Today I found out a man once tried to raise his son as a native speaker in Klingon.
The man in question is computational linguist Dr. d'Armond Speers. Speers is actually not a huge Start Trek fan himself. Indeed, many Klingon language enthusiasts aren't, contrary to popular perception. They tend to be language lovers fascinated by constructed languages, of which Klingon is a relatively thriving one, hence why they gravitate towards it. Speers became fascinated with the Klingon language after reading a flyer on a bulletin board at Georgetown where he was studying linguistics. The flyer was advertising the Klingon Language Institute (KLI), founded by Dr. Larence M. Schoen. "I thought to myself, 'A new language.' The fact that it was a constructed language really appealed to me. It sounded like fun," said Speers.
In any event, unlike his wife, Speers almost exclusively spoke to Alec in Klingon. He even would sing the Klingon Imperial Anthem, May the Empire Endure, as a bedtime lullaby to the boy, which his son soon picked up and would also sing. You can hear a recording of Alec singing this here.
This experiment went on for about three years, during which time, as you might imagine, Speers was given a lot of funny looks in public as he'd converse with Alec. At first when people would ask what language he was speaking, Speers would respond, "speaking Klingon", but after getting a lot of dirty looks and comments for this, he switched to just saying, "speaking a constructed language", which generally would forestall potential negative remarks.
Today the teenage Alec no longer is fluent in Klingon and reportedly can't even pick out the meaning of individual words of the language.
The first Klingon word Alec picked up was "HIVje", meaning "vessel", which is the closest approximation to "bottle" the Klingon language had at the time, so what Speers used. He also quickly learned "vavoy", which means "daddy" and was one of the few Klingon words Alec would commonly choose to speak, though of course he began to understand the language quite well.
It is estimated that approximately 20-30 people in the world, including Speers, are fluent speakers of Klingon, with another few thousand that are familiar enough that they can pick out words when they hear it spoken.
Every year Okrand is given a "wishlist" for new Klingon words to come up with, and when he does so, they are published in the HolQeD (Language Science). Okrand himself has published The Klingon Way: A Warrior's Guide with such riveting tails as "Revenge is a dish best served cold." He also has put out a best selling audio instructional Conversational Klingon, as well as Power Klingon ("Learn Klingon Jokes, insults, and toasts".
KLI currently has about 2500 members in 50 countries throughout the world. Among other things, KLI publishes poetry and fiction in Klingon and hosts a 5 day conference every year called the qep'a' ("Great Meeting"), open to anyone who wants to attend, whether member or not. They are currently attempting to translate the Bible into Klingon and are also working on translating various works by Shakespeare, to which they've already translated Hamlet. During the qep'a' a $500 scholarship is awarded to a college level linguistics student.
The official motto of KLI is qo'mey poSmoH Hol (Language Opens Worlds).
Every child should have a Klingon name. I met two Klingon officers from a Warbird squadron and they gave me the name (can't spell it) Nisssjhu. The emphasis is on the JHU syllable. I wanted a strong name. It is a derivative of Sin.
I wonder if getting alex to watch the shows might have made him more interested in the language?
What a jerk … instead, he could have taught the boy something actually useful like Chinese, Japanese, Spanish or any language that applies to actual Humans.
The goal was not to teach a foreign language, but to study acquisition of a constructed language. It's funny how judgemental people here are.
Though personally, I'd chose one that has more varied vocabulary and is not so difficult to pronounce for a small child.
When your father is an idiot. Yes, why not teach him a useful language instead of something that wholly serves your own ego?
He clearly is the opposite of an idiot. If anything, more such experiments with constructed languages should be done to learn more about how human brains acquire and internalise language.
I seem to recall reading more about this, that he had trouble in general because Klingon Hol simply isn't written with kids in mind, has a really limited vocabulary, and is largely about things most people who aren't warriors traveling on a ship wouldn't use very often.
What I wanna know is A) did he continue calling him vavoy? because usually the name you learn for your parents is their NAME to you.. even if kids do generally shorten daddy to dad over time.. and B) how did he learn it well enough to speak it fluently enough for conversations not to be stilted as heck? I know linguists tend to be those kinds of people who are good at learning languages, but.. really? so good at it that you're always ready all the time, when talking to your kid?


NHG60M gloss meter adopts small aperture 1.5*2mm, with 60° angle, manufactured according to ISO2813 and GB/T 9754. It is also compatible with the standards of ASTM D523, ASTM D2457. NHG60 conforms to JJG696 first class gloss meter working requirement, corresponding with CIE 1931(2°) under CIE C light source.
NHG60M gloss meter can test material with gloss (0-1000Gu), and universally apply to paint, ink, stoving varnish, coating, wood products; marble, granite, vitrified polished tile, pottery brick and porcelain; plastic, paper; hardware industries, etc. for gloss measurement and gloss data transmission.
On rough surfaces the light is diffusely scattered in all directions. The image forming qualities are diminished: A reflected object does no longer appear brilliant, but blurred.
The more uniform the light is scattered, the less intense is the reflection in the main direction and the duller the surface will appear. We have several models with 60 degree, such as NHG60, HG60, etc.
3nh gloss meter passed CE, FCC, ROHS, certifications.


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How much do Cushman & Wakefield employees make? Glassdoor has salaries, wages, tips, bonuses, and hourly pay based upon employee reports and estimates.
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Our specialty is making tablecloths and other table linen products of all kinds. In particular, we custom fabricate tablecloths to your exact specifications. In fact, we've made it easy to order custom made tablecloths online. Visit our website and let us show you how to do it.
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maybe if you could set them to different levels of difficulty, it would be a challage and good practice for all those clans out there. Plus, if you got bored, just make your own server and play some bots. But on the other hand bones has a point, i think a real person is a much better challenge than a bot and is more fun.
I don't think anyone can recreate actual human interface--- playing against real people who all have their own style of fighting. Seems like bots would be pretty predictable. I couldn't imagine a bot tossing a cooked-off nade around a corner at a group of oncoming enemies.
But, yeah, it would be neat to have that option when your ISP is down.. I seem to experience that a lot with comcast!! what a lousy cable service it is!
Anyway, sometimes me and a friend really wish there are bots, coz it's no fun 1on1.
i just want bots for when friends and i get together there is only about 8 of us and we would like bots to fill the surver so the game is more chaotic. Also when i can''t get online, i would some bots just to learn new levels with and stuff.
most people probably want the bot option, just not gonna happen. Its far too complex for a simple patch to fix.
Yeah the scripting would be almost impossible to program the bot to act like a human. I'd imagine it could be done but it would take a huge project team of like 10-20 guys, and extensive trial and error. I just dont see it happening in this version of the game. One problem that would be immediately present is the bots wouldnt know where any of the objectives are. If they were programmed as support it would be possible. (Program them to give out ammo, and for medic to give health and revive etc,.) But I dont see it possible to program a bot how to throw an airstrike or fire artillery. Sniper would kind of be cheating since its the computer aiming. a soldier with a flamer or panzer would not be good since the computer doesnt know how not to damage his own team. (Would be kind of funny to see a computer bot take out his entire team with a panzerfaust!) Engineer wouldnt be possible because it doesnt know where the dynamite is. (Also a bot engineer wouldnt be as effective as a human one.) Since you cant really script in aggresiveness. (Very heard to program in multiple tasks.) Diffusing dynamite while first killing the defenders etc,.
its possible it would just take a lot of talented scripters to do it.


text:
// Copyright 2007-2016 Chris Patterson, Dru Sellers, Travis Smith, et. al.
//
// Licensed under the Apache License, Version 2.0 (the "License"); you may not use
// this file except in compliance with the License. You may obtain a copy of the
// License at
//
//     http://www.apache.org/licenses/LICENSE-2.0
//
// Unless required by applicable law or agreed to in writing, software distributed
// under the License is distributed on an "AS IS" BASIS, WITHOUT WARRANTIES OR
// CONDITIONS OF ANY KIND, either express or implied. See the License for the
// specific language governing permissions and limitations under the License.
namespace Automatonymous.Activities
{
    using System;
    using System.Threading.Tasks;
    using MassTransit;

    public class CancelRequestTimeoutActivity<TInstance, TData, TRequest, TResponse> :
        Activity<TInstance, TData>
        where TInstance : class, SagaStateMachineInstance
        where TRequest : class
        where TResponse : class
    {
        readonly Request<TInstance, TRequest, TResponse> _request;

        public CancelRequestTimeoutActivity(Request<TInstance, TRequest, TResponse> request)
        {
            _request = request;
        }

        public void Accept(StateMachineVisitor visitor)
        {
            visitor.Visit(this);
        }

        async Task Activity<TInstance, TData>.Execute(BehaviorContext<TInstance, TData> context, Behavior<TInstance, TData> next)
        {
            await Execute(context).ConfigureAwait(false);

            await next.Execute(context).ConfigureAwait(false);
        }

        public Task Faulted<TException>(BehaviorExceptionContext<TInstance, TData, TException> context, Behavior<TInstance, TData> next)
            where TException : Exception
        {
            return next.Faulted(context);
        }

        async Task Execute(BehaviorContext<TInstance> context)
        {
            ConsumeContext consumeContext = context.CreateConsumeContext();

