (ad Sydney Rosenfeld .. 'if Mr Rosenfeld cannot turn out better work than this he should retire from the field..') was only mounted by John McCaull at the Casino Theater, after a Philadelphia run-in, some five years further down the line, with Mme Cottrelly now playing her Adele in English alongside Rosalba Beecher (Rosalinde), Mark Smith (Eisenstein) and De Wolf Hopper (Frank), It was voted 'a mild failure' but, after the split between McCaull and the Casino management, it was repeated later the same season at Wallack's Theater (14 September 1886) before, as in England, going on the shelf for several decades.
Hungary's first vernacular Denevér was mounted not in Budapest but at Kolozsvár with Sarolta Krecsányi and Béla Szombathelyi featured. It was played at Szeged the following year, and only in 1882 did a version (ad Lajos Evva) arrive in Budapest. Aranka Hegyi was the first Budapest Rosalinde with Mariska Komáromi (Ghita, ex-Adele), Elek Solymossy (Bussola), Vidor Kassai (Fujo), Pál Vidor (Crapotti) and János Kápolnai (Ritenuto, ex-Alfred) in the other major rôles. It played 54 times and was revived in 1891 (24 January) and 1907 (22 October) before going on to productions at the Népopera (1912, 1915), the Városi Színház (1926) and other houses as, in line with the rest of the world, it worked its way up past more immediately popular pieces into its present-day place at the peak of popularity. It was most recently seen in Budapest at the Erkel Szinház in 1992 (31 December) in an adaptation by Agnes Romhányi and in 1997 (20 December) in a version by Sándor Fischer.
Italy, Sweden, Russia, the Netherlands and Switzerland all took in Die Fledermaus in the first years after its début, but it was France which took the longest time to catch up with the show, and, according to one variation of the story, not without reason.
In those slap-happy copyright days, nobody in Vienna, apparently, had bothered to ask Meilhac and Halévy for permission to make a musical out of their play. So producer Victor Koning called on authors Alfred Delecour and Victor Wilder who had, to Strauss's satisfaction, heavily rewritten the libretto of Indigo for France, and ordered a brand new script to be written around some portions of Strauss's score.
A poster advertising the original French adaptation of "Die Fledermaus" starring Zulmar Bouffar.
The story they used was a well-worn one, featuring a womanizing Prince, wed by necessity and by procuration, who goes out gallivanting with some bohemiennes on the day of his marriage. His bride-to-be gets herself into gypsy gear, seeks him out, and tames him. If the story was familiar, the score was less so. Many favourite pages of Die Fledermaus were missing. There was no csárdás, no Orlofsky's song, no Audition couplets and the bits that remained, often uncomfortably tacked one to another, were topped up with Lorenza Feliciana's valse brilliante `O süsses Wörtchen' (pasted onto a Fledermaus melody) and `Zigeunerkind wie glänzt dein Haar' (`Pourquoi pleurer') from Cagliostro in Wien and some other spare and written-for-the-occasion Strauss music. La Tzigane, with Zulma Bouffar as Princess Arabelle, the baritone Ismaël (who garnered both the `Bruderlein' and `Trincke liebchen' melodies as solos) as the naughty Prince, and Berthelier, Urbain and Léa d'Asco featured, was equipped with one of the most luxurious stagings Koning's theatre had ever provided. However, although the show emerged as an uncomfortable paste-up job, with Strauss himself on hand to win masses of journalistic space, it nevertheless managed 63-plus performances before Koning replaced it with the première of Le Petit Duc. La Tsigane was only seen again when a German version of it (ad Hans Weigel, additional music Max Schönherr) was for some reason mounted at Graz in 1985 (16 November).
It was 1904 before a regular La Chauve-Souris (ad Paul Ferrier) was seen in Paris. Fernand Samuel's production at the Variétés featured Albert Brasseur and Max Dearly as Gaillardin and Tourillon (since the action was reset in France, the names from Le Réveillon had been resurrected for this pair), with Cécile Thévenet (Caroline, ex-Rosalinde), Jane Saulier (Arlette, ex-Adele) and Ève Lavallière as Orlofsky. It was played 56 times. However, late though this production may have been, it was still too soon. The lawsuits flew, and the heirs of not Meilhac or Halévy but of .. Victor Wilder were awarded 50% of the royalties on La Chauve-Souris and 3,000 francs in damages by the Tribunal de la Seine. On the grounds of his authorship of La Tzigane!
