text:
Q: Compile a c project to the smallest size I am writing an algorithm using opencv library on an embedded processor (NIOS 2) , in order to port the library to be compiled on nios :
1 - I removed highgui and all functions that deals with IO operations .
2 - I took the remaining files (which are many) and added them to a new eclipse project along with my main.cpp.
3 - I can compile the code and run it fine but the main problem is that the output file which will be downloaded to the embedded processor (.elf file) is too large ~20 MBs with no optimization and ~6 MBs with optimization level 3.
Are there any tips to compile only the needed files in this large project and skip other files that I don't call in my code ?

A: The linker already strips out things that simply can't be called, assuming you are building a normal executable binary with a main().
If you know certain files aren't used at all, then remove them from the project. Any errors that result should tell you how they actually could be called, and you need to remove the code paths that could lead there.
You might use -Os to optimize for size rather than -O3, but I don't know how much difference there is on the NIOS platform, where (unless things have changed radically) optimization for size is always essential.


U.S. shoppers plan to make more purchases from brick-and-mortar locations, but retailers need to improve the in-store experience and be consistent across channels, according to a recent study by Accenture. Nearly 28 percent of the respondents say they plan on increasing their in-store purchasing – up from 21 percent in 2014 – but want stores to offer the same convenience of online shopping.
And about 67 percent of respondents say they are looking to take advantage of seamless services, like "click and collect" offerings where customers buy an item online and pick it up in-store, and expect the same pricing across purchase channels. However, only 32 percent of retailers consistently offer identical cross-channel pricing, according to the survey.
The report's findings point to the fact that retailers must improve their in-store strategies to meet consumer demands.
"The fact that many consumers use their mobile devices to check inventory availability while on their way to a store and are looking for real-time promotions to be sent to their phones means retailers have an opportunity to capitalize on the power of these devices," said Dave Richards, global managing director of Accenture's Retail practice in a press release.
It has never been more important for retailers to utilize analytics to ensure the best customer experience, customer service, traffic flow and sales opportunities are being realized.
Solutions like queue management and people counting systems from Irisys, the world leader in people counting and grocery queue management, are among the best solutions available to retailers. And with more than 300,000 devices installed worldwide, retailers can count on Irisys to deliver the high-priority, real-time data that is essential to creating the ultimate customer experience through store layouts, staff optimization and more.


If you want to convert YouTube videos into MP3 audio files, you actually do not have to download it first before converting. With the help of online YouTube to MP3 converters, you can conveniently convert and download YouTube videos to MP3 formats! Just remember to find a reliable online converter, for you to have quality MP3 outputs.
Why Should You Use Online YouTube to MP3 Converters to Download YouTube Videos to MP3?
For starters, you do not have to download any apps that could let you download YouTube videos for conversion. That could certainly help you save more storage space that you can use for your MP3 files later on.
Because online YouTube converters are tools imbedded on its hosting site, you do not necessarily have to download the YouTube video first before converting it into MP3. You just have to grab its URL and paste it in a provided space in the online converter. After which, you can easily download the file in a high quality MP3 format.
Online YouTube converters are easy to use, and do not charge for anything. You just have to follow a clear set of step by step instructions to successfully convert a YouTube video into MP3. Moreover, make sure you have a stable internet connection to void interruptions through the process. Finally, you do not have to pay for any fees as well, unless you want to put in some donations for the site's operations.
Look for a reliable online YouTube to MP3 Converter now, for you to easily convert and download YouTube videos to MP3! Just find music videos that you like, and convert it right away for you to save it up conveniently.


text:
Q: Performance Issue with Webpack I'm trying to switch sass building to Webpack in order to remove gulp (and maintain less tools).
The JS build in webpack is fast, and I have no problem about it.
My gulp scss build is really fast too, and take less than a second.
gulp.task('css', function(){
    return gulp.src('styles/main.scss')
        .pipe(sass({ outputStyle: "compressed" }).on('error', sass.logError))
        .pipe(autoprefixer({
            browsers: ['> 0%'],
            cascade: false
        }))
        .pipe(gulp.dest('public/css'));
});

However, I try to reimplement the same in Webpack and I takes 10 secondes, the first build but also the watch process !
Here is the webpack code:
{
  entry: {
    app: path.resolve(__dirname, 'styles/main.scss'),
    // vendor: ['vendor'],
  },
  output: {
    path: path.resolve(__dirname,'./public/css'),
    filename: 'main.css'
  },
  devtool: "inline-eval-cheap-source-map",
  module: {
    loaders: [
      {
        test: /\.css$/,
        loaders: ['postcss-loader', 'resolve-url-loader']
      },
      {
        test: /\.scss$/,
        loaders: ['css-loader', 'postcss-loader', 'resolve-url', 'sass-loader?sourceMap']
      },
      {
        test: /\.(ttf|eot|svg|png|jpg|woff2|woff|jpeg|gif)(\?v=[0-9]\.[0-9]\.[0-9])?$/,
        loader: 'ignore-loader' // old: 'file-loader'
      }
    ],
  },
  postcss: [ autoprefixer({
    browsers: ['> 0%'], // ['last 2 versions'],
    cascade: false
  })
}];

Why does the process is 10x slower? What can I do to speed it up? Thanks!

A: The loaders will apply to all modules you imported inside your app, some of them might be npm packages from your node_modules folder.
Try to exclude these packages with the exclude property, like:
module.exports = {
  // ...
  {
    test: /\.css$/,
    loaders: ['postcss-loader', 'resolve-url-loader'],
    exclude: /node_modules/
  },
  {
    test: /\.scss$/,
    loaders: ['css-loader', 'postcss-loader', 'resolve-url', 'sass-loader?sourceMap'],
    exclude: /node_modules/
  },
  {
    test: /\.(ttf|eot|svg|png|jpg|woff2|woff|jpeg|gif)(\?v=[0-9]\.[0-9]\.[0-9])?$/,
    loader: 'ignore-loader', // old: 'file-loader'
    exclude: /node_modules/
  }
  // ...
}

Alternatively, you can use include to only apply these loaders to files within your styles folder.

A: I solved my problem by removing sass-loader and resolve-url-loader and using fast-sass-loader.
My re-build time went from 4-6sec to ~700ms.

redpajama_set_name: RedPajamaStackExchange


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text:
Engineers: The Game is a real-time strategy game where the objective is to destroy your opponent before they can destroy you. In order to achieve this you must command a corps of Engineers who can mine resources and build military structures such as bases, factories and turrets. Command these Engineers well and victory will be yours!
The Engineer is the workforce unit of the game. They are not capable of attacking enemies but they are capable of mining resources, scouting and building structures.
The Glider is the only unit capable of attacking enemies. Gliders are capable of flying over any terrain and attacking any unit. They are a deadly foe to face.
The Factory is an essential component of any strategy. Factories are capable of producing Gliders for the battlefield.
The base is the main hub of the Engineer corps. Bases are where Engineers can be manufactured and bases are where Engineers drop off resources from the mines.
Auto-Turret
The auto-turret is a structure that is capable of automatically attacking any enemy that comes within range without any instruction. I would not want to be the glider that comes within range of one of these...
Mines can be found scattered around the map. They all contain a source of minerals that can be collected by Engineers and brought back to base.
...Select A Unit
To select a unit, simply click on it. A selected unit will have a white box around it.
...Move A Unit
After selecting a unit, simply click on an empty area of the map and the unit will travel there.
...Attack!
After selecting one of your own attacking units, simply click on an enemy unit or building and the selected unit will begin it's attack!
...Mine Resources
To mine resources, simply select an Engineer unit and click on a mine.
...Construct Buildings
In order to construct a building, simply select an Engineer and click on the building you would like to build. Remember, buildings cost resource points!
...Build Units
With a building selected, simply click on which unit you would like to build. Remember, units cost resource points!
...Navigate the Map
Use the directional arrows to move around the map. Use the + and - symbols to zoom in and out.
Engineers: The Game was developed by Paul Bryden
Libraries Used:
Phaser - developed by Richard Davy
Typestate - developed by Erik Onarheim
EasyStarJS - developed by Bryce Neal
Typescript - developed by Microsoft
Bootstrap - developed by Twitter

redpajama_set_name: RedPajamaCommonCrawl


Build relationships through athletic events.
Host a tournament in which youth participate in small teams or as individuals. Games could include things such as soccer, basketball, volleyball, table tennis, dodgeball, or another sport. Each ward could come to the tournament as a team, or the youth could be split into teams on the day of the event. Consider inviting members of the community to form a team and participate in the tournament. Using trained officials in your sporting events will help ensure a good experience for all involved.


text:
package com.webtrends.harness.component.zookeeper

import com.webtrends.harness.component.zookeeper.config.ZookeeperSettings
import com.webtrends.harness.logging.LoggingAdapter
import org.apache.curator.framework.imps.CuratorFrameworkState
import org.apache.curator.framework.state.ConnectionStateListener
import org.apache.curator.framework.{CuratorFramework, CuratorFrameworkFactory}
import org.apache.curator.retry.RetryNTimes
import org.apache.curator.x.discovery.details.JsonInstanceSerializer
import org.apache.curator.x.discovery.{ServiceDiscovery, ServiceDiscoveryBuilder, ServiceInstance, ServiceProvider}

import scala.collection.JavaConversions._
import scala.collection.mutable
import scala.util.Try

private[zookeeper] class Curator(settings: ZookeeperSettings) extends LoggingAdapter {

  private[zookeeper] case class DiscoveryKey(basePath: String, key:String)
  private[zookeeper] case class ProviderKey(basePath:String, key:String)

  // We manage an internal client since the CuratorFramework will not allow re-use of the client
  // after it has been closed
  private var internalClient: Option[CuratorFramework] = None
  def client = internalClient.get