            Guid? requestId = _request.GetRequestId(context.Instance);
            if (requestId.HasValue && _request.Settings.Timeout > TimeSpan.Zero)
            {
                MessageSchedulerContext schedulerContext;
                if (_request.Settings.SchedulingServiceAddress != null)
                {
                    var scheduleEndpoint = await consumeContext.GetSendEndpoint(_request.Settings.SchedulingServiceAddress).ConfigureAwait(false);

                    await scheduleEndpoint.CancelScheduledSend(requestId.Value).ConfigureAwait(false);
                }
                else if (consumeContext.TryGetPayload(out schedulerContext))
                    await schedulerContext.CancelScheduledSend(requestId.Value).ConfigureAwait(false);
                else
                    throw new ConfigurationException("A scheduler was not available to cancel the scheduled request timeout");
            }
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
Ben Kuzma: Autistic brother inspires Canucks' prospect Jack Rathbone
Ben Kuzma More from Ben Kuzma
Updated: July 10, 2018 1:56 PM PDT
Vancouver Giants take two steps forward, one step back over weekend
Burnaby teen figure skater wins Canadian women's title, becoming first from B.C. to do so ...
Jack Rathbone (80) has proved a good player and a great brother. Gerry Kahrmann / PNG
Home is where the heart and hockey was for Jack Rathbone last season.
The Vancouver Canucks' prospect defenceman purposely chose to remain at Dexter Academy in Brookline, Mass. for another season. It allowed the fourth-round pick in the 2017 NHL draft to stay close to his autistic and inspirational nine-year-old brother Teddy.
"He's unbelievable — he has made strides," said the 19-year-old Rathbone, a native of West Roxbury, Mass. "We had a senior project for my school and I was in his classroom for about two weeks. I was helping with anything he went through and he's my best friend.
"I didn't want to be away from him for many months in the USHL or another junior league and that was a very good decision on my part. He put life in a new perspective when I learned he was diagnosed (age two)."
Teddy has ASD (autism spectrum disorder) which includes problems with social communication, social interaction and restricted, repetitive patterns of behaviour, interests or activities. Long-term issues may include creating and keeping relationships, maintaining a job and daily tasks.
"He's functioning in terms of verbal and he used to communicate through an iPad," said Rathbone. "Through speech therapy he's able to communicate on his own now and he's one of the most-active kids. He puts a smile on faces every day even though he's had so many adversities.
"He's in the back of my mind every time I take the ice because I know he may not have that opportunity."
Rathbone's father, Jason, put it best about the bond.
"Jack has helped my wife and me so much with Teddy," he said. "It could be as severe as Teddy having a seizure and Jack has been there to help him get on his side and deal with it. Or it could be as simple as going swimming with him."
bkuzma@postmedia.com
twitter.com/@benkuzma
Daily Canucks Newsletter
Canucks prospects tracker: Juolevi levels up, Lind-Bailey Worldwide
Willes' Musings: All-star Markstrom not getting respect he deserves
Canucks at 50: McLean save and Brown-to-Bure goal from 1994 Game 7 vs. Calgary remain ...
Death of dog leads to nearly three-hour standoff with police in Victoria
Vancouver Weather: Wet and windy

redpajama_set_name: RedPajamaCommonCrawl


Beautiful newer home on cul-de-sac w/3 car finished garage. Vaulted ceilings open floor plan. Daylight basement. Improvements include: $13,000 top of the line sprinkler system w/sod front & backyard, plus landscaping, all new custom blinds & more. A must see!


Ongoing sunshine and fine weather during this Autumn has continued to be huge bonus for both the organisers and the participants of recent Club outings. The day for our visit to the Lost in the 50's museum was no exception. What a sight awaited us as we drove along the street towards the museum building - dozens of American cars and hot rods, already parked, with their occupants standing in the sunshine waiting for the doors to open. I had heard many reports about the fantastic cars and 50's memorabilia that owner Glen has assembled in the old Blue Tongue Brewery at Cameron Park on the fringes of Newcastle, but I was amazed at not only the size, but the exceptional quality of the collection. The 55 plus cars on show are beautifully cared for - some looked like they were sitting ready to be Concours judged. For most of us, the little 65 Mustang Coupe with less than 10,000miles on the clock had to be a favourite. By now, I am sure that many of you will have seen the photos posted on either the MOCA website or on Facebook by Members who were fortunate to visit the museum on the day. The collection is so extensive that I believe it would take a few visits to absorb it all. Maybe another Club visit should be scheduled for the second half of 2014.
While on the subject of activities in the Newcastle area, an All Ford Day will take place on the Foreshore Reserve (where we had the Nationals over Easter in 2012) on Sunday, 8th September. This is a major event, and Glen, owner of the Lost in the 50's Museum, is planning to bring along every Ford in his collection on that day - it will be something! Please do your best to come along. The organisers have told me that the Mustangs will be parked around the park's lake and our Club cars will be a special feature.
The weekend of the 6th - 7th July when we plan to head to Salamander Shores, Port Stephen, is rapidly approaching. When I last checked with the Events Team, there was still room for a few more folk to come along for a great weekend. David Lodge and Norm Moore, our two Co-ordinators to the North of Sydney, are busy planning a couple of Mustang cruises in the area and Ace (alias Neil Matthews) is busy planning some of his surprises for the July Christmas Dinner! I especially encourage new members to come along - it is a good way to meet with other members and feel part of the Club.
Looking towards next month, Vice President Wayne has for some time been talking with John Bowe's management people about getting JB along to the Merrylands RSL to share stories of his long and successful motor sport career with us. The opportunity came along recently - JB will be in Sydney for Motorex and he has agreed to stay in Sydney for an additional two nights and come to Merrylands for a Question & Answer evening with us on Monday night 22nd July - fantastic news! JB is a self - funded professional. The Club will be underwriting the cost of this visit - approximately $3,000. In order to keep the ticket cost on this night to a minimum, and to attract as many people as possible along, we have decided not to incorporate a meal into the event. Plan to come early and use the RSL's excellent food facilities. As a consequence, it will be $30 each to come along - and if by chance the Club's costs are covered by the gate, that profit will be added to our annual donation to the Oncology Unit of the Westmead Childrens' Hospital.
Moving further ahead, the annual Merrylands Muster and State Concours will take place at Holroyd Gardens on the 29th September. This year we have a special treat in store - new entertainers! In the past 4 years, Elvis (Steve Head) has done a great job for us at this event and has always been happy to work with us, making available his sound equipment for announcements and the Presentation. This year, it is time for a change, so we have booked a superb band, the Vintage 4! Some years ago, this group impressed us with their performance at our Christmas in July evening in Goulburn. The lead singer is none other than our own well known Member, Rozy Hallebone! The Muster is the day that we put on a show for the residents of Holroyd for the support we receive throughout the year from the Merrylands RSL.
The Committee year is coming to a close in August with the AGM rapidly approaching. We have, at this time, two Members willing to stand for President. I will be standing for Vice President and the Secretary, Treasurer, and Licence Captain will all be standing once again for office. All positions, however, are open for nomination, with the exception of the two National delegates who have a 2 year term. For this election, the Club really needs a Member or two to be willing to take on the Events Co-ordinator role.


text:
UK: Banks bloodied and bowed. (3 of 3)
UK: Banks bloodied and bowed. (3 of 3) - The main concern of banks, however, was the inexorable squeeze on their margins. Twenty years ago banks were humming along on top quality corporate lending margins of over 2%. In the later 1980s these were as fine
The main concern of banks, however, was the inexorable squeeze on their margins. Twenty years ago banks were humming along on top quality corporate lending margins of over 2%. In the later 1980s these were as fine as three-eighths-of-a-percent or less. Barclays' congenial managing director, Andrew Buxton, sighs: "To replace its capital a bank needs much more than a three-eighths-of-a-percent margin." (This varies with the market.)
The obvious solution was to exploit new areas. Thus there was a charge, led by NatWest, into the smaller entrepreneurial sector and a wooing of the retail customer. Charges for personal banking were slashed and new products tucked in. It became, says Midland's Stephenson, "like going from shopping in Romania where there is bread or no bread, to going to Waitrose and finding there are 50 kinds of bread."
The other big move was overseas. Standard Chartered and Barclays recently effected a retreat from the US. But NatWest and Midland thought the decade right for an incursion into America. US banking was huge, fragmented, and the targets so transparent, says analyst Chris Wheeler, that "you could find out the colour of the chairman's underwear". Under former chief executive Geoff Taylor, Midland bought the US Crocker Bank. It was a disaster and was sold in 1987. NatWest, under chief executive Tom Frost, dug into New Jersey, after an earlier buy in New York. The new banks are sound, but now hamstrung by the plunge in US real estate.


text:
University Receives Two Awards Commending its Leadership for Veterans
Undergraduate Computer Science Whiz Earns Rhodes Scholarship
Hoya Highlight: Ryan Huss (MSB'02)
COO, SYDE Fantasy Sports Tell us a bit about what it was like working for a startup turned public that reached #4 in the Inc. 500. Working for a startup in the early stages of growth gave me exposure...
Hoya Highlight: Richard D. Gregorie (C'68, L'71)
Senior Litigation Counsel, U.S. Attorney's Office in Miami, Florida You joined the Justice Department in 1972, straight out of Georgetown University Law Center. What inspired you to go into criminal...
Alumna Leads in STEM Education: Dora Borja Miura Ph.D. (B'94)
Photo credit: paemst.org Recently awarded the Presidential Award for Excellence in Mathematics and Science Teaching (PAEMST ) for the U.S. territories, Dora Borja Miura Ph.D. (B'94) wants to change...
Lindsay Gallagher (C'11) Featured on New Animal Planet Docuseries
Lindsay Gallagher (C'11) is one of the stars of a new six-part series, Life at Vet U , which premiered Oct. 1 on Animal Planet. The docuseries profiles six students at the University of Pennsylvania...
Hoya Highlight: Erica Nonni (C'03)
Managing Director, Nonni Strategic Marketing Describe your current position and what led you to your job: I run a wine and food marketing company, Nonni Strategic Marketing . We manage import...
From Phantoms to Fandom—Georgetown Alumnus is Recognized for Musical Talent
Alumnus Rich Trent (F'10) reflects on finding music and finding himself at Georgetown Long before snagging his recent win for D.C.'s best entrant in the NPR national Tiny Desk competition, Richard...
Hoya Highlight: Lee Higdon (C'68)
Former Dean of UVA's Darden School of Business | President Emeritus at Connecticut College, College of Charleston and Babson College As a former dean, emeritus president at three institutions, and a...
Hoya Highlight: Jeffrey Schiller (MBA'08)
Associate Director Marketing, Deustch Family Wine & Spirits | Author of Wine Hack Tell us about Deutsch Family Wine & Spirits. What is the history behind the company and what makes it so...
Hoya Highlight: Lauren Epshteyn (C'07)
Mobile Advertising Sales Strategy Executive
6 Keys to Making Successful Career Transitions
Before joining the real estate industry, Susanne Rhow (B'88 ) worked for a variety of luxury brands, conducting business all over the world. Although she enjoyed success in the luxury goods market,...