Die Fledermaus was still, even in the early days of 20th century, far from the all-obscuring international favourite it was to become, but it was a regular part of the repertoire in, in particular, German-speaking countries where it had been integrated into the repertoire of such houses as the Berlin Opera (8 May 1899).
In 1905 it was produced at New York's Metropolitan Opera in German with Marcella Sembrich and Andreas Dippel featured, and in 1910 (4 July) a new English version (ad Armand Kalisch) starring Carrie Tubb, Joseph O'Mara and Frederick Ranalow was played by Thomas Beecham's company at London's Her Majesty's Theatre in the pro-Viennese atmosphere engendered by The Merry Widow and its successors. The following year, yet another anglicized Fledermaus (ad Gladys Unger, Arthur Anderson) was produced at London's Lyric Theatre under the title Nightbirds with C H Workman and Constance Drever, Paris's Veuve joyeuse, starred for 138 performances. This version was picked up for Broadway and played with José Collins, Claude Flemming and Maurice Farkoa, one of the Dolly Sisters as Adele (the girls interpolated their turn into the proceedings) and the addition of Arthur Gutman and Joseph H McKeon's 'Must We Say Goodbye?' and a duo for a couple of prison warders made out of the 'Blue Danube' to Strauss's score, as The Merry Countess (20 August 1912, Casino Theater).
Korngold at the piano, 1929.
Another round of productions was set off by Max Reinhardt's typically big and typically botched Berlin production of 1929 (Deutsches Theater 8 June). Hermann Thimig, Maria Rajdl, Adele Kern and Oscar Karlweis as a non-travesty Orlofsky were featured in a lavishly staged version which purported to have gone back to Le Réveillon for its text (ad Karl Rossler, Marcellus Schiffer) … but which nevertheless did not leave Rosalinde and Adele at home for the second and third acts! The version's vanities included some additional lyrics by Schiffer glorifying Reinhardt, whilst Strauss's music had been `improved' by E W Korngold. The Paris Théâtre Pigalle (5 October 1929 ad Nino) played Reinhardt's version with Lotte Schöne, Jarmila Novotna, Dorville and Roger Tréville featured, whilst the Shuberts had Fanny Todd Mitchell do a version, which claimed with equal lack of veracity to be a version of Le Réveillon and which, as A Wonderful Night (31 October 1929), played 125 Broadway performances with, of course, its leading ladies well and truly intact..
London's Royal Opera House gave a faithful Fledermaus in 1930 (14 May) with Willi Wörle, Lotte Lehmann, Gerhard Hüsch and Elisabeth Schumann, whilst another American version (ad Alan Child, Robert A Simon) arrived in 1933 (14 October) with Peggy Wood (Rosalinde), Helen Ford (Adele) and John Hazzard as Frosch, to add a further 115 performances to Die Fledermaus's bitty Broadway record, before the Reinhardt/Korngold version turned up, on the wings of the war, for its Broadway season under the title Rosalinda (44th Street Theater 28 October 1942). Dorothy Sarnoff took the title-rôle, whilst Karlweis repeated his Berlin Orlofsky and Korngold conducted 'his' music, and Rosalinda — if scarcely Die Fledermaus — proved a perfect piece of good-old-days, richly produced wartime entertainment through 521 performances. London promptly followed up, and Tom Arnold and Bernard Delfont presented Gay Rosalinda (ad Austin Melford, Rudolf Bernauer, Sam Heppner 8 March 1945) at the Palace Theatre with Cyril Ritchard and Ruth Naylor featured and Richard Tauber conducting. The success was repeated for 413 London performances.
Since this late and unexpected burst of commercial theatre success for more or less botched versions of Die Fledermaus, the show has largely retreated — in normally less tampered-with shape — into the opera houses of those countries which do not sport repertoire Operette companies.
Covent Garden, the Metropolitan (ad Howard Dietz, then ad Betty Comden, Adolph Green), the Berlin and Vienna Opera Houses, and the Paris Opera have all hosted the show, and divas of the ilk of Joan Sutherland and Kiri te Kanawa have played Rosalinde. Some of the lightness and gaiety which was the chief attraction of the commercial version has unavoidably been lost in this re-housing of what is basically a musical-comedy piece but, whilst Suppé, Millöcker and Zeller are forgotten, the waltz king's most popular work has become in the process regarded as the one `safe' 19th-century Viennese Operette for the world's 20th-century operatic houses. Even in bitterly butchered shapes. Thus, more than a century after its première, Die Fledermaus is going more strongly than ever, with an international production rate that only the favourite works of Offenbach and Gilbert and Sullivan's The Mikado among 19th-century works can come near.