  // list of all discovery services by basepath
  private val discoveries = mutable.Map[DiscoveryKey, ServiceDiscovery[WookieeServiceDetails]]()
  // we manage an internal list of all discoverable provider
  private val providers = mutable.Map[ProviderKey, ServiceProvider[WookieeServiceDetails]]()

  private[zookeeper] def createClient: CuratorFramework = {
    if (internalClient.isEmpty) {
    internalClient = Some(CuratorFrameworkFactory.newClient(
      settings.quorum,
      settings.sessionTimeout.intValue,
      settings.connectionTimeout.intValue, new RetryNTimes(
        settings.retryCount,
        settings.retrySleep.intValue)))
    }

    internalClient.get
  }

  private[zookeeper] def start(listener: Option[ConnectionStateListener] = None): Unit = internalClient.synchronized {
    if (internalClient.isEmpty) {
      createClient
    }

    if (client.getState == CuratorFrameworkState.LATENT) {
      log.info("Starting curator with quorum " + settings.quorum)
      if (listener.isDefined) {
        client.getConnectionStateListenable.addListener(listener.get)
      }

      client.start
      client.getZookeeperClient.blockUntilConnectedOrTimedOut
    }
  }

  private[zookeeper] def stop: Unit = internalClient.synchronized {
    log.debug("Stopping curator")
    internalClient match {
      case Some(c) if c.getState == CuratorFrameworkState.STARTED =>
        c.close()
        internalClient = None
      case _ =>
    }
    discoveries.foreach(x => Try(x._2.close()))
  }

  def discovery(basePath:String, service: Option[ServiceInstance[WookieeServiceDetails]] = None): ServiceDiscovery[WookieeServiceDetails] = {
    internalClient.synchronized {
      val key = DiscoveryKey(basePath, service match {
        case Some(s) => s.getName
        case _ => ""
      })
      if (discoveries.contains(key)) {
        discoveries(key)
      } else {
        val discovery = ServiceDiscoveryBuilder.builder(classOf[WookieeServiceDetails])
          .client(client)
          .serializer(new JsonInstanceSerializer[WookieeServiceDetails](classOf[WookieeServiceDetails]))
          .basePath(basePath)
          .build()
        service.foreach(it => discovery.registerService(it))
        discovery.start()
        discoveries.put(key, discovery)
        discovery
      }
    }
  }

  def discovery(basePath: String, key: String): Option[ServiceDiscovery[WookieeServiceDetails]] = {
    discoveries.get(DiscoveryKey(basePath, key))
  }

  def createServiceProvider(basePath:String, name:String) : ServiceProvider[WookieeServiceDetails] = {
    internalClient.synchronized {
      val key = ProviderKey(basePath, name)
      if (providers.contains(key)) {
        providers(key)
      } else {
        val provider = discovery(basePath)
          .serviceProviderBuilder()
          .serviceName(name)
          .providerStrategy(new WookieeWeightedStrategy())
          .build()
        provider.start()
        providers.put(key, provider)
        provider
      }
    }
  }

  def getServiceProviderDetails(name:Option[String]=None) : Map[ProviderKey, Iterable[ServiceInstance[WookieeServiceDetails]]] = {
    internalClient.synchronized {
      val filteredMap = name match {
        case Some(n) => providers.filter(k => k._1.equals(n))
        case None => providers
      }
      filteredMap.map {
        k => k._1 -> collectionAsScalaIterable(k._2.getAllInstances)
      }.toMap
    }
  }

  def registerService(basePath:String, instance:ServiceInstance[WookieeServiceDetails]): Unit = {
    internalClient.synchronized {
      // create a provider for the service if one has not already been created for it
      val key = ProviderKey(basePath, instance.getName)
      if (!providers.contains(key)) {
        val provider = discovery(basePath, Some(instance))
          .serviceProviderBuilder()
          .providerStrategy(new WookieeWeightedStrategy())
          .serviceName(instance.getName)
          .build()
        provider.start()
        providers.put(key, provider)
      }
    }
  }
}

/**
 * This allows access to a single instance of the curator client per quorum when an application
 * needs direct access. It is still preferred for one to use the ZookeeperAdapter
 * and ZookeeperEventAdapter traits.
 */
object Curator {

  private val curators = mutable.Map.empty[String, Curator]

  /**
   * Return the instance of the Curator client object. This is usually used after the harness has
   * called the apply method that takes the required settings.
    *
    * @return the singleton instance of the Curator
   */
  def apply(settings: ZookeeperSettings): Curator = {
    curators.synchronized {
      curators.getOrElseUpdate(settings.quorum, new Curator(settings))
    }
  }

}

redpajama_set_name: RedPajamaGithub


text:
Neskuchny Garden
Vorobyovy Gory
Muzeon
Tickets to "Voskhod" Ice rink
Media point at "Voskhod" ice rink
News from mos.ru
Gorky Park brings the famous tradition back to life
Children's Ice Rink
Modern multimedia installations to learn about the history of the Park
The place for people, art and ideas to create history.
Сurrently the largest pedagogical initiative in a Russian cultural institution.
Object of Cultural Heritage of social realism epoch
The church with an over a half of a century history.
The oldest construction of Neskuchny Garden and the only building from the ensemble of Trubetskoy that has made it to the present.
The rotunda was built in 1951 in honour of the city's jubilee.
Komondor Power sculpture by Gábor Miklós Szőke
In 1827 young men Alexander Herzen and Nikolay Ogarev, inspired by the events of the Decembrist Revolt, swore an oath while walking up the hills of Vorob'evy Gory to fight until the end of their lives for the well-being of the people.
The Green Theatre was opened in the park in the mid-1930s.
New Year's party on the "Voskhod" ice rink
Stereo Ice Rink Opening
Creating Stereo Ice Rink
Silent Disco on the Observation deck of Gorky Park Museum
the 25th Birthday of the Muzeon
Roxy Yoga on the Observation deck of Gorky Park Museum
Address: Moscow Krymsky Val, 9
Wotking hours: 24/7Phone: +7 (495) 995-00-20E-mail: official@park-gorkogo.comE-mail: parkgorkogo@culture.mos.ru
Park areas
Press-office
Muzeon Park
© 2015 Gorky Park. Made by Charmer.


Heavenly Father called home one of his special spirits on Dec. 14, 2018, surrounded by his family in his home. Ron was 5 days short of his 91st birthday, and died of natural causes. He was born Dec. 19, 1927 to Max A. Pace and Sylvia Mae Thornton, in Parowan Utah.
He graduated from Las Vegas Nevada High School in 1946 and immediately enrolled in the Navy at the conclusion of WWII. He was assigned to Aircraft Development Squadron "Two," stationed at Norfolk Virginia. He was one of the first Unmanned Aerial Vehicle (UAV) operators in the U.S. Military. At the conclusion of his Navy service he started his undergraduate studies at BYU and UNR. He was then called to serve a mission for The Church of Jesus Christ of Latter-day Saints to the Johannesburg South Africa Mission. After his 2 ½ year mission he returned to Las Vegas, where he met his "Sweet-Heart," Sandra Dee Stewart. They were married on Nov. 24, 1953 in the St. George LDS Temple. He finished his Master's degree in Animal Science at BYU, and then asked to manage the Las Vegas LDS Church dairy and welfare farm. He was then recruited by the BYU animal science department and held numerous positions until his retirement in 1997. His positions and accomplishments were: student dairy manager, President of the Stockman's club, BYU livestock judging team; BYU Rodeo coach−and achieved national attention when they won the National College Rodeo Championship, became the National College Rodeo President; developed the BYU Equitation program with the assistance of his wife, Sandra; and became renowned as a premiere horse specialist for the school and community. In 2010, he received the prestigious American Quarter Horse Association (AQHA) 50-year Legacy Breeder award at Amarillo, Texas.
Ron was a faithful member of The Church and served in numerous callings, including Bishop for 7 ½ years. He wants everyone to know how much he loves his and our Savior, Jesus Christ. His love for Christ is only equaled by his love for Sandra.
Ron is survived by his only brother, Kyle T Pace; his wife of 65 years, Sandra Dee Stewart; 7 of their 8 children, Layne (Teresa Robinson), Susan passed away in 1999 in a tragic accident (Mike Scott), LaMont (Karolann Filmore), JoDee (David Steel), Greg (SueAnne Jolley), Weston (Marla Wiscome), Rande (Janice Ault), and Jeena (Wade Woolstenhulme). His posterity includes 33 grandchildren, 79 great-grandchildren, and 1 great-great-granddaughter. He was preceded in death by his daughter, Susan, and granddaughter, Michele Tucker.
The family would like to thank the excellent care given to Ron by the Envision Home Health & Hospice. In lieu of flowers, please make a donation to the LDS Humanitarian Aid.
Funeral services will be held at 11:00 a.m., Wednesday, December 19, 2018 at the Lakeside 2nd Ward Chapel, 2530 West 200 South, Provo, Utah, Friends may visit with the family at the Berg Mortuary of Provo, 185 East Center Street, Tuesday, December 18 from 6-8:00 p.m. and at the church Wednesday from 9-10:40 a.m. prior to services. Interment, Benjamin Cemetery, Benjamin, Utah.
Condolences may be expressed at www.bergmortuary.com.


text:
Mohawks of the Bay of Quinte Receive Funding to Improve Drinking Water Quality
Simran Chattha
The Government of Canada is working with the Mohawks of the Bay of Quinte to improve access to safe, clean drinking water in the community.
The First Nation, Infrastructure Canada, and Indigenous Services Canada (ISC) worked together to expand water service to the eastern Ontario community. Ongoing improvements to the community's water and wastewater infrastructure include:
Connecting 146 homes directly to the community's main water treatment system. This project is part of a phased approach that will improve access to safe drinking water and contribute to the lifting of five long-term drinking water advisories in the community. ISC is investing $14.5 million towards the project, which is expected to be complete by summer 2020.
Adding nearly 23 kilometres of water distribution pipes to reach the majority of the community's 750 homes and businesses. Once complete, this expansion will improve access to safe drinking water and reduce the effects of drought on the community. Infrastructure Canada is investing more than $30 million in this project through the Disaster Mitigation and Adaptation Fund (DMAF).
"The Mohawks of the Bay of Quinte is pleased Indigenous Services Canada has provided $14.5 million to construct eight kilometres of watermains and an elevated storage reservoir extending water services along York Road to the village of Shannonville," said R. Donald Maracle, Chief of the Mohawks Bay of Quinte. "This portion of the reserve will be serviced from the Mohawks of the Bay of Quinte water treatment plant that was constructed in 2015 with financial assistance of $26.7 million from Indigenous Services Canada."
"The additional funding from the Disaster Mitigation and Adaptation Fund (DMAF) commits $30 million in federal funding to construct water main infrastructure on un-serviced roads to homes that have experienced dry wells during drought conditions," added Chief Maracle. "The construction of these watermains will ensure that our members have a reliable supply of safe drinking water, a longstanding and important goal of the Mohawks of the Bay of Quinte. We very much appreciate the financial contributions of Infrastructure Canada and Indigenous Services Canada to enable the community to achieve this important goal."
See also Clearford Water Systems Announces Agreement to Acquire ASI Water
Mohawks of the Bay of Quinte
Previous articleCanada and Ontario Help Farmers Improve Water Quality
Next articlePredictive Model Forecasts Rainfall to Support Irrigation Decisions
Government of Canada investing $13 million in infrastructure funding for Radium Hot Springs
Canada invests in storm surge protection for Port Stanley, Ontario
New Study Presents Tasting Notes for Recycled Wastewater
2021 National First Nations Water Leadership Award recipient announced
ENPAR Awarded Ammonia Treatment Contract