"This time, I thought that I'd earned my stripes and I had my fanbase," says Devon Allman about trying something new on RIDE OR DIE. "I felt my fans were ready to hear me stretch out."
"If you keep moving and growing, it helps everything," says Medeski Martin & Wood keyboardist John Medeski, affirming that band members' side projects have been instrumental in keeping the group together.
"It's all preceding an album which I feel will be a timeless piece of work that articulates what we need to hear in this day and age," says rapper Lecrae about preparing an all-out production for his fall tour.
"For me, this tour is the highlight of my career," says R&B/soul singer Maxwell about co-headlining with Mary J. Blige on the King and Queen of Hearts World Tour.
"I realized there are whole other avenues that partying can open up," says rocker and motivational speaker Andrew W.K.
"I didn't write right away after rehab," says Jayhawks singer Gary Louris. "You have to be careful if you start writing too quickly. You can write about everything being rosy."
"We're jumping from guitar to synths and back and it's sounding great," says Midge Ure of being on the road with two other multi-instrumentalists . "It's rattled my cage. I've had to think about what I can perform."
"I started to write songs that incorporated some of that youthful energy, but with a more adult perspective," says singer/songwriter Alan Williams about the Birdsong At Morning album A SLIGHT DEPARTURE.


text:
Tag Archives: Polly Carl
Polly Carl
by Polly Carl
I'd like to save more money this year. Too much of my budget is going toward J.Crew. But part of how I justify this spending comes from how I identify success for myself. When I can get up in the morning and put on the exact right clothes to express my self, I feel like me all day and my ability to navigate the world goes up exponentially.
This feels shallow and perhaps not something to admit publicly, but it's as true as anything else about me.
And I think this idea of digging deep or in my case, not so deep, and sorting out "success" for ourselves is perhaps the most important task any of us will face in the coming year—coming to terms with what success looks like both at the surface and down deep.
Success in Theater
I think the idea of what defines success in our field has become significantly more narrow over time, like a uniform you wear day in, day out with no allowance for personal style or taste. In fact, I might argue that what defines success has become so tedious and tiresome that new definitions of success are coming out of the closet to challenge a version that is just serving as a cover-up from my vantage point.
Tired Trajectory to Success:
Theater artist gets trained > Theater artist emerges > Theater artist gets small gigs in small theaters > Theater artist gets big gigs in small theaters > Theater artist gets small gigs in big theaters > Theater artist gets big gigs in big theaters.
I realize when theater artists at the front end of that trajectory ask me for advice, I can no longer under any circumstances continue to support the tired trends of the past, hence my recent piece on the MFA question.
This journey toward success suggests many things that I find problematic for any art form:
That success is linear—that becoming a successful theater artist starts at point A and moves its way down the alphabet.
That the definition of success is predetermined.
That success in the theater is realized by simply counting the number of people sitting in the theater who see your writing or your performance or your design—the bigger the house, the bigger the paycheck, the bigger the impact, the bigger the success.
These problems beg the question: Why? Why do we love theater? Why do we make it? Because if in fact we make it to achieve success, and success is a linear and predetermined trajectory decided by theater size, then our definition of success is the same as Wall Street's. We are training theater artists in the same frame of success as we're training our future "successful" business leaders—to go down a path of acquisition toward predetermined markers.
Why Theater?
Recently, I flew to Minneapolis to see my ten-year-old nephew perform in the musical Narnia. He was one of the youngest performers, played a small bird, and had only two lines. But in talking with him after about the play, about why he loved doing it I heard about the preperformance exercises they do together, about the bonding between the older and more experienced performers and the newbies. I heard about how much he loves to sing. And I watched him after. The entire cast stood in a line in their costumes in the lobby and greeted the audience. Many young fans approached my nephew for his autograph.
I've paid pretty close attention to my nephew over the years, held him in my arms as a baby, was the primary babysitter for awhile, hosted him for "Aunt Camp" for a week in the summer and went to museums and ate copious amounts of ice cream with him. And I saw a transformation in him, standing in that line, greeting his audience. He had gravitas. Through several weeks of rehearsal and performance he had gone from a precocious, typically self-centered, I-want-what-I-want kid, to a gracious and more mature ten-year-old.
Fifteen years in, I keep redefining success for myself. I have been thinking since returning from Minneapolis about the immense privilege my nephew has to explore his interests and desires with the support of family and resources. And I keep thinking about what I want theater to mean for myself, my community, my family, and my world.
Success for me might just mean creating theater with more gravitas—a profession that has more weight and bearing in the world—by making theater in whatever way we do it, we succeed when we become more gracious and generous people.
The problem with predetermined paths to success is that for better or worse, the paths are well trodden, and the deep grooves cause us to try and find a way to make ourselves fit into something that has become ossified and unoriginal. And the truth is that not many theater artists, because they are such creative people, can make it down that predetermined road with any regularity.
And strangely, many artists who do find success on these terms don't recognize it when they get there. I've met very few theater artists who will acknowledge that they've "made it" even though from the vantage point of those success markers, they clearly have.
Why is that? Is it because they had to make so many compromises along the way? Is it because like for those who go down the Wall Street road, there's never enough? Never enough money? Accolades? Positive reviews? Awards? Standing Os? Like the billionaires, they've spent so much time in acquisition mode, they can't stop wanting more, they can't stop and see that at some point there is enough for them, and perhaps in a more generous world, for everyone?
Playwrights' Center
Clothes Can Never Make the Man
On that same trip to Minneapolis a couple of weeks ago, I stopped in at my favorite Minneapolis hangout, the Playwrights' Center. I love that organization so much because it's a true home for so many theater artists. I sat around with a bunch of those artists and we talked about this very issue, about how they define success for themselves. I fell into that preachy mode that I can sometimes fall into (sorry) and implored them:
Spend this next year imagining your own definition of success as if it was as important as the next play you write or show you perform in. This will be your most creative endeavor, trust me.
Commit to the success of at least one or two other theater artists you care about. Imagine, in the most creative way, how you can support that artist's career. Make this part of your workday. You will learn so much about your own definition of success this way.
If you haven't created a personal ethics statement for how you will achieve your definition of success, do it. If your success is achieved on the backs of your collaborators or by breaking the backs of others, I promise you it won't feel like success when you get there.
I'm old enough to know that clothes don't make the man. I know that no matter how many orders I make to J.Crew, the clothes can never tell the whole story and that the surface can never stand in for the depth. If I can hold this thought long enough I might just save some money this year.
Polly Carl is the director of the Center for the Theater Commons at Emerson College, and the editor of the online journal HowlRound.
Posted in actors, Arts, Drama, Fountain Theatre, new plays, performing arts, plays, playwright, Theater, theatre
Tagged actors, career, Chronicles of Narnia, definition of success, drama, Fountain Theatre, gravitas, Los Angeles, Minneapolis, Narnia, new plays, performing arts, plays, playwrights, Playwrights' Center, playwriting, Polly Carl, success, theater
You Want to be a Playwright? Should You Get an MFA or a Degree in Life Experience?
When asked a few years ago if someone with talent and desire to write plays should get an advanced degree in playwriting, I said unequivocally yes for two reasons:
I'm a huge advocate of graduate school of any sort. Graduate school is an indulgence that every one who can access, should. I don't have a timeline for when, but I truly believe taking three or more years to think about things that interest you and make you passionate and advance your understanding of the world is absolutely essential—especially if you want to tell stories that you hope will mean something to an audience greater than your best buds and your mom.
As far as making theater goes, the significant career opportunities in our business are so few and far between that I would tell prospective students any leg up was worth considering seriously. For example, if your script was on a pile, or if you were applying for a directing fellowship, those letters M-F-A might advance your script/application up the stacks.
My advice to graduating MFAs used to be different too and extremely practical! As you're thinking about that final year in the program focus on:
Having one fully realized "straight" play with no more than four characters is essential. The MFA is a launching moment and to launch in any significant way into the regional theater movement, your most realistic shot is to have one solid producible play in the most conventional sense.
Make connections with all of the play development centers (Playwrights' Center, New Dramatists, the Lark, Sundance, Playwrights Foundation, etc.) and apply to every opportunity they offer. In other words, find an artistic home to develop as an artist. This advice hasn't changed.
But as I experience the work the next generation of theater makers is creating and in what context, I'm beginning to shift my advice. More importantly, I'm convinced now that I'm not the right person to give advice. I'm not being humble here, but rather acknowledging that I'm giving advice from the vantage point of having a salary and health insurance and that my advice is becoming less and less practical and perhaps makes assumptions about what people want out of a career that are more about what I think they should want.
But here goes some advice anyway.
Don't apply for an MFA in anything right out of undergrad. If you desire to be a storyteller from any vantage point (playwright, director, dramaturg, actor, designer, stage manager, etc.) spend some time living in the world and figuring out what stories you want to tell. Travel, work strange jobs, taste exotic foods, become a marathon runner, join the Peace Corps, and engage everything that feels unfamiliar.
Don't take a menial job in a large theater just to be near established theater artists. I think the worst thing an aspiring young theater artist can do is to learn too soon the business-as-usual way of making theater.
See as much of every kind of art that you can take in. Close down your Facebook and Twitter accounts for days at a time and read novels, listen to authors read their works on podcasts, go to museums, operas, symphonies, rock concerts, and ballets.
Volunteer at places unrelated to theater. Understand that theater is a part of a whole, but not the whole.
Fall in love. Break up. Fall in love again. This can be love with people, other artists, art objects, remote camping sites, whatever.
Then after all of that, if you still find that you must tell stories, and that you must live in proximity to a stage, by all means apply to an MFA program. It will be the greatest gift you can give yourself.
For those of you graduating in the spring with your MFA:
Maybe go to New York, but maybe not.
Don't worry about getting an agent.
Find one or two or three other people you want to make theater with and live in the same city, or rural town, or on a tropical island together, and make theater according to your mutually agreed upon definition.
Tell the stories you want to tell and only the stories the want to tell. You will get many opportunities to tell stories other people want to tell; minimize these gigs.
Introduce yourself to every theater maker who inspires you, but don't bother to try and ingratiate yourself into institutions or try to get next to artistic directors whose work you don't admire just on the off chance they might throw an opportunity your way. There will be plenty of time in your career for compromising and groveling. Save your knees as long as possible.
Think big. Big plays, big performances, big social change, big bold theater that will burn the house down.
For anyone trying to sort out how to make it in this business: there is no formula. As artists, I personally think rules and boundaries and formulas and systems and even institutions can dampen the possibilities for our artistic expression. And nothing can be more harmful to creativity than believing there is one path toward it.
So get an MFA, maybe. Move to New York, maybe. Write only two-handers, maybe. Buy bottles of expensive wines for Artistic Directors, maybe. But for sure, find a way to tell the stories that will choke you to your very death if they aren't let out, and don't make any assumptions that there's a singular career trajectory for the theater artist.