The poster for the film version "Oh Rosalinda".
Versions of Die Fledermaus have been put on film on a number of occasions in the German language — in 1931 by Carl Lamac with Anny Ondra, Georg Alexander and Ivan Petrovitch, by Paul Verhoven in 1937 with Lidia Baarova and Hans Sohnker, by Géza von Bolvary in 1945 with Marte Harell, Willy Frisch and Johannes Heesters, and in 1962 by Géza von Cziffra with Peter Alexander, Marianne Koch and Marika Rökk. Powell and Pressburger were reponsible for an English-language version (Oh, Rosalinda!) released in 1955 in which Michael Redgrave was paired with Anneliese Rothenberger. The 1931 edition had a French equivalent in which Ms Ondra teamed with Marcelle Denya, Mauricet and Géo Bury. In the days of television and video recordings such operatic names as Gundula Janowitz (1972), Joan Sutherland (Australian Opera 1982 and Royal Opera 1990), Kiri te Kanawa and Herman Prey (Royal Opera, 1983) and Ms te Kanawa again (Metropolitan Opera 1986) have attempted to cross over into Operette. A silent version, with accompanying music, was put out in 1923 in which Lya de Putti and Harry Liedtke featured.
An attempt at a musequel to Die Fledermaus was put out by Leon Treptow (text) and K A Raida (music) at Berlin's Viktoria Theater in 1882 (8 April) under the title Prinz Orlofsky. In fact, it was not a genuine sequel, telling a wholly conventional and oft-used comic-opera tale and simply tacking the names of the characters of Genée's Operette on to its characters. Prince Orlofsky pretends he is married and a father to win financial favours from an elderly uncle. The uncle turns up, is gotten drunk for a act of revelry, Adele poses as Mrs Orlofsky and at the end, of course, becomes her for real. Frosch had become the Prince's butler, Alfred got himself a country lass who had a showy rôle in the second act, and Frank, Eisenstein and Falke put in appearances. Rosalinde had the good sense to stay at home this time.
Germany: Friedrich-Wilhelmstädtisches Theater 8 July 1874; USA: Stadt Theater (Ger) 21 November 1874, Boston Museum The Lark March 1880, Casino Theater (Eng) 16 March 1885; UK: Alhambra Theatre 18 December 1876; Australia: Queen's Theatre, Sydney 17 October 1877; Hungary: (Ger) 14 November 1874; Kolozsvár Denevér 19 October 1877, Népszinház, Budapest 25 August 1882; France: Théâtre de la Renaissance La Tzigane 30 October 1877, Théâtre des Variétés La Chauve-Souris 22 April 1904;
Films: Max Mack 1923, Pathé 1931 (Ger and Fr), 1937 (Ger), 1945 (Ger), 1955 Oh, Rosalinda! (Eng) etc.
Recordings: complete (Decca, EMI, RCA, Deutsche Grammophon, HMV, Eurodicsc, Teldec, Teletheater etc), complete in French (Polydor), complete in Hungarian (Qualiton), complete in Russian (MK), complete in English (CBS), complete in Spanish (Montilla) etc
Tagged: Enyclopedia of the Musical Theatre Johann Strauss Kurt Gänzl
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The Wilkes-Barre/Scranton Penguins, the AHL affiliate of the Pittsburgh Penguins, finished their regular season tied for first among wins with 49 and fifth in points with 104. Their 3.42 goals-per-game during the regular season was second in the AHL. The team was also strong defensively, allowing the fifth lowest amount of goals with 2.65. The WBS Penguins have also engaged in 98 fights this season, fourth most in the AHL.
For defensive anchor Ben Lovejoy, the Penguins reason for the Penguins' success this season is simple, "We are a dangerous team when we want to play an aggressive style of hockey. Very few teams can play with us when we decide to simply chip pucks in and make smart plays." Like the parent club in Pittsburgh, the WBS Penguins play an up-tempo, aggressive, tight-checking game predicated around puck-control and sustained pressure in the opponents end. "We are at our best when we are playing behind the other teams defensemen, and when we make a conscience effort to get there we are a really tough team to handle."
