You see me. In my Thing 2 shirt, smiling at the camera. That was five years ago.
Before someone told me that my version of Santa wasn't real. Before someone told me that the person I'd been celebrating was someone I should be reviling. That the grandfatherly old man with the quirky illustrations and nonsense word filled books had actually participated in racist imagery.
I didn't know then what I know now. Five years is a long time. Long enough for me to now be leading the charge on my social media for NOT celebrating the author during Read Across America week.
It's actually the reason I'm writing today. I honestly believe that some of his ardent supporters will in the future be much more like me. And with that hope, I share a few reflections for those who are struggling with what they know about Seuss the man vs. his work. I also want to talk to those who have already made a decision to NOT participate in sharing Seuss with their students and are frustrated by teachers who kindness police them for speaking out.
Let me start out by saying this.
If you are not ready to have a real discussion about Seuss' legacy, I can not help you get ready.
It is your job as an educator to wrestle with this dilemma and come out on the other side of it a more knowledgeable teacher. All I can do is plant some seeds and pray that in time they will grow into a stronger teacher and leader. The fact of the matter is, we can not divorce what we know about his legacy from the illusion that we've been taught. It is the work that you MUST do to come to clarity. And to be clear, clarity may not include never reading his work to students again. Clarity is knowing who he was as an author and man, and letting that guide how you unpack him with students. We still teach terrible people in history. Seuss is no worse, but the paradigm from which we teach him is currently wrong.
As teachers, one of our roles is to critically analyze practice and pedagogy.
So, let me ask you, who benefits from the 'white-washing' of Seuss? Who benefits from not ALSO sharing his racist past?
We can't deny that these images exist. We can not pretend that they were not racist.
But it is the denial that is problematic. The refusal to see that that is ALSO a part of his legacy.
So, to those of you who are angry with how often you feel silenced by 'Seuss-lovers', let me offer this.
There are stages of grief. One of them is denial.
When I first heard about the racist imagery, I remember not wanting to look at it at all. Because I couldn't believe that they were his. Seriously.
When teachers are confronted with these images and conversations on social media, the result is much the same.
There are other teachers who are in the stage of anger.
They rebut every argument about Seuss with…but the stories are so good. Did you know that there is evidence that later in life he made other illustrations that showed he had a change of heart?
So, my question is why can't Seuss be both? Why can't he be a brilliant author, who was also a racist?
The reason is that it does not jive with the illusion that we have about him.
If we accept that he held racist beliefs, we can not sit in front of a room full of black and brown children and read about him as if he were untainted.
As a Christian, I see this type of thing play out all the time.
When we study the life of David, for example, do we marinate in the idea that David was a terrible parent and husband? No, we talk about his triumphs and that he was a man after God's own heart. We forget that some of our most revered Biblical figures were also men that did horrible things in the name of hubris.
Here's what I want you to go forward and consider.
Seuss has some great books.
Seuss can be studied when we as teachers understand who he was as a man and let that color the WAY in which he is taught.
He as a man does not need to be celebrated. He does not need a WEEK.
We can look at his books critically with young students. We don't need to emphasize his authorship more than others.
With older students we must allow them to come to a decision about who he was as a man.
Allow them to see the imagery. Allow them to read his work and make their own decisions about who he was in context.
What we can not do any longer is divorce ourselves from the truth of who he was.
So, next year, when your school does Seuss week. Give grace to teachers who still do not know, or are not yet willing to accept truth.
Share with people one on one what you know.
Find literature from diverse authors to share with your kids instead.
Read one text. Just like you'd read any other text.
No big deal. Just a story.
Got bigger kids? Share source text from people of color: specifically Asian-American and Black groups on his work. Share supporters of his work. Also share the racist images from early work and the work from later on. Then have the kids write about how their opinions have deepened on him or shifted. It could be pretty powerful!
So, with these thoughts in mind, what are your next steps in your journey to unpacking the WHOLE reality of Dr. Seuss?
School Grades: What do they affirm?