Posted in actors, Arts, Drama, new plays, performing arts, plays, playwright, Theater, theatre
Tagged artists, Deaf West Theatre, drama class, dramaturg, Fountain Theatre, graduate school, Los Angeles, MFA, New Dramatists, new play, new plays, New York, plays, playwright, Playwrights Foundation, Playwrights' Center, playwriting, Polly Carl, storytelling, students, Sundance, the Lark, theater
Nonprofit Theater as Public Service: How Should We Define Profit and Loss?
Something profound happened on the first Tuesday in November, something I'm still trying to digest fully. To my mind the election results represent a victory of love over hate, of human dignity over market forces, of public service over private gain. Those who spewed hate toward women weren't reelected. Those who insisted on heteronormativity as the only way were defeated handily, and those who spouted the rights of the wealthy to buy elections for the sake of perpetuating the private markets of their personal fortunes were sent packing. On that Tuesday, at least for a moment, we redefined public service as something meant to benefit everyone, not just the few.
John Adams wrote in a letter to his son, "Public business, my son, must always be done by somebody. It will be done by somebody or another. If wise men decline it, others will not; if honest men refuse it, others will not." Most of us would agree, though deeply flawed, our Founding Fathers were wise men who created a frame for a political system that in many ways has served us well.
I feel and see more deeply the cost of a commitment to public service. The long view of history reminds me that the $4.2 billion we spent on this last election is recent history. And it also makes me ask: Are too many honest men and women refusing public service, making room for too many politicians driven by ego and the desire for personal gain? And because this is what I do for a living, it makes me think about the history of the regional theater movement—about our leaders, past and present. And I ask: How do we currently as a field define our relationship to public service? We take a tax break, and like churches and libraries, we offer something of value to the public. When we say we choose to make our art in the context of nonprofit theater, we embrace a form of public service—not for the sake of glamorous careers that include arriving in limos to the Tony awards and sipping champagne with the stars. I intentionally chose to work inside nonprofit theater because I had a deep desire to effect change in the world. But somewhere along the historical path of the nonprofit theater movement, public service to artists and a community ran head long into private desires for personal success. Like our political milieu the public good has gotten confused with private desires.
In both editing the report, In the Intersection: Partnerships in the New Play Sector by Diane Ragsdale, just released by The Center for the Theater Commons, and attending the convening that the report covers, I have a deeper understanding of the movement of history in our field from a purer sense of public service to a market-driven desire to both serve and survive. These historical shifts in mission and purpose aren't simple, and they don't happen over night. We didn't go from John Adams to Mitt Romney without struggles of every kind. But if you are invested in the future of the nonprofit theater movement, I suggest you read this report closely (you can download it for free), because it will place you in the thick of history whose next chapter will be written by the readers of HowlRound, among others.
Oskar Eustis
The meeting this report covers was, from my vantage point, remarkable. The participants are public servants struggling with increased market pressures—how to make a public good in the face of enormous obstacles. The report covers a historical shift from the very opening conversation between Rocco Landesman and Gregory Mosher, and that shift is more deeply explored in the second chapter in the conversation between Oskar Eustis and Robert Brustein. Eustis frames the very question that the report explores:
What strikes me as you talk Bob is that . . . everything you're talking about is about being part of a larger history that stems back really to that beach in Provincetown in 1920 through to the present. And you talk about being engaged in the training and the discussion and the creation at all at once so that, in a way, you are creating a world of values that is separate. And that world of values is part of a larger history; but we haven't talked about profit or commerce in any of this really. And I think that one of the difficult things is: Where do you find an alternative set of values in the world—where you can live inside an alternative set of conversations about "profit and loss"?
Tony Taccone
In pondering this question we must consider the history of our own movement. We must consider the values and the words of the founders of this movement like Robert Brustein and Zelda Fichandler who are still around and able to guide us—and not just when it's to our advantage to do so, but even when that looking back questions our practices in the moment. The group of twenty-six nonprofit theater representatives, commercial producers, and artists that gathered for this conversation did exactly that. And in the looking backwards and forwards, all of us in that room felt perplexed about where the nonprofit theater movement stands now. We asked ourselves how we had gotten from there to here and most of the nonprofit participants, as you will read, were not convinced that here was what our founders meant when they argued that nonprofit status made sense for the theater. In one of the many honest and soul-searching moments in the report, Tony Taccone, artistic director of Berkeley Rep, tries to make sense of how we came to this moment in our history:
And so we're trying to describe what happened to us. And trying to exercise a little bit of consciousness about where we want to go. Is there a creative progressive place we can go together as a community, as a culture? Because individualism, fame, money, materialism lead one another to an iceberg. But we all kind of need and want those things too; so it's a really tricky road.
And so I sit here post-election pondering multiple American histories, the histories of presidents, and Constitutions, and theater movements. And I don't want to argue that things should be as they once were. We don't look back in order to go back, but rather to better choose what going forward looks like. I'm so grateful for the evolution of thought that has created the possibilities for new stories, not the least of which is my new story as a legally married person. But in this post-election bliss for many of us, it makes sense for us consider why we value public service, and why we've chosen a life in the nonprofit theater. Have we done it to succeed on personal terms or do we make art to make the world better?
Tagged 2012 election, arts organizations, Berkeley Repertory Theatre, Center for the Theater Commons, Diane Ragsdale, Founding Fathers, Fountain Theatre, Gregory Mosher, HowlRound, John Adams, Los Angeles, nonprofit, Oskar Eustis, performing arts, plays, Polly Carl, public service, Public Theater, Robert Brustein, Rocco Landesman, theater, Theater Arts, theatre, Tony Taccone, Zelda Fichandler
Theatre: The Gift of Transcendance, Not Transactions
We come to painting, to poetry, to the stage, hoping to revive the soul. And any artist whose work touches us earns our gratitude. – Lewis Hyde, The Gift: Creativity and the Artist in the Modern World.
For months my life has been overwhelmed by a series of mundane transactions of various complexity usually costing me buckets of money. If we let it, life will drown us in transactions. The life of transactions is not a satisfying way to live. I prefer transcendence over transaction. Which is why I have chosen to work in the theater—for those moments in the rehearsal room that lead to something revelatory, something glorious or more than anything I could accomplish on my own. No money is exchanged, and in the very best moments transcendence feels within reach.
Money Trumps Love
During my fifteen years of making new plays, I've watched our field become more obsessed with the transactional and less obsessed with making good art. If I'm here for no other reason today, it's to push you as artists and people who love the theater to rethink this momentum.
From the transcendent to the ugly. I was working on a play I was wildly passionate about, one that I wanted to see produced—a play that I believed to be sublime, transcendent, my reason for getting up in the morning these last fifteen years. There were a million issues surrounding this play, as there always are about every play. Multiple producers were interested in producing it, multiple agents were involved in figuring the rights and the royalties and the production path. This is typical. The further the play developed, the more clear the possibility that we had a "hit" on our hands. Because I work in the not-for-profit theater, always in a role that is advocating for the artists and the work, I didn't have any financial stake in the play. I just loved it. I loved the characters, the language, the story—it was the best of what is possible in the theater, the best of what is possible in my work. I sat in rehearsals and listened and gave hardly any notes and got a little weepy from time to time and talked to the playwright and the director and colleagues. I was so in love with this process. But as the stakes were raised—the money, the players—I could see things beginning to unravel. I became privy to lies and deceit and I became obsessed with saving the integrity of the process that I had been charged to help oversee. We all say we are in it for higher purposes, but even in the theater, money trumps soul, and destroys love. I called one of the agents who was spreading particularly heinous lies (and let me clarify he wasn't the only one lying, the lies were abundant from all camps). I was calm, trying to clarify the truth, intent on protecting what I thought were the interests of the writers. He actually said to me, "Who do you think you are calling me? I don't give a rat's ass about you and your version of the truth. For all I care you could die and it wouldn't matter to me or this play."
I walked back to the apartment where I was staying. I got a haircut along the way. I took a shower. I threw away the clothes I was wearing. I bought a new traveling hat. I thought about getting a new tattoo. I moved my flight to leave a day early, and went home. I walked away from that project for good and I walked away from making theater under those conditions.
I didn't say I wasn't dramatic.
Gathering Inspiration
In exploring the roots of the righteousness that informs my sense of theater making, I think it's important for me to share some of the values that have shaped my thinking—to make sense of why an agent wishing my death doesn't align with what I seek in my career. It's important to note here, that it's easier to walk away from something when you know what that something is. I've been very lucky, and yes, I mean lucky to have worked at the top of this field, with some of the best companies and best theater makers in the country. I've also spent significant time working with small companies, young artists, the uncertain, and the unknown. And I've learned, and perhaps it's my failing, that I'm unwilling to make theater at all costs, and at the expense of basic human kindness and courtesy.
My instincts about where the arts live in relationship to culture come from my childhood. Art saved me. It gave me hope and purpose. I grew up in a family of very little financial and consequently cultural means in Elkhart, Indiana. These are the specific things that saved me; the handful of books my parents had on hand in the house that included a very old edition of the Encyclopedia Britannica, and the full collection of the Hardy Boys series and the Little House on the Prairie boxed set, plus National Geographics that my grandparents gave us when they finished reading them. The Public Library saved me. By the time I entered high school I had read every novel Charles Dickens had written, all of the Lord of the Rings, Anna Karenina, The Grapes of Wrath—well you get the gist. My public library card was my ticket from there to here. I did not attend theater in high school except for our high school productions. We not only couldn't afford to attend theater, but cultural engagement wasn't something of value in my family, economic survival was always front and center.
Zelda Fichandler
When I came to the theater, and I should specify, to the not-for-profit theater, I was instantly moved by what I began to read of its history. The vision of our founders expressed perfectly why theater and the arts in general mattered to me. Listen to these words from a recent address given by Zelda Fichandler, the founding artistic director of Arena Stage in DC:
What drew us to the way we went? What was the vision, the inciting incident? Actually, there was no incident, no high drama, there was simply a change of thought, a new way of looking at things, a tilt of the head, a revolution in our perception. We looked at what we had – the hit-or-miss; put-it-up, tear-it-down; make-a-buck, lose-a-buck; discontinuous; artist-indifferent; New York-centered ways of Broadway, and they weren't tolerable anymore, and it made us angry. We thought there had to be a better way, and we made that up out of what was lying around ungathered and, standing on the shoulders of earlier efforts in America and examples common in other countries, we went forward, some of us starting small, some like the Guthrie, big.
The fabric of the thought that propelled us was that theatre should stop serving the function of making money, for which it has never been and never will be suited, and start serving the revelation and shaping of the process of living, for which it is uniquely suited, for which it, indeed, exists. The new thought was that theatre should be restored to itself as a form of art.