Their success this season is all the more sweet as the team dealt with a rotating group of personal due to NHL call-ups, a coaching change two-thirds of the way through the season, and some off-ice incidents involving star players.
The 21-year-old pivot was called up in December and although he only posted one goal, two assists, he did not look out of place playing a checking role in the NHL. Upon being returned to the AHL, Jeffrey went on a tear, posting 7 goals, 13 assists in 33 games – finishing his rookie season with 11 goals, 26 assists in 63 games. A tenacious checker, Jeffrey gradually developed into a top faceoff man and special team performer.
As the Penguins entered the playoffs, the young center elevated his play once more and was among the top players for the Penguins in their first round match against Bridgeport, posting 4 goals, 1 assist in 5 games. In the 12 playoff games, Jeffrey posted 5 goals, 5 assists.
A winger by trade, Caputi was a scoring dynamo in the OHL who did his best work in front of the net. After a remarkable 25-game stretch over December and January in which the young forward posted 9 goals, 18 assists, the Penguins decided to see how Caputi would fair in the NHL. Although he scored a goal on his first shift of his NHL debut, Caputi was decidedly not ready for the speed of the NHL game. Upon returning to the AHL on February 14th, Caputi continued scoring at a respectable clip, finishing the season with 18 goals, 27 assists, in 66 games.
Caputi showed a knack for scoring timely goals in the post-season with all three of his goals being game winners, two of which were also with the man-advantage.
The 25-year-old defenseman led the NHL and by extension his team with a +42. A calming presence along the Penguins blue line for most of the season, Lovejoy was called up to the NHL for a two-game cup of coffee in mid-December because of injuries sustained to the Penguins defensive corps.
The New Hampshire native is up for arbitration at the end of the season and it remains to be seen whether that option will be exercised or not. With the Penguins expected to lose a great deal of players in the offseason, Lovejoy seems all but guaranteed to get a long look in training camp next fall.
The 23-year-old defenseman saw himself cast in a decidedly different position this season than last when Alex Goligoski made the NHL out of training camp. During a 44-game span from October to late January, the blueliner posted 1 goals, 19 assists. Once Goligoski was returned to the AHL however, D'Aversa adopted a more blue-collar role on the team and virtually disappeared off the scoresheet.
After a successful senior year in which he helped his team to an appearance in the Frozen Four, Vitale signed an entry-level deal with the Penguins and immediately reported to their AHL affiliate in Wilkes-Barre. Vitale appeared to have seamlessly adapted to the professional style of game but tapered off as the season wound down and the playoffs started.
Vitale brings a physical, two-way style of game to the Penguins. His low center of gravity and wide base allow him to excel along the boards and around the net. Although his play dropped off considerably as the season and playoffs wore on, Vitale showed enough that he should be a strong contributor to the Penguins organization down the road.
A player who has emerged as an offensive force for the Baby Penguins, Letestu turned it on offensively mid way through December and did not look back, posting 23 goals, 33 assists in his last 55 games. Letestu developed more consistency as the season wore on too, going no more than two games without a point since the beginning of January. He also posted only three minor penalty infractions over the course of 73 games. As a reward for his hard work, the 24-year-old pivot was signed to a two-way deal that keeps him a Penguin through the 2010-11 season.
Letestu continued his high level of play in the post-season with a team leading eight assists to go along with two goals and 28 shots on net in 12 games.
Goligoski made the NHL out of training camp because of injuries to Ryan Whitney and Sergei Gonchar. Once the aforementioned defensemen were healthy, Goligoski was returned the AHL where he posted two goals, 16 assists in 26 games. The Minnesota native anchors the Baby Penguins' power play and is one of their top defensemen at even strength. Despite being called up between games to fill in for an injured Sergei Gonchar, Goligoski was among Wilkes-Barre/Scranton's top performers in the playoffs, posting one goal, five assists in nine games.
Called up because of another injury to Gonchar.
Goligoski has little left to prove at the AHL level and is expected to compete for a full-time NHL position next spring.