You raised many valid points. And you addressed this in such a well-rounded manner, along with sharing your story and actionable recommendations for those who will need to reframe Dr. Seuss. It does require courage to speak truth and to receive it in such a way that we are mobilized in a freedom that allows us to see and act less from personal sentiments and familiarity and more from compassion and discernment. Truth oftentimes is quite a disruptor, which is why grace is so significant when we face truth and grieve any loss associated with it. What we've once understood and must rethink, in order to incrementally readjust to realities, will help not hinder real forward movement, which require a deeper look with sustainable solutions unique for each educator and parent.
Yes! You are so right!
I find that through interactions with teachers who are wrestling this currently, grace is most definitely their most necessary step. It is a humbling thing to stand in front of children each day. The longer I do this work, the more I learn. Some lessons are deeply personal and fulfilling and others, such as this one are deeply painful. My hope is that as we journey through this with teachers that even BETTER lessons and stories can be told to students going forward! Thanks so much for your wisdom on this!


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text:
Marius Hauptmann (born 14 September 1999) is a German professional footballer who plays as a winger for VfB Lübeck.

Career
Hauptmann made his professional debut for Dynamo Dresden in the 2. Bundesliga on 23 December 2018, coming on as a substitute in the 90+3rd minute for Moussa Koné in the 3–1 away win against MSV Duisburg.

On 5 June 2019, Hauptmann joined FSV Zwickau on a two-year contract.

Personal life
Hauptmann's father, Ralf, is a former professional footballer and East German international, who also played for Dynamo Dresden. His older brother Niklas is also a professional footballer, having previously played for Dynamo Dresden.

References

External links

 Profile at kicker.de

1999 births
Living people
People from Leinefelde-Worbis
Footballers from Thuringia
German footballers
Association football midfielders
Dynamo Dresden players
FSV Zwickau players
VfB Lübeck players
2. Bundesliga players
3. Liga players
Regionalliga players

redpajama_set_name: RedPajamaWikipedia


It is encouraging to see the progress that is being made in energy storage. Don Pittis writes on the CBC website about recent developments in Canada.
On an industrial site in Toronto's Port Lands, not far from Google's planned new urban experiment, are two warehouse-sized boxes on stilts.
"It's getting more energy dense, it's getting cheaper and the cells are becoming longer lifetime," Dahn said.
Only a few months ago, Tesla completed a grid-scale battery in Australia to store wind generated power until it's needed. The project would have been impossible just a few years ago when Dahn was working on his innovations in lithium-ion technology.
Toyota, BMW and vacuum cleaner company Dyson are all reportedly working on new "solid state" battery technology to similarly increase energy density and speed up charging times.
But according to battery scientist Dean MacNeil at Canada's National Research Council, batteries are good enough and cheap enough now that industrial users are through waiting.
"They are much harder to introduce into a market, especially a market like electric vehicles where you're very dependent on hitting specific performance requirements and you're very risk averse," he said.
In the past that balancing act has been accomplished by adjusting output at large hydro dams far from where most power is used. Lower battery costs have now made it possible to move that capability closer to the places where it's needed.
In Alberta this month, the price of wind-generated electricity plunged to 3.7 cents per kilowatt hour. As the price of storage falls further, it will become increasingly economic to scale back on traditional peak generator capacity such as coal or gas plants and store that cheap power until it's needed.
That's revolutionary. And the revolution is far from over.
Energy scientist Jeff Dahn says with continuing innovations in batteries, the smart grid, renewable energy and electrified transport, he can't help being optimistic. He says he can hardly wait for what the future brings.


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Liu, Wang, and Huang: Obliteration of Radical Cavities and Total Reconstruction Procedure Without Staging After Canal Wall Down Mastoidectomy: Long-term Results
Obliteration of Radical Cavities and Total Reconstruction Procedure Without Staging After Canal Wall Down Mastoidectomy: Long-term Results
Shao-Cheng Liu, Chih-Hung Wang, Bor-Rong Huang
Department of Otolaryngology-Head and Neck Surgery, Tri-Service General Hospital, National Defense Medical Center, Taipei, Taiwan.