Yes! The idea that theater should "start serving the revelation and shaping the process of living"—I say again yes! The idea that artists wanted to build a life, not a hit-or-miss, from this moment to that moment, career in theater. These are the ideas and values I can commit to. The not-for-profit theater was about merging art and life. The ideas of our founders were so bold, so aspirational. And the dream was not a dream of selling tickets and making money. Nobody left New York to get rich. They left New York to seek meaning and build a life around what they loved most.
Zelda again:
Once we made the choice to produce our plays, not recoup an investment but to recoup some corner of the universe for our understanding and enlargement, we entered the same world as the university, the museum, the church and became like them, an instrument of civilization.
Going to Church
In restoring theater to itself, as Zelda implores, we must find ways to distinguish the parts of it that live in the market and the parts that belong to all of us.
Lewis Hyde
Lewis Hyde, again from his book, The Gift, differentiates the church, or the university, or the museum, from the market:
It is the cardinal difference between gift and commodity exchange that a gift establishes a feeling-bond between two people, while the sale of the commodity leaves no necessary connection.
Harold Clurman in his book, The Fervent Years, about the formation of the Group Theatre puts it in terms of our relationship with our audience:
When the audience feels it is really at one with the theatre, when audience and theatre-people can feel they are both the answer to one another, and that both may act as leaders to one another, there we have the Theatre in the truest form. To create such a theatre is our real purpose. (p.72)
Fichandler, Hyde, and Clurman give me clarity. They help me understand why the transactions that got us here today: filling up the tank, buying a cup of coffee, paying our bills, may have proved satisfying but they weren't our reason for getting up this morning. We got up this morning because we believe in the bond of community, the bond that we form with our collaborators and the bond that is our communion with each other and with the audience. Continue reading →
Posted in actors, Arts, Fountain Theatre, new plays, performing arts, plays, playwright, theatre
Tagged Andrew W. Mellon Foundation, Arena Stage, Brecht, Broadway, Capitalism 3.0, CarbonFund, David Dower, drama, Emerson College, Fountain Theatre, Hans Abbing, Happiness, Harold Clurman, HowlRound, inspiration, Lewis Hyde, Los Angeles, May Sarton, National Endowment for the Arts, NEA, new plays, New York, non-profit arts organization, Oskar Eustis, Peter Barnes, plays, Playwrights' Center, playwriting, Polly Carl, Robert Brustein, The Fervent Years, The Gift, theater, theatre producers, transcendence, Why Are Artists Poor?, Working Assets, world premiere, Yale Repertory Theatre, Zelda Fichandler
Invisible Women in the White Male World of Theatre
Jill Dolan
I'm coming late to the controversy over the resoundingly white male-written and -directed season announced for the Guthrie next year, in part because I'm tired of hearing myself rehearse the same old indignities at these repetitive insults to women's artistry and integrity. Reading the many smart excoriations of Guthrie artistic director Joe Dowling's defensive protestations about why it's okay to ignore gender and race in season selection, I'm simply reminded, yet again, of the supreme arrogance of white men like him (not all white men) who are accustomed to seeing and remaking the world in their own image.
I was deeply moved by Polly Carl's essay, "A Boy in a Man's Theatre," on HowlRound (4/28/12), in which she eloquently admitted, "I am compelled to talk some truth about finding yourself 'other' in a white man's world—about the importance of insisting on being seen." Describing her reaction to watching a rehearsal of Lisa Kron and Jeanine Tesori's adaptation of Alison Bechdel's Fun Home, Carl realized that although the new musical isn't her "exact" story, "it was my story." The power of recognition—of seeing a life that looks like yours on stage—was overwhelming for Carl. And if I've done my math right, Carl is in her 40s. She's been feeling invisible for a long time.
I wish someone like Joe Dowling could imagine what it feels like to go to the theatre or the movies, or turn on the television, and never see yourself represented. If you're white and male, and especially if you're straight, it must go without mention that something that at least looks like your life will be part and parcel of the story told of an evening. I can't imagine the privilege of just assuming that the world will look like you, and that if it doesn't, it's because affirmative action or some other "self-serving" quota system (as Dowling accused protests over the Guthrie season of being) has allowed the riff-raff of gender, race, ethnic, and sexual difference to sneak in.
Even the conservative Wall Street Journal published an article called "Lots of Guys, Too Few Dolls,"shortly after this year's Tony Award nominations were announced, in which the reporter—Pia Catton (a woman)—noted that "one is reminded of a sad truth: While Tony's are equally bestowed on male and female stars of the stage, there's a colossal gender gap in the honors given to the men and women who create the shows." Catton went on to report that the percentages of plays written and directed by women on Broadway has barely changed over the decades, quoting experts like Susan Jonas, who co-wrote the 2002 New York State Council on the Arts report on the status of women in theatre, and mentioning the recently established Lilly Awards (named after Lillian Hellman), which turn their backs on the Tonys' snubs by giving their own honors to women working in theatre.
On a much brighter side of this ubiquitous story, this week I received by snail mail the new season announcement from Arena Stage, in D.C., and was reminded that the gender and racial diversity in play and director selection that Dowling considers impossible or beneath him (or both) happens as a matter of course at other U.S. theatres. In a market bigger than Minneapolis, with subscribers equally as august and long-standing, Arena artistic director Molly Smith regularly programs seasons that include a majority of productions written or directed by women and people of color (and both).
Molly Smith
For 2012-2013, Arena's eight-play season includes three plays by women, two of which are by women of color: Pullman Porter Blues, by Cheryl L. West, and The Mountaintop, by Katori Hall, as well as a revival of Metamorphoses, written and directed by Mary Zimmerman. West's play will be directed by Lisa Peterson, who, along with colleagues Zimmerman, Jackie Maxwell, Kyle Donnelly, and Smith herself, comprise a roster of five women directors out of the eight productions. Of the remaining three shows directed by men, two are directed by African Americans (and Tazewell Thompson also wrote the play he'll direct). The one show written and directed by a white man is One Night with Janis Joplin, so its content counts as gender diversity, if part of the issue is whose stories are told and whose bodies are seen on stage.
Good for Molly Smith and her artistic staff and her board, who no doubt ratified her progressive vision. Smith is directing My Fair Lady at Arena next season, the Lerner and Loewe musical she mounted last summer at the Shaw Festival in Canada. That production was a terrific, high energy, multi-racial cast production that rivaled her 2010 reimagining of Oklahoma! in its rejuvenated vision of the classic American musical. Smith takes the American canon—part of Arena's mandate—and refashions it to speak across identity communities, instead of sequestering it in presumptively white enclaves and preserving it for white people. That narrow vision—Dowling's vision—doesn't reflect or do justice to the complex race, gender, sexuality, ethnic, and class composition of contemporary America. Dowling's vision is former presidential candidate Bob Dole's bridge to the past; Smith's is a glorious, hopeful representation of a reimagined future.
Playwrights Horizons in New York also deserves a place of pride in this counter-pantheon of progressive American theatres. For 2012-2013, long-time artistic director Tim Sanford (a white man) offers six productions, new plays all, of which four are written by women (one of whom is African American), and one is a musical adaptation of Far From Heaven (written by Richard Greenberg and directed by Michael Greif), Todd Hayne's wrenching 2002 film about the wife of a closeted gay man navigating her nuclear family life in the 1950s. White women direct three of the six productions: Anne Kauffman directs Lisa D'Amour's Detroit; Carolyn Cantor directs her frequent collaborator Amy Herzog's The Great God Pan; and Leigh Silverman directs Tanya Barfield's The Call. Sam Gold, who's proven his sensitivity as a director of women's work, directs Annie Baker's The Flick.
Tanya Barfield
Playwrights' season teaser brochure also includes a clever "key" to the genres and themes introduced by its six plays. The guide includes symbols that run alongside each play's title, indicating whether it addresses "comic relief," "gaiety" (of the LGBT variety), "parenthood," "race relations," "impossible love," "job inequality," "prophetic vision," "skeletons in the closet," "strange neighbors," "suburban angst," or "Mormonism." Just reading this key made me laugh; what a witty reminder that any production has something idiosyncratic for everyone and that "universality" never means just one thing.
Molly Smith's "Oklahoma"
Arena and Playwrights regularly stage plays written and directed by women and people of color, not to fill a token slot in each season, but because these productions showcase voices that have something to say across communities. They make visible populations of citizens alongside all the Joe Dowlings who are too blind to see how these so-called minorities/future majorities are remaking our collective world. Molly Smith's Oklahoma! is the state we live in now, thank goodness.
Likewise, Emily Mann's production of Tennessee Williams's A Streetcar Named Desire, now playing on Broadway with a cast of people of color, shows us something new about ourselves and the canon of American drama. Mann knew Williams, and insists he told her that given New Orleans's Creole population, he could imagine the play with an African American cast. Mann researched the French Quarter of the period, and found ample justification for casting the Dubois family and Stanley as black, conflicted by the same class differences that propel Williams's drama when it's cast with white actors.
"Streetcar" directed by Emily Mann
But critics like Ben Brantley consider this "gimmick" casting, and scoff at Mann and the producers (who also mounted an African American production of Williams's Cat on a Hot Tin Roof) for fooling around with the American canon in ways they, like Dowling, find self-serving. These reviews sound reminiscent of Stephen Sondheim's admonishment last summer that Diane Paulus and Suzan-Lori Parks had gone too far in their adaptation and revision of Porgy and Bess.
Underneath all these criticisms that purport to champion good American drama is a warning to women and people of color that they shouldn't get too uppity, that they should steer clear of white men's work and stay barefoot and happy—and invisible and silent—in the ghettos of their "special interest" theatres.
The same blatant discrimination was recently called out at the prestigious Cannes Film Festival, where of the 22 films nominated for the 2012 Palme D'Or prize, none were written or directed by women. The oversight caused a similar online uproar as the Dowling debacle among the film (and larger) arts community, through which petitions circulated for signatures to protest this blatant exclusion.
Have we gone back to the future? Is it the 1950s again? In a political moment in which Republicans and Tea Party-ers threaten to reverse every achievement for women's reproductive rights garnered since Roe v. Wade; when the same politicians inflame xenophobic anti-immigration sentiments about our southern borders (and when similar anti-immigrant racism roils political waters in Cannes' France); and when LGBT activists have to celebrate when Obama announces that he's "evolved" into thinking same-sex marriage is okay after all (gee, thanks, Barack), maybe it's no surprise that the festival director at Cannes, and Brantley at the Times, and Dowling at the Guthrie think they can discriminate against women and people of color with impunity.
Let's not let them get away with it. Write to Molly Smith at Arena, and Tim Sanford at Playwrights and tell them how pleased you are with their 2012-2013 season announcements. Write to Dowling at the Guthrieand tell him how disappointed you are that he's such a Neanderthal. Sign the petitions circulating protesting the exclusion of women from the prize at Cannes. And write letters to the Times protesting that white men like Brantley and Charles Isherwood foster a discourse about the arts in which decisions like Dowling's season are okay and productions like Mann's Streetcar are dismissed.
Don't just go to the theatre—respond to it, write about it, protest it, reimagine it. It's too important to keep allowing the barbarians to guard the gate.
Jill Dolan writes for The Feminist Spectator
Posted in actors, Fountain Theatre, performing arts, plays, playwright, theatre
Tagged A Streetcar Named Desire, Annie Baker, Arena Stage, Ben Brantley, Charles Isherwood, Diane Paulus, diversity, Emily Mann, Fountain Theatre, gender, gender gap, Guthrie Theatre, Jill Dolan, Joe Dowling, Katori Hall, Lillian Hellman, Lisa D'Amour, Lisa Kron, Lisa Peterson, Los Angeles, Mary Zimmwerman, Molly Smith, My Fair Lady, new plays, New York, New York Times, Oklahoma, plays, Playwrights Horizons, Polly Carl, race, Richard Greenberg, Suzan Lori Parks, Tanya Barfield, The Feminist Spectator, The Mountaintop, theater, Tim Sanford, Tony Award, Wall Street Journal, women in theatre, world premiere