text:
Chance Devlin
The Big Band
Posted on November 9, 2011 December 8, 2011 by ChanceD
Planning Music for a Wedding: Timing, Flow and Magic
I have the best job in the world. Saturday night we were fortunate enough to be a part of a grand wedding celebration at the Banff Springs Hotel. Every detail came together to make the day special. The people, the venue, the flowers, the music and of course the dress. I wish I had a photo. You know how some women you don't think they could possibly look any more beautiful? Well on her wedding day, of course she did.
They hired the full band 12 piece band. Yours truly Chance Devlin singing and directing out front on the piano. With latin percussion, drums, bass, guitar, and four more vocalists: Al, Jess, Shannon and Amanda, and a 3-piece horn section: trumpet, tenor sax and trombone. We came out in our signature white tuxedoes, and a bandstand featuring silk horn wraparounds instead of plain music stands. Final touches included accent lights to colour the band's look, and my grand piano shell front and centre. Nice touch, right? The band is seen and heard. So we take care with our visual presentation as well as the music.
And I got to thinking about the role of music at a wedding. From my point of view as a performer and musical director there's many elements that come into play. All the preparations that go into it. Booking the players and rehearsals, learning special music, writing arrangements, and maybe most of all creating a thoughtfully prepared set list.
A good set list really carries the night. A good set list takes everything into consideration and really sums up, encapsulates, symbolizes and embodies all the reasons this celebration is taking place. Playing the right song at the right time spells out exactly what we're celebrating, and why it's important.
It's funny how much of successful event planning comes down to timing. Because despite all best plans, when you're on the stage and it's time to perform, all your planning gets put aside – and you just roll with it. There's a flow that takes over. On the show it's all about feeling, connection, execution, timing and a magical flow of energy. Today what's on my mind is timing. What makes good timing? What is timing? I just googled "what is timing", and didn't get a definition I liked. The best one I found was: "The choice, judgment, or control of when something should be done: "one of the secrets of golf is good timing"."
To me the first thing to be clear on is the values and priorities of the event. You will always need to change the schedule on the fly to make the best of the time you have. Make those choices in line with what's most important. This bride and groom hired me primarily to give them an unforgettable dance party. They wanted everyone to dance the entire time. No pressure. But they wanted our A-game, the biggest dance music, with no filler.
First off, you can really never prepare too much. Plan for the best and plan for the worst. Expect and embrace chaos. And really, the more you plan and prepare, the less that can go wrong. I went back and forth with vocalist Shannon Paige coming up with a set list that we were confident with. The last six months she has been a great sounding board for music planning. Like a hard-edged quality control supervisor, if a tune is out of fashion, it gets cut.
And there's also something to be said about managing energy too. The evening needs to start by breaking the ice, then building excitement, and keeping the momentum going. Moving and changing. This is a little like surfing a wave. Respecting the flow. Sometimes it will ebb and rise, that's okay too. You simply can't be riding high all night long, it's not possible. Oddly the song "Unforgettable" packs the dance floor more than several upbeat songs we do.
And I have more sombre examples of high and low tides in the energy at a party. More than once I was playing a party where someone got taken to hospital for serious health concerns. Just a few weeks ago I was playing a party where only 20 feet in front of the apartment, someone got shot and died. For real. Talk about your party killer. Literally.
It was a birthday party for two women at a small apartment, oddly in a high-end building, with several buildings built around a courtyard. The shooting took place at the exit to the courtyard, where everyone could see. When I heard the shot, I was playing piano at the time. Knowing the sky was not inclement or overcast in any way, I instantly ruled out thunder. Funny, I assumed right away it was a gun shot, but wasn't stressed and didn't even feel the need to get up and find out what happened. After all we were in the middle of a song. What the heck does that say about me.. Am I cold? I think partly I didn't believe someone could have been shot. But partly I just wanted to keep the party going. Others would hear the noise and run over. By stopping the performance, it might have increased the panic in the room. And by continuing the music, I stood a better chance of lowering the fear and stress. Like the musicians playing while the Titanic sank, the show must go on.
Guests from the party hurried over to find the man collapsed on the pavement and bleeding. They brought him a blanket and stayed with him until the ambulance came. One of them was a doctor. Timing hey.
The police had the entire residence and all buildings on lockdown for a couple hours afterwards, so we all had to stay put. And I have to tell you. The celebration took a turn, but it didn't end. Remarkably, a man died, but the party didn't. One brazen woman gathered us all together in the living room and quieted us down. She proceeded to tell the story of what she witnessed, complete with colourful language and animated gestures. She had comforted the dying man in his last moments, and brought her entire heart to the experience.
I'll never forget, as she stood in front of the fireplace and told us about it, she backed up right into the tea lights over the mantle and we heard the fire singe her long dark hair. She took a moment to put out her burning hair, and then just kept on addressing us, unflapped and unfazed. I was impressed. This woman probably had what it took to be a wedding planner for the biggest celebrity diva bridezilla on planet earth.
But most impressive was how she really "cleared" the space. Dealt with our thoughts and feelings. She addressed what had happened just outside our window, and then tied it back to why we were all there. We toasted the two birthday girls we were all here to celebrate, appreciated the value of life, and the importance of living our dreams while we still have life.
Somehow her life affirming diatribe turned to her Burning Man concept. She wanted us all to go down to Burning Man as a Calgary contingent with her team who had designed a 'flying carpet' art car we could all take turns riding around on in the desert heat. This chick was radical and empowered.
But what I'll never forget about that night was how the party didn't actually die. Instead it just changed. We talked it out. We connected and shared in a more genuine way. And it was beautiful.
A party is all about that. Feeling. Connecting. Sharing. Feeling Alive. And to my mind, the most successful celebration is one where you also walk away transformed. New. A meaningful celebration should be a marker in your life. And I have to say that I was profoundly moved that night.
In the case of the wedding we played Saturday night, timing was a linch pin that held everything together, and at times the thing that was the thorn in our side. Time marches on. Time truly waits for no man, and no bride.
The bride and groom had the night meticulously planned out. Minute for minute, item by item. But as in the vast majority of weddings we play, things fell behind. I believe it's possible to create a realistic, acheivable schedule for the night. But it tends to be the exception and not the norm. Build in time for chaos. You know, expect the unexpected. And have good communication between all parties on the day. Because stuff comes up.
I'd like to look at the night closely. First off let's be clear: Every wedding is a smashing success in the end. I've really never been to bad one, and this was no exception. When a room full of people come together with the intention to celebrate, how can anything but good come of it?
A note here about some of the time constraints built into this event. From what was explained to me, a jewish wedding cannot happen on Shabbat, which is from Friday evening until "a few minutes after the appearance of three stars in the sky on Saturday night." (Wikipedia) So most Jewish weddings happen on Sunday, allowing for use of the afternoon for a ceremony.
But in this case Saturday night was more convenient, since the wedding was in Banff. Traveling guests could sleep in Sunday, and spend more time together. The trick was, to respect Jewish traditions, the ceremony could not begin until after sunset on Saturday. Careful timing was key. The ceremony could start no sooner than seven by Jewish custom, and the hotel rules required the dance to finish by midnight.
Cocktails were planned for six pm in the Solarium. My four piece group was fun and lively (piano, sax, bongos and drums). We played a healthy mix of jazz, swing, pop and upbeat latin music. Burnis on the bongos with his big grin is the energizer bunny of latin percussion. We included the old standard "All of Me", but as a reggae. Playing with people's expectations is one of the things we're known for. If you want boring, bring an iPod and just press play.
A little boy of maybe four years old was mesmerized by our show. He wanted to stand close to the action. So I invited him to fool around on the piano with me. I love doing anything that brings the audience right in to what we're doing. How could I pass up an opportunity like that? I cued the band to stop playing every four bars, and give him little solo breaks. And man oh man, that kid just lit up like a Christmas tree. He was attacking the high notes on the piano like a wild thing. Of course I was there to keep a lid on things. But nothing went wrong. The parents told me their boy probably wouldn't stop talking about it for days.
The ceremony was in the Cascade ballroom, a lovely old world ballroom with ornate decorations and a blue sky painted on the ceiling. The ceremony took place under a canopy in the centre of the room, with chairs encircling the shrine. I played the processional music on the nine foot grand piano just outside the circle. After moving guests into the room and seating them it was closer to 7:20 before people were seated and the wedding procession could begin.
Now the reception was in another oval ballroom, the Alhambra. Maybe 300 feet away it took some time before all were in and accounted for. Always plan enough time to move people. This delay was fairly reasonable, maybe 20 minutes. But the cumulative delay by the end of the night would mean we would need to cut over one of the band's dance sets. Still, they got nearly 90 minutes of great dance music.
So the first item on the agenda for the reception was the Hora. The Hora is the dance, and Hava Nagila is the song. Depending who you talk to, this is probably the most fun part of any Jewish wedding. And THIS Hora was the best one ever.