Corresponding author: Bor-Rong Huang. Department of Otolaryngology-Head and Neck Surgery, Tri-Service General Hospital, National Defense Medical Center, 325, Section 2, Cheng-Kung Road, Taipei 114, Taiwan.
Tel: +886-2-8792-7192, Fax: +886-2-8792-7193, borrong_huang@hotmail.com
Received June 27, 2014 Revised August 19, 2014 Accepted September 30, 2014
We evaluate the long-term surgical and hearing results using a canal wall down mastoidectomy technique followed by cavities obliteration, canal wall reconstruction and ossiculoplasty without staging.
A total of 44 patients between January 2002 and October 2009 were selected and 27 of them were revision cases. Preoperative and postoperative pure tone average (PTA) and air-bone gap (ABG) were assessed and compared 1 and 4 years after surgery.
The middle ear was well healed and aerated in 40 patients (90.9%) and the tympanic membrane was intact in 42 patients (95.5%). Recurrent cholesteatoma was found on postoperative follow-up in two of the revision patients (7.4%) but none in the primary patients. Seven patients were found to have partial canal bone absorption, but revision surgery was not required. Over 86.4% of all cases were water resistant. Long-lasting improvement and/or preservation of hearing, with maintenance of PTA-ABG closure in 63.7% of all cases within 20 dB, were obtained.
The efficacy of our technique after a canal wall down mastoidectomy is satisfactory, and the rate of complication is acceptably low. We believe that our technique could be a convenient method in disease control and providing an excellent basis for hearing restoration simultaneously.
Keywords: Cholesteatoma; Mastoid; Surgical Procedures, Operative; Reconstructive Surgical Procedures; Hearing
A common potential problem with traditional canal wall down (CWD) mastoidectomy procedures in treating cholesteatoma is the long-term morbidity associated with discharging cavities [1]. CWD is a destructive approach, insofar as it involves creating an open cavity and altering the anatomy and physiology of the middle ear and mastoid. This can result in frequent ear discharge, difficulty in fitting a hearing aid, the need for water precautions and a potential lifetime of visits to outpatients for aural care with significant socioeconomic impact [2]. Several surgical techniques have been described with modifications and today there is no general consensus about the optimal procedure.
A canal wall up (CWU) technique eliminates the need to destroy the middle ear and mastoid, but it is associated with a higher rate of residual cholesteatoma [34]. In 2002, we decided to find out whether it is possible to combine the advantages and, at the same time, avoid the disadvantages of both the CWU and CWD techniques. Our approach was mastoid and epitympanic bony obliteration followed by posterior bony canal wall reconstruction (CWR) and ossiculoplasty without staging. According to the preliminary results, this technique is promising; however, longer follow-up is necessary to assess the durability of the procedure.
In this study, we studied the long-term condition of ears that underwent CWD mastoidectomy with mastoid and epitympanic obliteration and posterior wall reconstruction using a free bone-connective tissue composite graft, autogenous bone chips, bone pâté and a rectangular superiorly meatal pedicle flap. All the patients that participated in the study were followed at least for 4 years. The surgical results, the degree of hearing restoration and the changes of the configuration of the cavity will be discussed in our report.
The study was performed as a retrospective chart review between January 2002 and October 2009 in the Tri-Service General Hospital, Taiwan. Our clinical database included a total of 103 patients who underwent mastoidectomy, with ages ranging from 16 to 72 years. Patients were included in this study if they underwent CWD mastoidectomy, mastoid and epitympanic obliteration, CWR, and ossicular chain reconstruction without staging. Seventeen patients in the study received surgery for the first time in the involved ear (primary cases) and 27 patients had previously received surgery in the involved ear (revision cases). Patients with follow-up period less than 48 months were excluded from this study. All surgeries were performed by the corresponding author, a senior otolaryngologist. A database was created which included: patient age, gender, etiology, operative details, and surgical complications. They also underwent high-resolution computed tomography (HRCT) scans of the temporal bone before surgery. All patients were evaluated postoperatively by follow-up surgical microscopy. Perioperative pure tone audiometry thresholds (0.5, 1, 2, and 4 kHz pure tone average [PTA]) via air conduction (AC) and bone conduction (BC) were determined and the air-bone gap (ABG) was calculated. Both the paired t-test and McNemar test were used for statistical analysis; differences were assumed significant at P<0.05.