Core Developer Ingo Schommer is a bit of an icon in the SilverStripe community.
Core Developer Ingo Schommer is a bit of an icon in the SilverStripe community. Ingo is the person that bundles a lot of the community's contributions and feeds it back into the core. In his free time, Ingo loves to work on documentation for SilverStripe which eventually resulted in the first SilverStripe book. He also has an impressive 80's pop music collection in his iTunes library. Going back in time also meant moving back to Germany last year. Due to the time difference between NZ and DE, he now works crazy hours remotely for SilverStripe.
We're proud to announce the third beta release of SilverStripe 3.0! As you might expect, the changes get smaller and more incremental. A lot of the commits revolve around polishing the user experience following on from our usability tests.
With the release of beta 3, users now have the ability to insert media from youtube, flickr, vimeo and many other sites using the oEmbed protocol. Just enter the item's URL and the CMS will look it up for you. Check out Sig's screencast for a demo.
One of the most visible changes is the reduced visual clutter on the page edit form. The URL edit field is now a read-only preview by default, with an explicit edit button (see mailinglist discussion). The field also moved to the same screen as the page title on which it is based, making the connection far more obvious. Special kudos goes out to Ryan Wachtl (@ryanwachtl) for taking this on!
There's always more to simplify, though. After years of what we'd like to call "organic growth" (like weeds, not pretty flowers), we ended up with seven tabs on the default 2.4 interface. While tabs are a primary means to organize and customize your own editing experience, we felt that was a bit excessive. After some consultation with our new CMS design guru Paul, we got it down to three, removing and merging views along the way. Single tabs are hidden by default, but once you add your own ones they magically show up again. There are some screenshots in our upgrading guide.
On a framework level, we've improved the SQLQuery API accessors, cleaned up some GridField internals, and added a preliminary API for dependency injection. We also maxed out our developer machines with unit tests on the supported database, which means SQLite3 and PostgreSQL can join the happy SilverStripe 3 family now.
Oh, and we're still busy modularizing core components into their own projects. After translatable and widgets, we're releasing RestfulServer into the wild to stand on its own as well. Don't worry, those modules will still be maintained, but removing them from core helps us to keep it lean, fast and decoupled.
We're closing in on the release candidate stage now, so if you haven't checked out our progress you're seriously missing out! There's also a new public demo site for your pre-viewing pleasure at ss3.demo.silverstripe.org. Being in the polishing phase, you can expect little or no further deprecations and API changes from now on. All the gory details on what's been changed are on doc.silverstripe.org.