We started very slowly, and I remember Doug on the trumpet playing the melody with an old-time warble to his tone. Sounded so retro.. as if we should have had an accordion player and a monkey joining us. In my mind I saw old country cobblestone streets, flickering gas lanterns and heard the click of horse hooves pulling rickety milk carts to market well before dawn.
The crowd held hands and spun in a circle, clamouring for us to pick it up. Hava Nagila got faster at the B section, and then faster again every time we hit that section. After two or three times through the full song form, the bride and groom were each put in a chair and hoisted up above the dancers, bounced around and celebrated with cheers and claps. Why doesn't everybody do this at their weddings? I love it!
We played the form maybe twice more with the chairs in the air. You don't want that song to go on for too long, but it has to be long enough. The Hora length is always an agenda item in planning for Jewish weddings. Too short and the crowd is disappointed. Too long and they will get annoyed. Here's how this one went, and how I chose the moment to end.
First a little background on the piece. Hava Nagila is an AA1B song form. Let me show you what I mean:
A: Hava nagila, Hava nagila, Hava nagila, Ve' nismecha.
Hava nagila, Hava nagila, Hava nagila, Ve' nismecha.
A1: Hava neranena, Hava neranena, Hava neranena, Ve' nismecha.
Hava neranena, Hava neranena, Hava neranena, Ve' nismecha.
B: Uru, uru achim,
Uru achim belev sameach, Uru achim belev sameach,
Uru achim belev sameach, Uru achim, Uru achim, Belev sameach.
We probably played AA1B about five or six times. I kept a careful eye on the dancers holding hands and spinning, and then watched the chairs get lifted in the air. When the bride and groom were let down from their chairs, we were somewhere in the middle of the B section. There seemed to be a pause in the dancing, a break in the flow. And I wanted to let the music go on for about another 30 seconds to feel right, but that would have meant we'd have to play the full form again, and that would have been too much. So in this case 'good timing' meant a compromise. We ended the song there, almost as soon as they came down from their chairs.
And I looked out on the dance floor to get a sense whether the audience consented to this timing, and I felt they did. Too short, and they would all look up at the stage in confusion. Too long and people would have filtered off the dance floor, the song ending with a whimper. Instead it finished with a bang, and we went on to the next song. Phew.
We went straight into a medium-tempo swing number, Bobby Darin's "Beyond the Sea", and then a Michael Buble swing number from his new record, "All I do is dream of you". Since their energy wasn't spent overplaying the Hora, the audience immediately partnered up and kept right on dancing. Double Phew. Perhaps part of timing is also managing energy flow. Maintaining momentum once it's started. Space between songs has to be kept to a minimum. This is another reason I like having a well thought out set list.
After the Hora and a couple social dances, it was time to seat everyone. I knew how tight the timelines were tonight, so I asked everyone to take a seat. But this was the wrong thing to do. What I DIDN'T know is that there was a dress emergency, and the bride had to go and pin up her dress before the prayer and toasts could begin. There was some silence and confusion for a few minutes. I was clueless as to what had happened. Good communication with the band here would have been helpful. Understandably the wedding planner was tied up, so we just kind of 'noodled' something soft in the key of G until the situation was resolved.
Prayers and toasts and dinner service each took longer than intended, and the band's start time was delayed from 10:20 to nearly 11:00 pm, allowing only an hour for dancing to the band before the hotel would have to shut us down.
For this wedding the decision was made to alternate toasts and music, and to keep the band onstage for the entire dinner, with one offstage break before the dance. Toasts were planned at 5 minutes each, with each one followed by ten minutes of music. I had told the bride and groom in advance that if speeches were much longer than 5 minutes each we would take an offstage break. We did end up taking one when two toasts became ten minutes each, and happened back to back, by mistake. With twelve players onstage waiting, I decided to let them get offstage to stretch their legs.
Another element of timing is to never give guests exactly what they expect. A perfectly timed event risks being boring. Pleasantly surprise people. To me the most interesting story about timing from Saturday night was a small detail. Amanda sang a powerhouse version of "At Last", just full of personality and Chutzpah. There is this moment at the end of the song with a vocal cadenza: "..and you are mine.. At Last!" A cadenza is an ending to a song where the entire group pauses and allows the soloist to shine for a few seconds. We stopped for her, then on my cue, the band came back in strong.
Over breakfast the next morning, the band reflected on how that ending went down. I chose to allow a short space after she sang, and went to TOTAL SILENCE – for just a second – before we played the last notes of the song. I played with people's expectations there. A more typical way to direct a cadenza would be to bring the band in WHILE the singer's last note is being held. But instead I chose a space, a beautifully reflective pause, a 'breath' in the arrangement. On discussing that choice over pancakes in the morning, the band loved that expression, and it felt right in that moment. Timing. Choice. Control. Reflection. Space. Timing became a part of the musical expression itself.
Okay that's just a tiny detail, but I enjoyed that moment. Other timing choices were bigger and required compromise. We had to cut several songs from our set when our start time was pushed back. We struck every song that was not essential. Maybe the set got even tighter.
I'll summarize the night with a few highlights. Shannon rocked "If I Ain't Got You" by Alicia Keys during dinner. I don't like to pick favourites, but Shannon is probably my favourite female vocalist to work with anywhere. She has a soulful R&B alto voice that reflects a depth of soul, character and life experience. Right away when the audience heard her sing the piece there were a small group of dancers who rushed the dance floor. If they'd rather dance than eat, you know you're a good band.
Jackie Wilson's "Higher and Higher" was our dance set opener. The dance floor was packed, and the tempo and feel really came together. Thank God for that because we almost didn't get it despite repeated rehearsal. It can't be too slow. And the drums have to keep it really simple, not groovy and not subdivided. Strangely, the energy is carried mostly by the tambourine.
The groom wanted funk. If it was up to him we would do all James Brown, George Clinton, Maceo Parker and Bootsy Collins Funkadelic stuff from beginning to end. So after the Jackie Wilson opener, Al & Jess took the stage with "Brick House", in a slow, funky tempo with a playful horn line. That number set the tone for the party. And when you start off with a song that reflects the client's priorities and values, you put them at ease right away.
Al Ahh:
Now remember we had to end the night at midnight or risk the ire of the Hotel staff and management. But you can't just stop playing. I planned for about 20 minutes of encores. For an encore to work, the audience needs to really believe the show is over. And if they don't demand more music, there just won't be any.
So only about forty minutes into the dance set, I announced we were finished. This statement was met with stares and stunned silence. "But who wants to hear one more song?" When we felt confident the crowd had sufficiently earned the encore, I brought out our secret weapon: A new medley. A 90's medley that goes on for about 15 minutes, and covers more than a dozen MUST-DANCE-TO songs. It was a huge hit. And it would hopefully satisfy everyone. Here's the 90's Dance Medley list:
Groove is in the Heart
Gonna Make You Sweat (Everybody Dance Now)
Now that we found love
One More Time (Daft Punk)
Who let the dogs out
Whoomp there it is
The beauty of a medley is, you just play the best part of each song, and if you don't like a song, stay put! It's almost time for the next melody to start. And the next, and the next. You overwhelm people with great familiar music. And in this case we extended the encore into a 15 minute dance party to end the night.
One final story, about our second encore. Sometimes when things go wrong the party actually gets better. In the planning meeting, the bride and groom made me promise we would NOT play Journey. They told me it was just not that kind of party. And I agreed. I wanted to respect their wishes, I really did. But at the end of the night, someone shouted out: "Just a smalltown girl!", and a buzz went through the crowd. Suddenly everyone just HAD to hear 80's rock anthem "Don't Stop Believing".
So we broke the rule. We gave the ravenous horde what they wanted. This is a tricky line to walk, and I didn't do it lightly. Al, Jess, Shannon and Amanda and myself sang the song, and Carl rocked the guitar solo while guests air guitared along. Musically and energetically that song was probably my personal favourite piece of the night. We really rocked it. Afterwards I went right up to the couple and told them I was sorry! But they understood it was the right thing to do. In that moment. To perfectly end the night, we needed to play that song at that time.
And now in the interest of time, I need to get preparing for my next show. I've enjoyed reflecting on the importance of timing at an event. If there's any moral to the story it's this: Timing is not everything. Magical choices in timing and artfully steering the flow of energy are a dance. A dance set in motion by good planning. Account for all the barriers to that magic and flow. Plan for fun. The most fun you've ever had. And then love it when the plan comes together.
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2 thoughts on "Planning Music for a Wedding: Timing, Flow and Magic"
Look at you expanding your horizons – you'll be planning a wedding in its entirety in no time!
WordPress looks good Peter, suggestion – change the font, it is difficult to read – that's my 2cents…
And we have received so many raves about you and your crew! Our photographers have got some pictures up on their blog:
http://twomanntent.com/blog/uncategorized/jason-lisa-fairmont-banff-springs-wedding-photography/
I'll drop you a line this weekend.
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Steiermark 1 started its live broadcast on 1 December 1996 from Dobl. The channel is owned and operated by Styria Medien AG since the autumn of 2002 when the headquarter was also moved to Graz. The schedule is dedicated to the inhabitants of Graz and the surroundings. Steiermark 1 is available on UPC Digital on channel 145, covering around 70 thounsand households in cities like Graz, Eisernerz and Frohnleiten. You can also receive it digital terrestrial on channel 29 or on AON TV Telekom austria on channel 89.For more details on the channel, Steiermark 1 online broadcast or specific details such as tv shows, schedules or vod please check the official website. The TV online programming includes shows and programmes like Wir Sehen Uns, Spontan, Kamera AB, Lach Mit, FH-Joanneum, Klug Beratem. Steiermark 1 online stream is aired live from Graz.