Surgical technique
Under general anesthesia, an endoaural incision was made as Heermann B incision (Fig. 1A) and the posterior canal skin was elevated from medial to lateral direction. Then, the skin and subcutaneous tissues about 1-2 cm behind the postauricular sulcus were incised sharply down to the temporalis fascia and the periosteum overlying the mastoid cortex. The incision went behind the postauricular muscle and the perosteum was elevated around the ear canal to meet the Heermann's incision at 12 o'clock to become an aurical-canal skin flap, using self-retaining retractor to push it forward and expose the tympanic membrane.
From the postaural region, a large piece of temporalis fascia about 10 mm×15 mm was harvested. A rectangular superiorly meatal pedicle flap about 15-mm width and 25- to 30-mm length was elevated (Fig. 1B). In the same plate, a free bone-connective tissue composite graft 20 mm×20 mm was harvested with a 6-mm osteotome from the mastoid cortex around the mastoid tip (Fig. 1C). This composite graft was composed of subcutaneous tissue and fractured bone with/without periosteum; depended on its previous surgical condition. Bone chips also collected with the same osteotome. We collected bone pâté as we drilled the mastoid cortical bone using 4- to 5-mm cutting burr until the first mastoid air cell is opened. The bone pâté and chips are extensively irrigated with physiologic water until it is free of blood and is soaked with antibiotic solution (Gentamicin; 40 mg/mL, 2 mL in 20 mL physiologic water; Winston Medical Supply Co., Tainan, Taiwan) to decrease the risk of infection.
Following the elevation of the tympanomeatal flap, a retroauricular tympanotomy was made to remove all diseased tissues in middle ear. A complete CWD mastoidectomy is then performed, including the exenteration of the sinodural, retrofacial, retrosigmoid, and mastoid tip cells but some portion of anterior and posterior buttress of facial ridge was preserved as a guideline for keeping the reconstructed posterior canal wall in the nearly natural position. All of cholesteatoma, diseased soft tissues, and polyps were cleaned. The incus and malleus head are removed using a malleus nipper, and the malleus handle is cleaned free of connective tissue and mucosa and preserved for later reconstruction. The oval window niche, including the stapes or its remnants, is carefully cleaned.
Reconstruction starts by reconstructing the posterior bone canal wall with a free bone-connective tissue composite graft. To keep it firmly in the desired position, we packed an ear mold inside the external ear canal made from wet cotton (Fig. 2A), which was shaped to closely mimic the normal anatomic dimensions. Next we completely fill the mastoid cavity and the entire attic region with bone chips and pâté, using the method we called "parallel overlapping stacking method" (Fig. 2B). The superiorly meatal pedicle flap was used to shield the anterior surface of the free bone-connective tissue composite graft (Fig. 2C). The ossicle chain was reconstructed with autologous incus or autologous bone fragment in one stage. The tympanic membrane was then reconstructed by temporalis fascia graft (Fig. 2D). In cases with obvious canal skin loss during CWD procedure, the split-thickness skin graft is used to enhance the canal epithelization. The final step of reconstruction is to insert gelfoam in the middle and external ear canal to keep the temporalis fascia graft and ossicle prosthesis in place. External auditory meatoplasty was performed to prevent postoperative stenosis of meatal orifice by using Wolfensberger's Inferiorly based conchal bowl flap (Fig. 1A) [5]. This flap also was used to overlap most of the superiorly meatal pedicle flap (Fig. 2D) and was fixed in place with Sofra-tulle dressing (Hoechst Marion Roussel, Zürich, Switzerland).