There is no end to the love that abounds for my nephew Gab Valenciano and wife Tricia Centenera. We just got back from Discovery Shores Boracay where the love birds had a Love Celebration not only to solidify their union but to allow all of us married couples to renew our vows and rekindle our love. It was truly a special time for us to come together for a solemn and fun occasion to get to know our new niece, her Aussie family and friends. I took gazillion photos (while wearing my Tees&Things white dress and white Havaianas flip flops) but narrowing down this post to the Love Celebration alone. Enjoy the delightful details that Tricia herself carefully put together with the help of Amanda Tirol of Boracay Weddings and Gideon Hermosa for styling. There's one tiny detail I am proud my boys put together by contracting folks by the beach and that is the ceremony sign written on sand. That makes it an authentic Bora event doesn't it?
Thank you Gab and Tricia for a truly special time of love, life and laughter. Cheers to forever!
Welcome to the family, Tricia Centenera!


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Home » Plays » Off-Broadway » Passage
Provocative and thoughtful new Christopher Chen play inspired by Forster's "A Passage to India" and investigating colonization past and present and The Other.
Posted on May 18, 2019 by Victor Gluck, Editor-in-Chief in Off-Broadway, Plays
Purva Bedi, David Ryan Smith, K.K. Moggie and Lizan Mitchell in a scene from Christopher Chen's "Passage" at the Soho Rep (Photo credit: Julieta Cervantes)
Christopher Chen's exquisite and mystical Passage being produced by the Soho Rep is inspired by E.M. Forster's A Passage to India, borrowing its plot and character relationships. But while Forster's novel was simply about the British colonization of India, Chen has something bigger in mind. Chen calls the two locales Country X and Country Y so that the audience can fill in whatever two countries they wish in whatever time. Director Saheem Ali's superb multicultural cast offers the maximum in diversity. And in this age of nations all over the world cracking down on immigrants and immigration, the play is an investigation into our complicated feelings about The Other.
When the audience enters the Soho Rep, they are asked to take off their shoes like they will be entering a temple. The actual theater space (redesigned by Arnulfo Maldonado) has been entirely redone in blonde wood with the audience sitting in bleachers on two sides at the far ends before a rectangular playing area with a raised platform in the middle, which also revolves. The only scenery is made up of blonde wooden cubes which are used for seats and a table. The play begins with actors introducing themselves and telling us where they are from. This makes the play a sort of ritual or rite of passage which includes the audience. In Ali's production, the actors not on stage sit along the other two sides observing the play throughout.
Yair Ben-Dor and Andrea Abello in a scene from Christopher Chen's "Passage" at the Soho Rep (Photo credit: Julieta Cervantes)
Traveling to Country X which is under the protectorship of Country Y, two natives of Country Y meet and become friends on their ship: A (Andrea Abello) is going to join her fiancée R (Yair Ben-Dor) who has gone to work there for the "opportunity" though she seems to be on a personal quest, and F (Linda Powell) is an educator who is traveling to Country X to claim a teaching job she has accepted. At a tea party given by H, a wealthy Country X hostess (Purva Bedi), brings up the question: is it possible for a Country X citizen to be friends with a Country Y citizen? Her guests take different sides; however, the admired (and recently made famous in a published profile) Doctor B (K.K. Moggie) refuses to be pulled into the discussion and G, a saintly older woman who works at the temple, (Lizan Mitchell), leaves before the question is answered.
A discovers that her fiancée has changed greatly and has become disdainful of people from Country X, while Dr. B has some humiliating experience at the hands of Country Y people at the hospital at which she works. Dr. B becomes friends with F when they both take refuge in a local temple. Exchanging visits, Dr. B offers to take F to visit the famous caves nearby. Although F has had a strange, frightening experience there years before on a previous trip to Country X, she wishes to visit them again. She brings along Q who has not been taken to see the country by her fiancée. R, however, insists that Q take a gun as he hears that the countryside is not safe. F feels faint at the mouth of the caves and chooses not to go in but insists that B and Q go without her. Inside the caves, some event takes place which changes the relationships of all of the characters resulting in alienating Country X natives and Country Y visitors. Ultimately, the saintly G takes the audience back to the caves to experience their power once again.
K.K. Moggie, Yair Ben-Dor, Andrea Abello, David Ryan Smith and Howard W. Overshown in a scene from Christopher Chen's "Passage" at the Soho Rep (Photo credit: Julieta Cervantes)
G becomes a sort of narrator speaking directly to the audience. At the beginning of the second half of the play after the events in the caves, she reminds that each one of us is seeing this story in a slightly different way, depending on personal experience. In the final scene, she asks if it is ever truly possible to understand another person's experience. "And this failure to connect is where the seeds of anger and violence begin," she tells us. Directed in a cool, low-key manner, the play is at all times mystical and philosophical even when the big questions are not being discussed.
G also points out that the play may remind some of Forster's A Passage to India, but that one should put that out of one's mind. While the alphabetical character names do match up with Forster's cast (Miss Quested, Cyril Fielding, Ronny Heaslop, Professor Godbole, Hamidullah, etc.), there are many changes, particularly of gender. Forster's Fielding and Doctor Aziz (here called Dr. B) are women, while Mrs. Moore, Ronnie's mother and Miss Quested's traveling companion, the novel's moral center, has been eliminated and absorbed into F and G. As the scenes pretty much follow those of the book, it does not hurt to have a knowledge of Forster's version of the story, as the alphabet soup of the character names can get a bit confusing.
Linda Powell and K.K. Moggie in a scene from Christopher Chen's "Passage" at the Soho Rep (Photo credit: Julieta Cervantes)
Costume designer Toni-Leslie James has put the people from Country Y in red outfits, while the people from Country X wear variations in white, blue and grey, which helps keep the two cultures separate. As the visiting Q, Andrea Abello is excellent as the naïve, loquacious young lady who precipitates a diplomatic incident. Linda Powell as her new friend and compatriot F has a diffident, unassuming and self-effacing demeanor which is exactly right. Playing Dr. B, K.K. Moggie is at first reserved and then after the incident in the caves finds her voice.
As the saintly holy woman G, Lizan Mitchell brings a quiet compassion and wisdom that seems to be innate. Purva Bedi as the wealthy H is amusingly opinionated and upright in her beliefs. Yair Ben-Dor deftly and lightly indicates the prejudices of Q's fiancée R. As M, a Country X businessman working with corporations from Country Y, David Ryan Smith offers a different point of view to the attitude of nationalism, a more global approach. In five small but important roles from the head doctor to a gossipy servant to a mosquito, Howard W. Overshown demonstrates great versatility in making them very different from each other.
The lighting by Amith Chandrashaker is quite remarkable in making the unit set resemble many different places as well as using gradual dimness and a blackout for dramatic purpose. The sound design and original music by Mikaal Sulaiman adds greatly to the overall exotic atmosphere and cinematic quality of the production. While Christopher Chen's Passage is quite demanding of its audience it is also a very important play with a relevant message for this time. It may not be for the casual theatergoer, but the dedicated one will not want to miss this hypnotically mystical and political production by Saheem Ali.
Passage (extended through June 2, 2019)
Soho Rep, 46 Walker Street, in Manhattan
For tickets, call 866-811-4111 or visit http://www.sohorep.org
Running time: one hour and 40 minutes without an intermission
Amith Chandrashaker
Andrea Abello
Arnulfo Maldonado
Christopher Chen
David Ryan Smith
Howard W. Overshown
Julieta Cervantes
K.K. Moggie
Linda Powell
Lizan Mitchell
Mikaal Sulaiman
Purva Bedi
Saheem Ali
Soho Rep
Toni-Leslie James
Yair Ben-Dor
Women are extinct, men get pregnant and abortion is outlawed in this futuristic satire. The great André De Shields appears as a malevolent prosecutor.
Rasheeda Speaking
Two consummate performers, Tonya Pinkins and Dianne Wiest, make this a power play of office politics and racism to remember.
Winners and Losers
Two personable Canadian men debate issues, play Ping-Pong, wrestle, and vehemently clash in this intriguing but labored performance art piece.
An Ordinary Muslim
A first play from an author who impresses as much as he disappoints.
Othello (Shakespeare in the Park)
Ruben Santiago-Hudson's elegant production of Shakespeare's tragedy jettisons the concept that the Moor of Venice is an outsider with the use of colorblind casting.


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Luxury development in Capitol Riverfront slated for delivery late 2014
Luis Velarde | Friday, February 22, 2013
Rendering of WC Smith's new building in Capitol Riverfront
WC Smith
Economic Development, Housing, Real Estate
Developer WC Smith expects to deliver the first units of its 430,000 square-foot development in Washington's Capitol Riverfront neighborhood by the third quarter of 2014.
The company says Park Chelsea, a $150 million project that broke ground late 2012, will try to meet some of the demand for luxury apartments in the area.
"That's what is leasing right now in the Capitol Riverfront area," Carol Chatman, the developer's vice president of marketing and communications, says about the fast-changing neighborhood. "The building is going to be highly amenitized. There will be an indoor pool that is associated with the workout facility. Then there will be another pool on the roof along with grills and a dog walking area."
Preliminary designs show the site, located at 880 New Jersey Ave. SE, will house a 13-story, 432-unit building. The structure will have a green roof/garden, three levels of parking and more than 5,000 square feet of retail space.
Ever since Capitol Riverfront BID was created by the District's City Council, the neighborhood, a former industrial area, has been transforming into a business and housing hub. In 2012 for example, townhomes at Capitol Quarter, three blocks from Park Chelsea, were priced from $600,000 and up.
The Capitol Riverfront BID expects a total of 36,905,565 square feet of new construction in the area, a $9.5 billion investment approximately.
A previously published version of this story said that the Park Chelsea building would be condominiums. The development will be an apartment building. Elevation regrets the error.
Read more articles by Luis Velarde.
Luis Velarde writes about business, investments, real estate, and urban development. His work has appeared in the BBC World Service, Voice of America and others.
Park Chelsea
880 New Jersey Ave SE
Crowdfunding platform comes to DC to help residents make their neighborhoods better


text:
Q: Force a version control not to break hard links when merging/pulling from another repo? I have a project with some part of the code that are public and other that are not.
I have the complete project versioned in my entreprise in folder E, and a specific folder P where I put the public part.
I thought it was a good idea to put hard-links in folder P of the public files in the folder E.
So that, the usual workflow should be to work on the enterprise versioned folder E, and once in a while go to folder P to commit the public files. (note that if I work 'alone', it works great)
The problem is that when I do some merging/pulling/rebasing of the files in folder E, it replaces the files -> thus changing their inode -> thus the files hard-linked in folder P do not get updated!
So my question is:
is there a version control system which authorizes an option not to change inode of files when merging/pulling/rebasing?
I work with git (or git-svn), but I would agree to switch for this convenient option.
Thanks
Louis
PS: I've seen this question (Git and hard links), but here I would like to take advantages of hard links to work more efficiently.

A: My suggestion is to use symlinks; they don't depend upon the inode, and I know they can be versioned in Subversion (and I would expect git).  Versioning hardlinks would be very difficult, since it's plausible - albeit a very bad idea - that part of your working copy could cross filesystem boundaries.

redpajama_set_name: RedPajamaStackExchange


Originally from Nottingham, England (think Robin Hood!), Amber attended Sheffield Hallam University to study English Language and graduated in 2014 before taking up a Marketing Intern position in London as her first career move.
From then, Amber has specialised in marketing for recruitment agencies. As Marketing Manager at Prominence, she works with Australian recruitment companies to build and deliver their marketing strategies. Amber has a particular love for data analysis when it comes to social media and website data, especially when she sees positive leads as a result of her contributions.
Amber has a real passion for marketing and thoroughly enjoys not only continuing to learn about new tools and techniques but also building new relationships within the Australian recruitment industry.
You'll regularly find Amber sampling cuisine around Sydney, and exploring other parts of Australia at the weekends. She is also an avid attendee of her monthly book (wine and cheese) club with friends from all over the world.