This show was broadcast on February 22, 2014.
Prof. James Tracy on Sandy Hook, academic freedom!
James Tracy, the Florida professor who isn't afraid to talk about false-flag terror, is the focus of the biggest academic witch-hunt since I was hounded by a pack of Republican state legislators back in 2006. He will discuss questions about Sandy Hook, the Boston Bombing, and much more.
This entry was posted on Saturday, February 22nd, 2014 at 1:40 am	and is filed under 9/11, Censorship-Propaganda, Death Squads, Freedom, Justice, Kevin Barrett, Mind Control, News, Protest. You can follow any responses to this entry through the RSS 2.0 feed.


The annual DuPage County real estate tax bills are mailed on or about April 30th of each year. This general mailing of over 300,000 tax bills is the only mass mailing of real estate tax bills for both the 1st and 2nd installments. Unfortunately, many tax bills are returned to the Treasurer's Office by the U.S. Post Office for a variety of reasons. If you do not receive a tax bill by the second week of May, please contact this office and a copy bill will be provided.
According to Illinois Compiled Statutes, FAILURE TO RECEIVE A BILL DOES NOT RELIEVE THE TAXPAYER OF THE PENALTY IF THE PAYMENT IS LATE. The U.S. postmark is used to determine the late penalty.
The DuPage County real estate tax bill is mailed with two installment payment coupons attached; each representing an equal installment of the real estate tax due. The first installment is due on or before June 3, 2019, and the second installment is due on or before September 3, 2019. The lower section of the tax bill shows a comparison between this year's taxes and the prior year's taxes. The comparisons (by amount and by tax rate) are shown for each taxing district that receives your money. See Sample Tax Bill (when available).
This section also illustrates how your individual tax bill was computed. Please note the exemption boxes. Senior exemption information is described on the SeniorServe website. The residential exemption is granted to owner-occupied residences. If you did not receive a residential exemption, and you believe you should have, contact your Township Assessor. The Township Assessor's phone number is listed on the front of your bill.
PLEASE NOTE: Only balanced transactions will be processed. Include a self addressed envelope with sufficient postage or a return airbill with your account number for the return of your receipts. We do not pay postage or carrier fees to return printed materials. Duplicate tax bills are available online under Tax Payment Status at no charge.
Per state statute, you may protest your tax by completing both of the following actions.
1) Pay the tax in full no later than October 31, 2019. Penalty computed at 1.5% per month must be added if payment is made after the installment due dates of June 3, 2019 or September 3, 2019.
2) File a tax objection complaint with the DuPage County Circuit Court Clerk. Forms may be obtained from the Circuit Court Clerk's office or by calling 630-407-8700. A tax objection complaint filing fee may be imposed by the Circuit Court.
3) Property tax is calculated multiplying the tax rate by the assessed valuation. After a review of these factors, you must determine the basis for filing an objection.
The tax rate, which is determined by the DuPage County Clerk, is based on the amount levied by each of the local taxing districts. To effectively protest a tax rate, you must prove that the tax rate or a portion of the tax rate is illegal or excessive. You may wish to seek legal advice.
The assessed valuation is based on a property's fair cash value, which is determined by the township assessor. In order to file a tax objection based on the assessed valuation, you must have already filed an assessment complaint with the DuPage County Board of Review 630-407-5888. You should not file a tax objection based on assessed valuation if you have already filed an appeal with the State Property Tax Appeal Board for tax year 2018.
If you believe there is an error in your assessment, you should contact your township assessor before September 3, 2019. An assessment review may reveal a computational error, which the assessor can correct by issuing a certificate of error. This could eliminate your need to file an objection. Additionally, confirm that you are receiving all exemptions for which you qualify, including senior, senior assessment freeze, residential, or the home improvement exemption.
There are approximately 300 mobile homes in DuPage County. Tax bills for the current year are mailed by August 1st of each year with a due date of October 1st. The tax amount is based on the age and square footage of the mobile home. Taxes that remain unpaid by the due date will result in a penalty of $25.00 per month with a maximum penalty of $100.00. Failure to pay a mobile home tax will result in a lien being recorded against the owner. Title on a mobile home cannot be transferred without a tax payment certification from the County Treasurer indicating all taxes are paid. For more information please contact the Treasurer's Office.


You know ur from Norn Iron when.
Re: You know ur from Norn Iron when.
When your told to put a fire on.
When your called a "Skinnymalink"
When you leave a pot of tea on the ring to long and it's " stewed"
"If you fall down and break yer leg, don't come runnin' tae me"
When it's ready for an onion!!
when " yer eyes are bigger than yer belly"
THE VOICES TOLD ME TO DO IT !!!
"he's like sumthin' outta Burton's windy!"
... or "Take ya to have eyes on the back of yer head"
When you did something you really didn't mean you were only " lettin on."
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text:
Designs for the park
Designs for the house
The Elms, Epsom, Surrey: designs for alterations to the house, and for the interior, and unexecuted designs for estate buildings, for Anthony Chamier, 1774-76 (15)
Anthony Chamier (1725-80), was the son of a French Huguenot merchant, Daniel Chamier (1696-1741). The family had sought refuge in London in 1691. Anthony Chamier worked as a stockbroker, and later became a financier, and a financial advisor to the governments of Newcastle and Bute. In 1763 he was appointed to the war office, in which he fulfilled various offices, becoming Undersecretary at War in 1772. In 1775 he was made Undersecretary for State. He then served as MP for Tamworth in 1778-80. Chamier was also a founder-member of the Literary Club in 1764, becoming friends with Samuel Johnson, Henry Thrale, and Sir Joshua Reynolds. In 1753 he married Dorothy Wilson, daughter of Robert Wilson, a merchant, of Woodford, Essex, but they had no children, and Chamier was succeeded by his nephew John Deschamps (1754-1831).
In 1765 Chamier purchased three estates in Surrey including The Elms and Fennells Place, and he engaged Adam to make designs for alterations to both. He first worked at Fennells Place, and then from 1774 he made designs for the park and house at The Elms. The Elms had been built in c1715 and it was the house in which Chamier was living at the time of his death. Adam made designs for the ceilings of the hall, ante room, dining room and drawing room, and the addition of two large rooms. These changes were certainly made, but it is not known if the executed works follow the surviving drawings as the house was demolished in c1825. Moreover, Adam made designs for a conservatory, a garden seat, and a temple, but these were not executed.
Now known as Clock House, the Elms was replaced with the extant house in the 1820s, although this was also called the Elms for around a century.
See also: Fennells Place, Ewell, Surrey
A.T. Bolton, The architecture of Robert and James Adam, 1922, Volume II, index pp. 13, 65; E. Harris, The furniture of Robert Adam, 1963, Index p. 49; I. Nairn, and N. Pevsner, The buildings of England: Surrey, 1971, p. 219; D. King, The complete works of Robert & James Adam and unbuilt Adam, 2001, Volume I, pp. 179, 213, Volume II, pp. 183, 218; J. Brooke, 'Chamier, Anthony (1725-80), of Epsom, Surrey', History of Parliament online, 2012
Sub-scheme
Variant designs for a garden seat, 1774, unexecuted (2)
[1] Design for a garden seat, 1774, unexecuted
1774 (in feint pencil)
Adam office hand, possibly Robert Adam
Alternative preliminary designs and finished drawing for a conservatory, 1774, unexecuted (3)
[3] Preliminary design for a conservatory, 1774, unexecuted
[5] Finished drawing for a conservatory, 1774, unexecuted
Adam office hand, possibly Joseph Bonomi
Preliminary design for a house, 1775 (1)


text:
Can Computers Learn Common Sense?
The Ocean's Most Delicate Species
The Science of Puppies
Old Timber, New Climate Data
Can the Chinese Government Get Its People to Like G.M.O.s?
By Christina Larson
Food security is a national obsession in China. But the public remains wary of genetically modified crops.Photograph by Chris Steele-Perkins/Magnum
In China, which has one-fifth of the world's population but just seven per cent of the world's arable land, food security is a national obsession. Pesticides and enhanced fertilizers no longer improve crop yields as markedly as they once did, and staple crops, such as rice, may not grow as reliably in the temperature extremes brought on by climate change. As a result, the government has begun to invest heavily in research on genetically modified crops. Last fall, the Communist Party's Literature Research Office published the text of a speech that President Xi Jinping had given before the Central Rural Work Conference, an agricultural-policy body, calling on domestic scientists to "boldly research and innovate, [and] dominate the high points of G.M.O. techniques." The most recent Five Year Plan names biotechnology, including enhanced agriculture, as one of seven "Strategic Emerging Industries."
Recently, I met with Caixia Gao, a prominent plant geneticist at the Institute of Genetics and Developmental Biology, in Beijing. For years, the institute's facilities were housed in a drab, Soviet-style building, but this spring they were expanded and renovated to include Ping-Pong tables, coffee lounges, and, on one floor, a so-called open lab with new microscopes, centrifuges, and other equipment that is shared among lab groups. (One young researcher, hunched over a petri dish, wrinkled her nose and wondered aloud whether the openness would foster collaboration or simply be distracting.) Gao ushered me into the new greenhouse, and her glasses quickly misted over from the sudden humidity. In 2009, after working in Denmark for a decade, Gao returned to China to lead a gene-editing research group under the Chinese Academy of Sciences. She has researched engineering rice for herbicide resistance and corn for drought resistance. Her recent work has involved editing out segments of the wheat genome in order to make the plant less susceptible to powdery mildew, a common fungal disease. (The condition can be controlled with fungicides, but these expose farmers to noxious chemicals.) Last year, her team's results were published in the journal Nature Biotechnology, where they attracted international attention. Gao pointed out a series of red clay pots, each containing spindly green wheat shoots, with strips of white tape around their brims. "The ones with labels have been genetically modified," she said proudly.
But, like many plant geneticists in China, Gao has yet to see her experiments on wheat, rice, or corn move beyond the lab or the greenhouse. For all of the government's investment, genetically modified food faces zealous public opposition and is largely banned from the marketplace. "The technology is getting better and more predictable, but the controversy is also getting bigger," Gao said. In 1997, China granted the first commercial license for a G.M. crop, cotton, which is now widely planted. The last commercial license, issued in 2006, went to papaya. Since then, commercial prospects have stalled; very few Chinese scientists have even received biosafety certificates to test the impact of G.M.O.s on the surrounding environment, a necessary step to evaluate safety before considering commercialization.
Zhang Qifa, one of the few scientists who did receive such experimental permission—in 2009, for Bt rice, which expresses a gene from the bacterium Bacillus thuringiensis that repels insect pests—has endured public attacks and threats to his personal safety. In 2010, as Zhang was delivering a lecture on G.M.O.s at China Agricultural University, in Beijing, a man in the audience threw a ceramic mug at him, narrowly missing. A woman in the audience yelled: "Zhang Qifa is a traitor!" Public anxiety about G.M.O.s has been stoked by people and organizations from across the ideological spectrum—by Greenpeace; by a Maoist group called Wu You Zhi Xiang (Utopia); by popular TV anchors speculating about horrible illnesses; and by expressions of general anti-Western sentiment. An online survey by the China Daily revealed that eighty-four per cent of respondents believe that genetically modified foods are unsafe.
The mixed messages over G.M.O.s reveal profound divisions within China's government, as well as an uncharacteristic sensitivity to public opinion. Much of the research has been funded through the Ministry of Science and Technology, with a mandate to elevate China's scientific prowess to world-class status. But the licenses for testing and final commercial approval are granted by a joint-ministerial conference made up of representatives from twelve agencies; it is convened by the Ministry of Agriculture, which is subject to State Council influence and the imperative of maintaining "social stability"—that is, avoiding public unrest. "Put simply, the problem mostly lies in the rising resistance of the public to G.M.O.s, which has made the political leadership hesitant to go ahead with commercialization," Cong Cao, an expert in China's science policy at the University of Nottingham, in the United Kingdom, told me. President Xi's speech noted the schism: "We must be bold in studying [genetic modification, yet] be cautious in promoting it."
China is hardly alone in its popular worries. Recently, in the United States, when Chipotle moved to ban genetically modified ingredients from its burritos, the company initially attracted plenty of public praise. But a sharp backlash followed, drawing on the findings of mainstream research organizations, such as the American Medical Association, which have pointed out that there is no data to prove that eating G.M.O.s is bad for one's health. In China, science bloggers and state media outlets have often made the same point. But, because independent arbiters aren't allowed to thrive, the public doesn't believe them.
To live in modern China is to worry constantly about food safety. Scandals—from libidinous, corrupt officials to rigged TV talent shows—abound in the news and on social media, but few grip the public imagination like stories of poisoned food: the milk powder, tainted with the industrial chemical melamine, that killed at least six infants and sent more than fifty thousand ill babies to the emergency room in 2008; the watermelons that, in 2011, after receiving too much growth hormone, exploded; the admission, in 2013, by Guangdong's provincial government, that forty-four per cent of the local rice that had been tested was laced with dangerous levels of the heavy metal cadmium. The skeptical public has little faith that authorities will enforce food-safety regulations.
This mistrust makes it difficult to introduce new food technologies, even if China needs them. "If the government says that G.M.O. food is safe, Chinese people won't readily believe it," Sam Geall, an anthropologist at the University of Sussex who has been conducting field research recently in Beijing, told me. For the past eighteen months, Geall has been studying public opinion regarding G.M.O.s in China. The chasm of credibility and the lack of a trusted referee make it hard for the public to sift rumor from fact, he said: "This may be the clearest example where public opinion in China has likely played a role in stalling or stopping an innovation pathway that the government backs, for better or worse."
In many areas of national planning—from rerouting and damming the Yangtze River to clearing fields for the construction of airports and railways—China's leaders don't give much thought to public opinion. But food is personal, tangible, and essential. In recent years, ordinary Chinese citizens have gone to great lengths to avoid foods that they believe are inadequately regulated by the government. The smuggling of milk powder is on the rise, such that British supermarkets frequented by Chinese tourists have imposed limits on how many boxes a single customer can purchase. Geall's early research indicates that China's most educated citizens are among those most opposed to G.M.O.s; they want choices, especially where their dinner is concerned. Not even a government as powerful as Beijing's can force-feed a wary public.
Christina Larson is a writer in Beijing and a contributing correspondent to Science.
More:AgricultureBeijingChinaChinese Communist PartyFoodFood SafetyGenetically Modified Organisms (G.M.O.s)GeneticsScienceXi Jinping
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Annals of Gastronomy
New Bread, Ancient Grains
Chad Robertson, of San Francisco's Tartine Bakery, talks bread, natural fermentation, and ancient grains.
Synthetic Life After G.M.O.s
By Nicola Twilley
A Life Sentence for Salmonella?
By Wil S. Hylton
Annals of Science
An activist's controversial crusade against genetically modified crops.
By Michael Specter