In revision cases with previous CWD mastoidectomy, the technique was the same for primary cases, except in revision cases, the medial circumferential incision was made on the bony facial ridge instead on the posterior canal wall because the ears in revision cases no longer had any posterior bony wall. An additional bone plate was harvested for posterior wall reconstruction and bone chips or pâté were collected from the lateral cortical bone as those mentioned above. In revision cases, most of the cases still had high facial ridge with sharp anterior and posterior buttresses, which was important for posterior wall fixation. The superiorly meatal pedicle flap was designed mainly as the primary patients, although the fibrosis might impede this step. The wound was closed as usual. An intravenous antibiotic was administered perioperatively, and amoxicillin-clavulanate tablets were prescribed for 10 days postoperatively. Careful follow-up included repeated clinical examinations, and referral for HRCT if suspicious recurrence.
Forty-four patients met the study criteria, 21 men and 23 women with average age of 45 years (range, 17 to 69 years). The mean postoperative follow-up was 88 months (range, 49 to 741 months). This was the first operation on the involved ear for 17 patients (primary patients), and 27 patients previously received surgery in the involved ear (revision patients) (Table 1). The middle ear was well healed and aerated in 17 of the primary patients (100%) and in 23 of the revision patients (85.2%). The tympanic membrane was intact in 17 of the primary patients (100%) and in 25 of the revision patients (92.6%) (Table 2). Recurrent cholesteatoma was found on postoperative follow-up in two of the revision patients (7.4%) but none in the primary patients.
Six of the revision patients and one of the primary cases were found on follow-up to have partial canal bone absorption, but revision surgery was not required. The facial nerve was dehiscent in its tympanic portion in five patients. One patient suffered from delayed temporary facial weakness for 10 days postoperatively, but returned to normal function 3 weeks later. No other major complication was encountered.
All patients underwent complete hearing evaluation and the mean AC, BC, and ABG values (±standard error of the mean) at different time points shown in Table 3. The mean preoperative PTA-AC was 44.7 dB with a mean preoperative PTA-ABG of 25.0 dB. Postoperative hearing results were assessed after 1 and 4 years and revealed a mean gain on PTA of 4.5 and 2 dB, respectively. The mean improvement in the ABG at 1 and 4 year postoperative follow-up was 4.4 and 2.2 dB, respectively. The PTA-ABG improvement at 1-year follow-up was statistically significant (paired t-test, P<0.05), as compared to the preoperative value. Thirty-one patients (70.4%) had excellent (0 to 10 dB) or a good (11 to 20 dB) gap closure one-year after the evaluated surgery. Finally, 28 patients (63.7%) had excellent or good gap closure in the operated ear at the 4-year follow-up (Table 4). Those improvements, both 1 and 4 years after surgery, were statistically significant as compared to that before surgery (McNemar test, P<0.05). Conductive hearing loss persisted in some individuals because of continued eustachian tube dysfunction. No attempt was made to offer ventilation tubes to this population because a dry, safe ear was the primary goal. None of the patients in this series experienced complete hearing loss.
The CWD procedure involves taking down the posterior canal wall to the level of the vertical segment of facial nerve and marsupializing the mastoid into the external ear canal. As compared to the CWU procedure, the removal of the bony canal during the CWD procedure improves exposure and facilitates the complete removal of all cholesteatoma [6]. However, it is also known that this approach will lead to the creation of an open cavity with numerous disadvantages. It is less performed today but in patient with a cholesteatoma and poor eustachian tube function as evidenced by absence of middle ear aeration and a sclerotic mastoid, the CWD procedure remains an option [7].