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Study of a Lion at Rest
Théodore GERICAULT
Date 1820/21
Period 1750-1850, 19th century
Medium Pen, Brown ink, Pencil, Grey and red wash
Dimensions 9.9 x 11.7 cm (3⁷/₈ x 4⁵/₈ inches)
Gallery Stephen Ongpin Fine Art
Gericault seems to have been interested in lions from early in his career, as his student sketchbooks include copies after Rubens's paintings of lion hunts. He was also fascinated by the subject of a horse being attacked by a lion, a theme he would have known from prints after George Stubbs's paintings of lions and horses in combat which he knew and copied even before his stay in England in 1820-1821. As the Gericault scholar Lorenz Eitner has written of the artist, 'He shared his fascinated admiration for beasts of prey with other French artists of his generation, notably with Delacroix and Barye. The struggle between animals, or between men and animals, is a theme which runs through all his work. It clearly was something more to him than a picturesque spectacle; the untamed animal seems to have embodied for him the very force and fatality of nature.'
This small but powerful drawing of a lion by Gericault, almost certainly drawn from life, probably dates from the artist's stay in London in 1820 and 1821. Inspired by the works of Stubbs, Edwin Landseer and James Ward, Gericault made several drawings after wild animals in the London Zoo, with a particular emphasis on lions. Most of his surviving studies of lions seem to have been trimmed from larger sheets, and it has been suggested that many of them may have once been part of a sketchbook used by the artist during his English period.
Among stylistically comparable watercolour studies of lions by Gericault are a drawing of a Lion and Lioness in the Louvre and a Study of a Lion in the Musée des Beaux-Arts, Dijon. Seated lions, depicted in profile to the left, are also found in drawings executed in pen alone, such as a drawing in the Musée Bonnat-Helleu in Bayonne and a sheet of studies in the Ecole des Beaux-Arts in Paris, while a similar head of a lion in profile occurs in a black chalk drawing of the heads of two lions in the Musée Bonnat-Helleu. A small pencil sketch of the head of a seated lion facing left, in a private collection, is close to the present sheet in composition.
As Lorenz Eitner has noted, 'Géricault's life studies of lions, tigers and leopards are numerous and difficult to date. On grounds of style, the many rapid pencil sketches and the occasional, more elaborately worked up wash and watercolour drawings would seem to fit best into the English years, or the period immediately after…These splendidly realistic pencil sketches, finished with broad washes of watercolour, exemplify – as impressively as any of his human subjects of the time – his powers of physiognomic observation.'
The first owner of this drawing was the painter Louise Marie Becq de Fouquières (1824-1891), the youngest sister of the painter Alfred De Dreux, a disciple of Gericault. In 1847, following the death of her elder sister Elise the previous year, Louise married Elise's widowed husband, Aimé Napoléon Victor Becq de Fouquières. Louise Becq de Fouquières studied with the painter Isidore Pils and exhibited her work at the Salons between 1857 and 1884. Among her closest friends was Gericault's natural son, Georges-Hippolyte Gericault (1818-1882), with whom she maintained an extensive correspondence, and from whom she may have acquired this drawing. The present sheet was lent by her to an exhibition at the Ecole des Beaux-Arts in Paris in 1884, when it was one of four small drawings framed together. These drawings were eventually inherited by her grandson, André de Fouquières (1875-1959).
Date: 1820/21
Period: 1750-1850, 19th century
Medium: Pen, Brown ink, Pencil, Grey and red wash
Dimensions: 9.9 x 11.7 cm (3⁷/₈ x 4⁵/₈ inches)
Provenance: Possibly the artist's illegitimate son, Georges-Hippolyte Gericault, Paris
Louise Marie Becq de Fouquières, Paris
By descent to her grandson, André de Fouquières, Paris
Georges Renand, Paris
Thence by descent until 1988
Renand sale, Paris, Hôtel Drouot, 15 March 1988, lot 25
Literature: Germain Bazin, Théodore Géricault: Étude critique, documents et catalogue raisonné, Vol.VII; Regard social et politique: Le séjour anglais et les heures de souffrance, Paris, 1997, p.31 and p.144, no.2330.
Exhibitions: Paris, Ecole des Beaux-Arts, Dessins de l'ecole moderne, 1884, part of nos.318 or 320 (four drawings in one frame, lent by Mme. Becq de Fouquières); Paris, Hôtel Jean Charpentier, Exposition d'oeuvres de Géricault, 1924, part of no.211.
Categories: Paintings, Drawings & Prints
Stephen Ongpin Fine Art
Old Master, 19th Century and Modern Drawings, Watercolours and Oil Sketches
In Vintage Time
Samuel PALMER (Newington, 1805 - Redhill, 1881)
Aeropittura (Aeropainting)
Domenico (Mino) DELLE SITE (Lecce , 1914 - Rome, 1996)
Tulipa 'Estella Rijnveld'
Fiona STRICKLAND (1956)
Clove Pinks (Dianthus caryophyllus)
Jacques LE MOYNE DES MORGUES (Dieppe, c.1533 - London, 1588)
Portrait of the Artist's Brother, Francesco (Faik Bey) Della Sudda, Seated at a Piano
Emilio DELLA SUDDA (Constantinople)
A Standing Male Nude
Santi DI TITO (Borgo San Sepolcro, 1536 - Florence, 1603)


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text:
Sign the Resolution for a Federal Commission on Drug Policy
Contents | Feedback | Search | DRCNet Home Page | Join DRCNet
DRCNet Library | Schaffer Library | Historical Research
Seizure of Diplomatic Liquor Creates Incident
Time Magazine, April 1, 1929, pages 68 - 69
INTERNATIONALE:
Temporary seizure of diplomatic liquor enroute to the Siamese legation in Washington created an Incident. The State Department obtained a Treasury Department ruling that embassy liquor could be transported by private U.S. trucks and drivers, provided an accredited diplomat was actually aboard the vehicle. Then, the U.S. Coast Guard sank the British auxiliary schooner, I'm Alone and killed one of her crew. The British ambassador called at the State Department.
The Coast Guard Commandant called the I'm Alone a "notorious rum runner" and explained that the U.S. cutter Walcott had ordered the two-master to halt for inspection. Instead of stopping, the I'm Alone turned and fled. Cornered by other U.S. craft 24 hours later on the high seas, the I'm Alone was sent down by gunfire. One man was lost. The rest of the crew, in irons, were carried to New Orleans. The I'm Alone's skipper said his schooner was "anchored 14« to 15 miles offshore" and he did not heave to because he did not think the U.S. had jurisdiction. His ship, he figured, went down 225 miles offshore in a heavy sea under 120 U.S. shots.


text:
Q: Refill Epson Ecotank I recently bought a new Epson Ecotank printer (ET2820). It came with four ink bottles that have some mechanism that stops the flow of ink once the tank is full. I filled all four tanks as instructed, leaving me with a small remainder in each bottle.
I have since done some printing and I think that the tanks would now be able to fit the remaining ink, so I could get rid of the bottles. However, the refill instructions state that one should fill the tank to the top and then reset the ink monitor, but I doubt that I would reach 100% with the remaining ink.
So, does anyone have experience with this series of printer? Is it safe to simply fill some ink and then continue printing until the level reaches low? Or do I have to wait for the level to go low and then use that ink in the next full refill as mentioned in the setup instructions?

A: As long as you keep ink above 1/3 of each tank's volume, there should be no issue with printing or copying, and you may safely ignore any warnings due to the ink meter not being reset.
However, do not attempt Power Cleaning unless all tanks are at least 1/3 full: "Visually check all ink tanks are at least a third full. Low ink levels during Power Cleaning could damage the product." BTW, I find cleaning is needed more often for machines with infrequent usage.


The article presents information on developments related to rugby football. Rugby club Caboolture will make their long-awaited return to the Sunshine Coast-Gympie A-grade competition after treading a tough path in 2005. Caboolture, who finished a creditable runner-up at the pre-season Wide Bay Challenge minus their coach Glen Tomlinson, face a tough opening-round assignment against Maroochydore. After a four-year hiatus, the Gold Coast has reignited an under-19 competition to complement reserve and A grade. The town of Normanton, in North Queensland's Gulf Savannah region, is gearing up for their first-ever official QRL fixture.


text:
Q: Android Spinner click away from dropdown If user clicks on spinner, the dropdown menu with items will show up, and onItemSelected listener is activated if one of items was selected, however, how can I detect, if user clicks away from dropdown menu?
Thanks

A: I think you can use onNothingSelected method for that,
public class SpinnerActivity extends Activity implements OnItemSelectedListener {
    ...

    public void onNothingSelected(AdapterView<?> parent) {
        // Add your code here
    }
}

According to the doc
  onNothingSelected is a Callback method to be invoked when the selection disappears from this view.
The selection can disappear for instance when touch is activated or when the adapter becomes empty.

if your spinner disappear for other reason except selecting the item then onNothingSelected will be called. So as it's name tells it is needed to find out when nothing is selected.


This Papercraft Lightsaber Michael Jackson Reissued Papercraft By Dumdumbot has 1191 x 670 pixel resolution with jpeg format. was related topic with this Papercraft Lightsaber Michael Jackson Reissued Papercraft By Dumdumbot. You can download the Papercraft Lightsaber Michael Jackson Reissued Papercraft By Dumdumbot picture by right click your mouse and save from your browser.


text:
Moments of dialogue
In my years teaching at Loras I have been struck by how the College's Catholic identity sustains a culture that welcomes not only diverse persons but ideas as well. The Catholic intellectual tradition embraces both faith and reason, believing that the search for truth cannot fragment knowledge or ignore fundamental dimensions of existence. At some colleges or universities questions of faith, meaning, spirituality or morality can become marginalized, but the intellectual life of Loras embraces such questions as central. Ideas that may be overlooked elsewhere are welcomed here in an atmosphere of open, civil and challenging dialogue." Dave Cochran, Ph.D., Professor of Politics.
The "canopy" of Catholicism extending over Loras campus culture engenders dialogue. Members of the campus community explore and celebrate distinct expressions of human identity and striving, and affirm what persons hold in common. Cardinal Walter Kasper observes, "Dialogue is not only an academic and intellectual exercise," but seeks "common ideals and values, for freedom and justice, for peace and reconciliation, for family values, preservation of creation, and above all for the sanctity of life." Dialogue, ultimately, is a means to friendship.
In order to foster dialogues that will promote understanding, cooperation, and respect, the College sponsors Catholic Identity Hospitality Dinners drawing together scores of students, staff, and faculty in an ambiance of food, discussion and reflection. Topics range from ecumenical perspectives on "Who is God?" to conscience and political participation, the business of sport and the portrayal of women, the sexual abuse crisis and response in the Church, literary depictions of the human body's sacramentality, Data Poverty, and a panel discussion on Pope Francis' papacy.
Building on relationships formed in the weekly Qur'an conversation group at Loras, the "Children of Abraham" monthly series gathers local Islamic, Jewish, and Christians for monthly interfaith dialogue on themes such as peace, race and discrimination, inspiration, creation, human sexuality, and civil disobedience.
The Fr. Ray Herman Center for Peace and Justice at Loras College generates programs devoted to dialogue around social justice issues including immigration and refugees, nonviolent resistance, Fair Trade concerns, poverty, the environment and sustainability. Fr. Herman was a Dubuque priest whose life was taken in 1975 while tending to the poor and vulnerable of Bolivia. It is in his name that the center continues.
Students have opportunities to grow in faith and prayer in a variety of small group residential settings.
Staff-Faculty "Mini-Retreats" integrating meditation and prayer are sponsored quarterly by the Spiritual Life Division. Loras employees and invited guests present reflections on work as vocation, selflessness and centeredness in Eastern spiritual traditions, how to disconnect from overly electronically-connected lives and adapt to change, going "all in" for Lent, and Celtic spirituality.
The Archbishop Kucera Center for Catholic Studies sponsors faculty-staff reading and discussion groups each semester, engaging themes such as the Catholic imagination, Catholic Social Teaching, the collected writings of Dorothy Day, Augustine's Confessions, and the aesthetic dimensions of Catholic thought and practice.
"Peter proceeded to speak and said, 'In truth, I see that God shows no partiality. Rather, in every nation whoever fears him and acts uprightly is acceptable to him'." Acts 10:34-35