text:
Stephen Kimber > Books > Sailors, Slackers… > Reviews – Sailors
Reviews – Sailors
"Exceptional… The strength is in the writing. The book unfolds like a novel, alive with the voices of the people who lived through the riots, as Kimber smoothly pulls the anal-retentive polite mask off the Canadian face. The streets of Halifax will be forever changed if you read this book. There will be ghosts on every corner."
— Christy Ann Conlin The Coast
"Kimber, one of Atlantic Canada's best journalists and dean of the highly regarded School of Journalism at the University of King's College, writes with style and colour the first major report on how the Second World War forever changed Halifax… Excellent account of the infamous Halifax riots of V-E Day."
— John Harbron
"An absorbing portrait of the effects of World War II on the port of Halifax, which climaxed in 'the biggest drunk in all Canadian history' on and after VE Day. …The author manages to plumb the emotions of his sources. Reaching into the lives of those who remember the events vividly, he knots his tapestry of mayhem and madness expertly and laces it with wartime romances … an excellent read."
— Toronto Star
"Stephen Kimber has written a lively, layered social history… He brings to this very human tale of blunders, suspicion and disastrous misunderstandings a reporter's instincts, an insider's knowledge and a storyteller's eye for poignant, sprightly and telling detail."
— Jeanie MacFarlane
Canadian Georgraphic Magazine
"Endlessly fascinating… Kimber's recreation of the war years in Nova Scotia's capital—the crowding, the gouging, the shortages — leads up an incident he feels has been downplayed by history, the V-E Day riots that tore Halifax apart in May 1945."
— Bill Spurr
Halifax Chronicle Herald
"Journalist Stephen Kimber has done a fine job of recreating the Halifax of the Second World War. He focuses on individuals — children, lovers, servicemen, a madam — and ties their stories together into a breezy, absorbing chronicle… Kimber has told Halifax's story well."
— J. L. Granatstein
Historian, Author
"Stephen Kimber illuminates this violent episode — and the previous six years filled with German U-boats, housing shortages, rationing, archaic liquor laws, and line-ups around the block for the local brothel — in a powerful narrative told through the voices of those who actually lived through it. … The narrative [offers] a lively and intimate immediacy that captures life in the most important North American port during WWII."
— Craig Silverman
"An engrossing new book, Sailors, Slackers and Blind Pigs: Halifax at War, by Halifax author and journalist Stephen Kimber revisits life in the wartime city through the true stories of several characters… Kimber uses the tools of a novelist — characters, plot, scenes and drama — to tell the story."
— Sandy MacDonald
"In his latest — and best — book, Kimber speads such a rich smorgasbord of memories before readers, it's hard to know where to start the feast."
— Brian Flemming
"Stephen Kimber's latest, and, I believe, greatest, effort to date, Sailors, Slackers and Blind Pigs… All can welcome Kimber's ability to weave a tale… By drawing on his interviews with locals who can recall the days when Halifax was awash in the danger and drama of those times in a way no other city in Canada was, and through his extensive use of archival material, Kimber covers the war years in this East Coast port through the perspective of local personalities… These characters give us a living picture of the times. Kimber thereby effectively sets the stage for the focus of the book: a valiant and, to my knowledge, first-ever literary attempt to make real the birth of the Canadian Navy, its spectacular contribution to the Battle of the Atlantic and the pivotal role Halifax played in that birth… With his criss-crossing of narrative and careful research, Kimber has given Haligonians, Nova Scotians and all Canadians a history of events as they can finally be agreed upon…"
— David Bentley
"I took Stephen Kimber's account of the Halifax riot of 1945 away with me for the weekend and I want to report how much I enjoyed it… In short, I was delighted by the book."
— Desmond Morton
A Military History of Canada: From Champlain to Kosovo
"…As Stephen Kimber's absorbing Sailors, Slackers and Blind Pigs (Doubleday) proves, the 48-hour riot that broke out after Germany surrendered still makes for a remarkable story."
— Maclean's Magazine
"…Sailors, Slackers, and Blind Pigs (Doubleday Canada), by Stephen Kimber, promises to be one of the top books this fall… Revealing research and a story-teller's gift make this history spellbinding."
— From the Halifax Sunday Herald
Why "Sailors, Slackers…"
High Seas Rescue: Another True Tale of World War II Halifax
Excerpt – Sailors
Sailors, Slackers – Buy The Book


text:
package module

import (
	"github.com/flatpeach/starfruit/message"
	"github.com/flatpeach/starfruit/server"
	"github.com/flatpeach/starfruit/user"
)

type Away struct{}

func (module *Away) Handle(s *server.Server, u *user.User, m *message.Message) error {
	// AWAY [param]
	var (
		awayMsg string
	)

	if len(m.Params) == 1 {
		awayMsg = m.Params[0]
	}

	u.SetAwayMsg(awayMsg)

	if u.AwayMsg() == "" {
		u.SendMessage(message.New(s.Config.Server.Name,
			message.RPL_UNAWAY,
			[]string{u.NickName},
			"You are no longer marked as being away",
		))
		u.MarkAway(false)
	} else {
		u.SendMessage(message.New(s.Config.Server.Name,
			message.RPL_NOWAWAY,
			[]string{u.NickName},
			"You have been marked as being away",
		))
		u.MarkAway(true)
	}

	return nil
}


Meet our proposed 51st state: Liberty, U.S.A. - It Can Happen!
Meet our proposed 51st state: Liberty, U.S.A. – It Can Happen!
Washington State's firebrand state representative, District 4 Representative Matt Shea, presented the case for eastern Washington creating its own new state at a meeting of the Spokane Conservative Republicans on Sept. 18th.
The state would be named Liberty and would encompass the portion of Washington State east of the Cascades.
Shea and two other Representatives, Bob McCaslin and David Taylor sponsored a bill last December named the House Joint Memorial 4000 which would create the "State of Liberty" which would become our 51st state.
He cited a poll of over 8,000 people that revealed there is 73% support in eastern Washington for creating the new state of Liberty.
Shea also points out that Liberty would actually bring in a comparable amount of taxes to that of the entire state of Idaho. Liberty State is also similar in population size to the State of Idaho.
A Story of Support: Shea mentioned that a lobbyist came into his office one day and told him that he had to confess something to him. He said he had dinner with a bunch of multimillionaires recently and he started making fun of Matt Shea's 51st state idea and then he realized that he was the only one at the table laughing.
A much smaller sized government, not even close to Washington's.
An influx of businesses moving in. • Lower taxes would actually result in more tax revenue.
When you create a place where prosperity can thrive people will move there.
This has happened before in America. First, with the state of Kentucky splitting off from Virginia. In 1789, the state legislature of Virginia approved the creation of the state of Kentucky, followed two years later by the constitutionally mandated approval by Congress; second, the state of Maine was formed in a similar fashion having separated from Massachusetts; and in 1861 — in a manner much less constitutionally compliant — West Virginia separated from Virginia.


You've invested in the gear to help you hit the roads starting, of course, with the perfect pair of shoes. However, the best shoes, even when properly fit, can only do so much. You also need the right sock. For me, there's just one sock option: Balega Enduro V-Tech. These are the only socks I'll trust on my runs to keep my feet blister free. Aside from the protection they offer, Enduro V-Tech are by far the most comfortable sock I've ever worn—period. Enduro V-Tech come in a Quarter length and a Crew length, and I base my daily selection on the weather. If I could wear them at my office job during the week, I would. They are super soft, highly breathable, and unbelievable durable. Do your feet a favor and stock up on Balega Enduro V-Tech socks today!