Aimed at solving these problems mentioned above, surgeons have attempted reconstruction with a variety of techniques and materials [8]. Two general strategies have been attempted: reconstruction of an anatomically correct canal wall and complete obliteration of the mastoid cavity [89]. Several surgeons performed staging in CWD procedures with reconstruction, due to the risk of residual cholesteatoma [2910]. A disadvantage with this technique is the delay in hearing reconstruction. Another disadvantage is the additional surgery. Our preference is to perform the CWD procedure where the mastoid cavity and epitympanic spaces are widely exposed and hermetically sealed with autologous materials. The ossicular chain and posterior canal wall is reconstructed consequently without staging. Long-term stable hearing can be obtained using this approach. The results of the current series demonstrate that our technique has an advantage over other CWD procedures in terms of water safety. Specifically, 86.4% of the postoperation ears were water-safe, 95.5% had intact tympanic membranes, and 90.9% had aerated tympanic cavities. Subsequently, eardrum retractions were found in 3 patients (6.8%) with surgical microscope at the regular clinical examination.
Negative pressure in the middle ear and mastoid likely contribute to the recurrence of cholesteatoma. Inflammatory conditions will result in more negative middle ear pressures because more gas is absorbed from diseased mucosa [78]. Exenteration of the mastoid epithelium, followed by obliteration, can minimize the potential problems by reducing the size of the mastoid cavity and promoting epithelialization over the exposed mastoid bone [1112]. It may decrease the volume of air absorption from the middle ear and mastoid [1314]. Roberson et al. [8] found that mastoid obliteration often normalized eustachian tube function and aeration of the mesotympanon in a majority of patients. This could prevent development of retraction pockets and reduce the incidence of recurrent cholesteatoma compared with CWU techniques. In this series, no patients had residual cholesteatoma but the recurrence rate was 4.6% (2/44), which is similar to low recidivism rates published for CWD mastoidectomy, after a mean follow-up of 88 months.
We prefer to use autologous material such as bone chips, bone pâté and the free bone-connective tissue composite graft in mastoid obliteration. These materials are readily available in primary and revision cases and in our experience produce excellent results. To avoid collecting the fillers contaminated with infected mucosa or squamous epithelium, it is best to collect them from the lateral cortical bone. It is our experience that sufficient bone is available at the mastoid cortex; if not, as may be the case in revisions, exposure of the temporal squamous bone or postsigmoid bone can provide sufficient bone chip or pâté. Meanwhile, the autologous filler is impregnated with antibiotic solution, the gentamicin solution, at the time of harvest to decrease the risk of infection. The epitympanum and antrum are specifically addressed and obliterated to closely mimic the normal anatomic dimensions of the external auditory canal. This maneuver prevents a recurrent pocket for debris trapping or cholesteatoma to recur. Once the chip or pâté is placed, it is important to ensure complete coverage with the pedicle flap to prevent its dissolution. Black [15] reported an infection rate of 16% in a series of 55 patients using autologous bone and reported a long-term failure rate of 52%. Roberson et al. [8] reported an infection rate of 13.8% in 62 patients and a resorption rate of 4.8% when using bone pâté washed with antibiotic solution. In this study, there were two patients (4.6%) who suffered from postoperative infection and partial obliteration material resorption was observed in seven patients (15.9%). Both the cortical bone chips, pâté, and soft tissue flap atrophied with a resultant increase in the size of the cavity but tend to be stabilized within one year after surgery. The reconstructed canal might enlarge progressively, but the result was acceptable and they were all well tolerated to hearing aid. Only one patient in this series suffered from flap breakdown and near-total graft absorption. A rotation flap was used in salvage surgery.
Our approach improves exposure and removal of cholesteatoma as in a CWD only approach while retaining the benefits of an intact canal wall for improved hearing and avoidance of the bowl cavity. Reconstruction is often done with bone plate, cartilage or prosthetic material. Some reports describe removing the posterior bony wall and reinforcing it with fascia or other materials when it is replaced [9]. Long-term, stable canal reconstruction is achievable in 75% of patients as demonstrated by Grote and van Blitterswijk [16] in a 15-year follow-up of 60 patients undergoing reconstruction with a preformed hydroxyapatite prosthetic external auditory canal prosthesis. In our experience, reconstruction of the posterior wall to closely mimic the normal anatomic dimensions is possible in all patients by using the free bone-connective tissue composite graft and the pedicle flap. One of the benefits of our procedure is the use of the patients' own tissue to accomplish the result. When an autologous free graft is covered by a piece of living tissue, it can get nourishment directly. However, if grafts are placed over nonvascular materials, they could break down and lead to exposure of the underlying materials and become infected. The goal of the CWR technique is to produce an epithelium-lined skin rich in blood supply inside the external auditory canal, which is critical for producing a healthy canal. To promote epithelialization, we use the superiorly meatal pedicle flap then overlaid it with the inferiorly based conchal bowl flap.