It has been an exciting year for Thiessen. First the undrafted goaltender finished fourth among NCAA goaltenders with a .931 save percentage and was nominated for the Hobey Baker trophy. He then performed at a high level for the Northeastern University Huskies, posting a 25-12-4 record and a 2.11 GAA. After Northeastern finished their season, Thiessen was signed to an entry-level contract by the Pittsburgh Penguins and immediately assigned to their AHL affiliate in Wilkes-Barre/Scranton.
The 23-year-old has yet to see any actual game time with the Penguins as he is behind John Curry and Adam Berkhoel on the depth chart.
Curry may have proved this season that he has proved everything he can at the AHL level of professional hockey. The 25-year-old finished the regular season with a 2.38 GAA (8th in the AHL), a .916 save percentage (13th in the AHL), four shutouts, and a record of 33-15-1. His 33 wins were second among goaltenders in the AHL.
In November and December when Penguins starting goaltender Marc-Andre Fleury was sidelined with a groin injury, Curry was called up to the NHL to backup Dany Sabourin. Although his NHL appearance was brief, as he only had two starts, Curry showed enough poise and athleticism that he should be a capable NHL backup next season.
Curry had a strong playoff performance before being felled with an injury against Hershey in game two of the second round.
After scoring 14 goals, 10 assists, in just 18 games in the ECHL, Johnson was recalled to the AHL for added scoring depth and has not looked back. The 23-year-old winger finished the season with 14 goals, 17 assists in 56 games. Johnson's style of game can best be described as a mix of grit and skill. He finishes all of his checks and has dropped the gloves twice this past season but has also shown enough panache with the puck to suggest he possesses natural goal-scoring ability.
Johnson was among the top players for the Penguins during the playoffs. He started off slow in the first round against Bridgeport, posting only two assists in five games. In the second round match against Hershey however, Johnson exploded with four goals and four assists in seven games.
Pittsburgh native Thomas realized a lifelong dream when he made the Penguins squad out of training camp and opened the season on the Penguins NHL roster. The talented forward proceeded to spend the bulk of October in the NHL, albeit as a healthy scratch until finally be returned to the AHL on October 24th.
Thomas was never really able to settle into a role in the AHL because he was recalled with great frequency. Nonetheless, he managed 8 goals, 10 assists, in 38 games and was a strong special teams performer. Thomas also discovered that he is adept at faceoffs and became one of the stronger contributors in the circle for both the Penguins NHL and AHL teams.
With a great deal of turnover expected this offseason, Thomas could very well find himself once again suiting up in the NHL next season.
After an arm injury that sidelined him for much of December, Boogaard returned to the AHL on December 26th and three minutes into the first period, dropped the gloves with Philadelphia Phantoms forward Garrett Klotz. The 6'3, 243-pound enforcer would go on to drop the gloves nine more times over the next 29 games, finishing the season with 16 fighting majors in just 41 games.
As a pure enforcer, Boogaard is limited in his contributions to the WBS Penguins as he posted only two goals, one assist this season. Still, Boogaard provides an important service as a deterrent to opposing players.
The native of Anchorage, Alaska was initially called up to the NHL squad in December to add some grit to the roster – which he did in full. Once returned to the AHL in mid-January, Wallace picked up where he left off – crashing the net and creating chaos in the opposition's end.
Wallace is not an offensive dynamo as evidenced by his 11 goals, 8 assists in 58 games. Nonetheless, his strong forechecking ability, solid defensive play, and abrasive style make him a key contributor to Wilkes-Barre/Scranton's success.
Bissonnette played the first chunk of the 2008-09 season in the NHL. Upon returning to the AHL in mid-November Bissonnette dropped the gloves 10 times in his first 10 games including a two-fight bout on December 3rd. He has finished the AHL regular season with 28 fighting majors, good for fourth most in the AHL.
Despite his high fight count, the native of Welland, Ontario is not an enforcer. He skates a regular fourth-line shift, chips in offensively, and is capable of sustaining a forecheck. Still, his willingness to drop the gloves is what makes him valuable to his team.
The 2008-09 season has been a struggle for the former eighth-round pick by the Penguins. He started the season strong, posting a 9-2-1-1 record in his first 15 starts for the Wheeling Nailers of the ECHL. In a January 10th match against the Dayton Bombers, Brown sustained an injury and did not see any game time until February 28th. Since returning from the injury, Brown looked shaky, allowing more than four goals in five of his nine starts since returning from injury.
With prospect Brad Thiessen now in the organization, Brown's days in the Penguin organization could be numbered.