Due to the amazing generosity of the people who donated here, through the mail, and especially those of you who came to my house to drop off a donation, we are fully funded for this weekend's show! Now, all you have to do is show up at the Nightingale (or if you are out of town... wait for the video). The techies and actors and I have been working hard to bring the play to life. The story is simple; a guy named Carrol has issues with letting people mooch off him. Carrol has issues with his mother, his sister, his landlord, his therapist, his roommate, and "the girl". My mom says to make sure you know there is some adult language... whatever that is. I wanted to say thanks and you all rock! See you at the Nightingale Friday or Saturday.


text:
Theater Three Collaborative
George Bartenieff & Karen Malpede, Co-Artistic Directors
NEW REVIEW!
"Just read the excellent and thought provoking PLAYS IN TIME by KarenMalpede of Theater Three Collaborative, Inc. published by Intellect Books." - Michael Hasted
Read Stage Talk Magazine's review here http://stagetalkmagazine.com/?p=19403
The Connection between Art and Social Change? A lot of art is aesthetically pleasing but functions as if we live in a social vacuum. Karen Malpede, playwright, theatre director, environmental educator and advocate reveals the relationship between artistic work and social change — in conversation with Alison Rose Levy.
IMAGINE: YEMEN
by Karen Malpede
"Push/Pull" by Ismail Khalidi
"Dinner During Yemen" by Karen Malpede
"The Book of Mima" by Naomi F. Wallace
The UN has described the war in Yemen as "the worst man-man humanitarian disaster of our time." Who is responsible this disaster, for the largest cholera epidemic the world has known, the 22 million people in need of immediate humanitarian assistance, including 11 million plus who are at risk of imminent starvation, many of them children, and the deaths of thousands of civilians bombed or otherwise incinerated as the collateral damage of war? All of us. This war began as civil strife between the north and south of the country united in 1990. In 2011, as part of the Arab Spring, a struggle began for a more responsive government between the entrenched regime of former President Ali Abdullah Salah and the Houthi movement, which had early popular support. Ousted in 2012, Salah later allied himself with the Houthis but was accused of treason by the Houthis in 2015 and killed as he attempted to flee the capital city, Sana'a. His successor, President Abdrabbuh Mansour Hadi, lives in exile in Saudi Arabia. In 2015, Yemen became a battlefield for Saudi Arabia and the United Arab Emirates in their proxy war against Iran, which has been said, without much proof, to be funding the Houthi (who are Zaidi, a liberal sect of Shia). The Saudis and UAE bomb and blockade ports and roads, so that food aid cannot reach starving people. They destroy sewage systems and hospitals. Yemen, the poorest nation in the Arab world, sits on the Bab al-Mandab strait, a narrow waterway linking the Red Sea with the Gulf of Aden, through which much of the world's oil shipments pass. Whoever controls the port cities of Yemen controls the flow of Middle Eastern oil.
To read more on this article and about Karen's contribution click here.
Extreme Whether: Listen to Karen Malpede, playwright and director, discussing her new play about the human dimensions of facing the climate challenge as explored in her latest play, Extreme Whether— in conversation with Alison Rose Levy. Show is live at: http://prn.fm and can be heard later in the Connect the Dots archives on the Progressive Radio Network.
The book launch of Plays in Time, at the Segal Theater was an extraordinary evening of acting, text and talk. Watch the video from Howlround below, The book is for everyone who loves the poetry of resistance.
To purchase the book click here.
The drama of the thinking heart
by Karen Malpede on www.opendemocracy.net
For the past twenty-two years, Theater Three Collaborative has been producing ecofeminist-pacifist plays in New York and Europe, on a shoestring and against all odds. Now a book, Plays in Time: The Beekeeper's Daughter, Another Life, Prophecy, Extreme Whether, documents this unlikely journey through four scripts, seven critical commentaries and 32 production photos.
Our plays are character and story-driven, creating worlds into which the audience enters in order to experience the transformations of characters caught-up in the genocidal histories of modern life. Characters are not immune from fate—they might be raped or tortured, have committed a terrible war crime, been lied about and censored—but they resist the implications of their fates and find the resources to change their story through deep encounters with others who act as empathetic witnesses. Each play is full of moments of such turnings from despair to strength, and each relies upon the witnessing abilities of others to set free the imaginative forces of resistance.
I've titled my preface to Plays in Time "The Drama of the Thinking Heart," and written there that these four plays are meant to "bring us to our senses. Poetry is wild nature produced by human nature, a song between a living cosmos and an ever-emergent self. This is why preservation of life in all its sentient forms is the work of the dramatic poet and why the poet must be fiercely engaged in the exploration, creation and manifestation of justice on this earth and for earth's creatures."
PLAYS IN TIME
THE BEEKEEPER'S DAUGHTER, PROPHECY, ANOTHER LIFE AND EXTREME WHETHER
Plays in Time collects four plays by Karen Malpede set during influential events from the late twentieth century to the present: the Bosnian war and rape camps; the invasion and occupation of Iraq and Israel's 2006 bombardment of Lebanon; 9/11 and the US torture program; and the heroism of climate scientists facing attack from well-funded climate change deniers. In each play in this anthology, nature, poetry, ritual, and empathy are presented in contrast to the abuse of persons and world. Despite their serious topics, the plays are full of humor and distinctively entertaining personalities.
Each play was developed by Theater Three Collaborative for production in New York and internationally in Italy, Australia, London, Berlin, and Paris.
Imagine Egypt: Cairo Today
Cairo is awash in plastics, the water bottles from which everybody drinks, and worse, cheap knock-off-clothing, sneakers, flip-flops and household items imported from China spread out by peddlers on the streets. Western in design, ill-made by workers in Asia working for starvation wages, they sit waiting to be sold to Cairo's poor.
Twenty years ago when I was last in Cairo and there was a bustling tourist trade; the street markets were of hand-crafted items, perfume oils and hand-blown perfume bottles, pearl in-laid jewelry boxes, Egyptian cotton simple scarves, Arabic books. Now these things are gone from view and it's as if one wanders through a massive, out-door discount mall—piles of t-shirts with logos, and the like. The West has come to Cairo through China. Here is globalization and free trade for the poor. It benefits no one, destroys the old craft-based economy and vastly increases what gets thrown away.
Closing night of the Theater Festival: George Bartenieff, me, Yasmin, Farrag, a Festival organizer.
Dalia's organic farm outside Cairo
In the desert after my horse back ride.
ON WATCHING: ECO-POETRY AND DESIRE IN "THE BEEKEEPER'S DAUGHTER"
I sit in the back of the theater; that way I can watch the audience watching the play I have written and directed. I can monitor their restless movements, observe if anyone drops off to sleep, or fiddles with a phone, lighting up and distracting the immediate area. I can squirm with every squirm and wonder how or if I might make an adjustment to the staging, the acting or the text that would eliminate each moment of inattention directing any wondering mind back to the stage action.
Critic: Courtney Marie
The stirring and emotional revival, The Beekeeper's Daughter, from playwright Karen Malpede presents both the best and worst faces of humanity in the story of an American family and a refugee from Bosnia. While this small clan seems to live in paradise on an island in the Adriatic, a brutal war is exploding only a few hundred miles away and a daughter's return from the violence with a guest who has been deeply affected, brings familial tensions to the surface. The new production is directed by the playwright.
'Karen Malpede Imagines a Better World in The Beekeeper's Daughter'
"We are facing a crisis of consciousness. As Robert says in Beekeeper: "I want to cry out, change form, change form. It takes but an instant to see the world in a new way."
Read the full interview in American Theatre Magazine
In the February issue of American Theatre Magazine Teresa Eyring praises the art and importance of Extreme Whether in its New York and Paris productions.
"How's the Weather?"
by Teresa Eyring
(ex. dir. of Theatre Communications Group) in her monthly column, p.6
"Members of our theatre community have also been at the forefront of addressing this global issue. Because of the varied nature of our form, we are blessed with multiple strengths and platforms from which to work. First, there is theatre as thing of beauty in and of itself--an art form that is made and shared collectively, and that can be a focal point for reflection and discussion that leads to action. A prime example: Theater Three Collaborative's production production of Extreme Whether, by Karen Malpede, is an American family drama involving a major climate scientist and his twin sister, a publicist for the energy industry. The play was performed in a sold-out run in New York City in 2014. It was part of the ArtCOP21 arts festival this past December, in a collaboration with the Swiss theatre company Cie de Facto. Directed by Malpede and Nathalie Sandoz (the latter also acted), the play was performed in French and English in Paris, where it was enthusiastically received."
The news from Paris - ArtCop 21
After the show (l. to r.) Nathalie Sandoz, Julien Muller, Karen Malpede, Dominique Hollier, Benjamin Knobil, Kathleen Purcell, May Royer, and George Bartenieff.
we would not have wanted to be anywhere else
Below are excerpts from Karen's blog dishing out the details of the Paris Cop21 and TTC's role creating climate change culture.
COP21: In the hands of its people alive right now lies the fate of the earth and all her creatures for the rest of time...
Democracy works but democracy is hard work. It demands involvement from the entire civil society in order to make its way. This is not just my understanding but is that of virtually everyone who was in Paris for the COP21...
...Like the Greek theater that defined democracy, or the Shakespearean that gave us entry into the unconscious, climate change theater is classic in position and intent. Like the Greek and Renaissance theaters, climate change theater stands at the nexus of two realities—an old, wasteful, violent known world, and a newly felt, and sometimes already lived, sustainable world of insight and connection between self and others across racial, national and species boundaries, a remaking of the individual as newly responsible for a living world....
Click here to read more from this blog post.
EcoFeminism at Cop21
Few people remember the ecofeminist movement of the 1980s, spearheaded by my friends Ynestra King, Starhawk, Grace Paley, Dorothy Dinnerstein and others. Many of the young activists from around the world living with me at Place to B in Paris for the duration of the Cop21 would have to wait decades before being born. But others like Casey Camp-Horinek, Ponca Nation elder, who spoke Monday at the Women on the Front Lines of Climate Change event, were at Wounded Knee and marched with Ceasar Chavez...
...The Indigenous women who commanded the attention of the room full of women and some men all day on Monday refer to each one of us as "my relative".
"My relative, we can save you. We can show you how to survive on Mother Earth, if only you will listen to us."...
Click here to read more of from this article.
MOBY-DICK OUT LOUD
ON THE WAY TO THE PARIS CLIMATE CONFERENCE
I've been reading Moby-Dick out loud at night, slowly, with my partner. We were on chapter ninety-three–in which the castaway Pip loses sanity after being left adrift alone in the ocean for too long while Stubb and the others rush to harpoon a whale (not the white one)–the night the Paris attacks took place.
The book is a great parable, certainly of American–perhaps of all–national life, in which the chase after the Leviathan (as Melville calls them) destroys everyone but the lowliest boatswain narrator, who miraculously lives to tell the tale. Someone must survive...Click here to read more from Karen's blog.
EXTINCTION: THE ILLUSION OF ABUNDANCE
Reflections on The Paris Cop21, The Sixth Extinction, Beyond Words: What Animals Think and Feel, and Empire of Necessity
I've been thinking about extinction, to be precise: the relationship of abundance to extinction, in the run-up to the twenty-first United Nations Conference on Climate Change, the Conference of the Parties (COP21) and in the wake of publication of several significant books.
Click here to read more from Karen's blog.
Warscapes podcast: Karen Malpede Challenges Torture With Theater
Mary Von Aue from Warscapes asked Karen some hard-hitting, revealing questions about writing and directing "Another Life". Karen talks about the U.S. torture program and how it was used to lead us into war abroad and to create fear at home. Scenes from TTC's 2013 production are interspersed. We are pleased to have our mission of creating powerful theater to address crucial social concerns recognized on this international publication.
Click to read the rest of the article.
Writing On: A Dialogue Between Jan Clausen and Karen Malpede
Although both had been feminist writers and peace activists living in Brooklyn, NY for many years, playwright Karen Malpede and poet/novelist Jan Clausen didn't know each other very well until they spent a night in jail together following a civil disobedience arrest at the time of the Iraq invasion in 2003, after which they gradually became better acquainted with each other's work.
Click here for more of this dialogue
Wider influence of the fossil fuel industry on culture and charities
Natural history museums are not the only US cultural institutions influenced by climate change deniers (Report, 24 March). US theatre is doing a good job of censorship of plays that attempt a new aesthetic reaction to our planetary emergency.
Click here for more news of Extreme Whether featured in this article
Quote: "I encourage you to see "Extreme Whether," a pioneering and brave effort by playwright and director Karen Malpede to use theater to explore the clashing passions around human-driven global warming and our fossil fuel fixation. " - Andrew Revkin
Click here to read more of the article
The Battle for Climate Justice Gets Some Drama, and a Six-legged Frog
Click here to read more of Alex Ellefson's article
CLIMATE SCIENTIST VS. CLIMATE CHANGE DENIERS
Malpede has addressed other divisive issues in her dramas, such as genetic engineering and the U.S. torture program. Press notes point out that she has "adopted the Ibsenist paradigm (seen in An Enemy of the People and Rosmerholm) of setting struggles of the public interest as conflicts within a family."
HOWLROUND - CLIMATE SCIENCE'S CHALLENGE TO ARTIST by Karen Malpede
Relatively recently, the climate modeling of climate scientists has allowed us to see into the future. While we don't know everything we know enough to ask if we wish to damage the planet beyond repair in this the new Anthropocene era, when the earth's ecosystems are being altered by human beings at an unprecedented rate.
WHERE ART MEETS SCIENCE - CLIMATE THEATER IS TRENDING
Karen Malpede of Theater Three Collaborative sheds light on the intersection of theater and climate change, giving us an inside look at "Extreme Whether," a new play that chronicles the journey of climate change. *Art by Luba Lukova
SKEPTICAL SCIENCE ARTICLE with Jennifer Francis Ph. D.
New York was jolted into awareness of the scope and severity of climate change in the wake of Hurricane Sandy, and Malpede is firm in her commitment to spread that understanding.
I knew I had to write a play about climate change. Climate scientists have been attacked, threatened, vilified, sued, and all for telling us the truth we need to hear. Our globe is heating up. And we had better change our behavior, now. This is a great adventure story: a story of bravery and commitment to saving life on earth. I wrote Extreme Whether with passion and speed, as if I were channeling the voice of the earth.
THE NEW YORK TIMES SCIENCE SECTION: THE SCAN
Extreme Whether. A play by Karen Malpede. Theater for the New City. 155 First Avenue. Reading April 8 at 7 p.m. (with James Hansen) and April 13 at 8 p.m. $5.
A new "eco-drama" about climate change will have two readings this month. Set in upstate New York during the record-hot summers of 2004 and 2012, the play pits brother against sister in a bitter debate about the future of the planet. In one corner is John Bjornson, a composite of famous climatologists. In the other is his twin sister, Jeanne, an energy spokeswoman married to a skeptical lobbyist. "The play poses this most difficult question of whether we can act in our own defense" when faced with a global threat, says the playwright, Karen Malpede, a twin herself. After the reading on Monday, James Hansen, the NASA climate scientist who is retiring from the agency this week, will speak to the audience on how "we are nearly out of time, if we want to avoid creating a situation that will be out of control for today's young people."
FESTIVAL OF CONSCIENCE TALK BY DR. JAMES HANSEN
"To Save Our Planet" followed the April 8, 2013 reading of Extreme Whether to an audience of nearly 150 people at Theater for the New City.
DAVID SWANSON REVIEW
David Swanson reviews the script of Extreme Whether in The Humanist Magazine
"Extreme Whether, a new play by the brilliant Karen Malpede tells a personal story in which everything is also political."
INTERVIEW WITH DR. FRANCIS
Dr. Jennifer Francis explains her cutting-edge theories of Arctic ice melt and extreme weather and talks about the connection between art and understanding climate change.
HOW TO KNOW THE UNBEARABLE..
is a skill we need to massively acquire now as we struggle to comprehend the reality of global warming, sea level rise, and future extreme weather events.
EXTREME WHETHER IS AN OFFICIAL EVENT OF CLIMATE WEEK NYC
Sept 10 2013 @ 2pm
TALKING TO KAREN MALPEDE: A CULTURAL DEMOCRACY IN THE PERFORMING ARTS INTERVIEW
The Brooklyn Commune's Cultural Democracy and Representation Team, led by Kyoung H. Park, has designed an artist survey to invite artists to share their experiences working in the field in order to open up public discussions regarding diversity and inclusion in the performing arts.
Karen Malpede tells the story of Another Life from its inception in 2009 to London, 2013: "Experience the Difference: The American Anti-Torture Play Another Life Goes to London"
TRAGEDY, CATHARSIS, AND CLEARER SIGHT: KAREN MALPEDE ON "ANOTHER LIFE".
"I walked into Another Life expecting to be brainwashed by left wing liberal proselytizing. But the play's solid foundation in facts left me feeling both shocked by the history and inspired to reflect on its significance." -Michael DelPriori
Courtesy of Beatriz Schiller
Dramatizing the US Torture Program
We're featured in this issues of TORTURE: Asian and Global Perspectives
A bi-monthly magazine on the issue of torture. Torture is often used by authoritarian regimes as a means of maintaining control and suppressing dissent. Our policy is against any form of torture and creates a common platform to everyone in Asia and around the globe, to come forward to speak out against torture. ISSN 2304-134X (print) | ISSN 2304-1358 (online)
Copyright © 2019 Theater Three Collaborative
Credits: Artwork © Luba Lukova; Site Design, Catherine Greninger
The Beekeeper's Daughter and Another Life photos by Beatriz Schiller; Prophecy photos by Ari Mintz;
Extreme Whether/Cherry Lane photos by Sonya Landau, LSC Communications


Apparently, Japanese illustrator Marumichi has some wild imagination. In Marumichi's creation, food and everyday life object are seamlessly merge together to create scrumptious compositions. Some of them are quite playful, such as watermelon mosquito net, strawberry cake bed, panda candy and tofu kotatsu. While some of them will be a bit dark, for example the fish bulb one. Below are some of our favorite ones, and you can find more on Marumichi's twitter page.


text:
Kelly Cullen Community Rooftop
Sitting area amidst vegetable planters
In a concrete urban environment, a rooftop garden holds the irresistible promise of fresh fruit and vegetables as well as quiet green space for relaxation. Most of us have a roof, but how many of us use it for gardening? That is exactly what is happening at the Kelly Cullen Community Rooftop!
The roof terrace includes fruit trees, a vegetable and herb garden, open tables and chairs -- and plenty of sun! The garden was designed as a space for residents to gather and experience nature. The laundry room was moved from the basement to the rooftop level to encourage residents to spend time there.
Lemon tree; several varieties of tomatoes
Currently the garden is hand-watered and features black enameled raised planter boxes, trellising, and light, permeable pavers. Participation in gardening is voluntary, so some residents actively grow seasonal vegetables like greens, kale, pole beans, squash and tomatoes, as well as herbs, cane berries and lemons. Others simply enjoy the space as a sanctuary in the heart of the city. It's the perfect spot to relax while waiting for laundry to dry.
The Kelly Cullen Community is a result of the YMCA's nationwide restructuring efforts to phase out its residential hotel business. The Tenderloin Neighborhood Development Corporation (TNDC) purchased the historic Central YMCA and developed it into the Kelly Cullen Community, which is named after one of TNDC's first executive directors, Brother Kelly Cullen. TNDC is a non-profit organization that has been providing affordable housing and services for low-income people in the Tenderloin and throughout San Francisco since 1981.
Pole beans on trellies
Together with support from many funders, consultants, Gelfand Partners Architects, preservation architect Knapp Architects and Cahill Contractors, TNDC rehabilitated a 100-year old historic recreational building, which served the community from its opening day in 1910 until July 1, 2009, and transformed it into a housing community in which at-risk and formerly homeless individuals could feel safe and supported by their community.
Learn more about the Kelly Cullen Community at www.tndc.org/property/kelly-cullen-community-220- golden-gate/
< Back to Featured Gardens


text:
BBSV steht als Abkürzung für:
 Bayerischer Baseball und Softball Verband
 Bayerischer Bob- und Schlittensportverband
 Bielitz-Bialaer Sportverein

Abkürzung

redpajama_set_name: RedPajamaWikipedia