We observed obvious retraction of the reconstructed canal wall towards the posterior in seven patients (15.9%) in our current series. To measure the ear canal volume, we had used 37℃ normal saline and put it into the ear canal, before canal packing and three months after operation. The canal shape changed time to time, from nearly cylindrical shape to conical shape. The canal volume changed from 1.0-1.2 mL to 1.6-1.7 mL in four of revision cases (not shown in this paper). There were some cases having shallow retraction but no pocket or deep cavity formation in the attic and posterior tympanic region. The retraction is caused by the reduction in volume of the filling in the mastoid cavity. Recall that during reconstruction we fill the mastoid cavity and the entire attic region with bone chips and pâté. We believe as surrounding tissues absorb nitrogen, the space surrounding each added bone material decreases, thereby causing a reduction of the total volume of the filling [1]. Another potential cause of such shrinkage may be the absorption of the added bone material [17]. In order to minimize the retraction of the reconstructed canal wall, the surgeon should fill in the mastoid cavity with care to decrease the spacing between added bone materials.
Achievement of middle ear aeration is necessary for successful hearing reconstruction. Our technique of CWR is able to re-create a more lateral tympanic ring, allowing formation of an adequate middle ear space for ossicular reconstruction, resulting in hearing improvement. Brown [18] found that only 34% of adults and 28% of children who received a traditional modified radical mastoidectomy had "serviceable" hearing, defined as an AB gap of ≤20. In contrast, 62% of adults and 66% of children with CWU mastoidectomy had serviceable hearing. Likewise, Tos and Lau [19], in a study with a mean observation time of 9.3 years, found that although 36% of patients with a CWD mastoidectomy had an AB gap ≤20, 50% of patients with an CWU mastoidectomy had an AB gap ≤20. Our overall long-term hearing outcomes are comparable to other authors' results for CWU mastoidectomy with 70.4% (31/44) and 63.7% of patients (28/44) having an ABG of 20 dB or less at 1 and 4 years postoperation, respectively. The results show that it is possible to combine the advantages of both the CWU and CWD techniques with serviceable hearing results and complete removal of cholesteatoma. No patient experienced worsening of hearing when comparing final results with presenting PTA. In those ears where hearing does not improve to functional levels, patients are able to wear a hearing device with less risk of infection and complication
Consequently, the presented surgical technique without staging seems to provide long-term dry, safe, and water-resistant ears with stable improvement of hearing. Although shrinkage of the obliterated mastoid and re-formed wall can not be avoided completely, the result was acceptable and they were all well tolerated to hearing aid. Our procedure would not be suitable for those with severe mastoid cholesteatoma. If the cholesteatoma can not be cleared from the mastoid cell tracts, obliteration is contraindicated. Finally, although the recurrence rate in our series was quite low, long-term otoscopic follow-up combined with magnetic resonance imaging/HRCT remains the standard protocol for the early detection of cholesteatoma recurrence.
In conclusion, mastoid obliteration and CWR should be considered a routine part of CWD mastoidectomy and can be performed without staging. Our results indicate good overall success for the stability of the tympanic membrane, hearing preservation/restoration, and disease control. Therefore, we recommend the presenting technique for patients with extensive or recurrent cholesteatomas involving the middle ear or mastoid cavity, for whom adequate mastoid air cells eradication is imperative.
1. Singh V, Atlas M. Obliteration of the persistently discharging mastoid cavity using the middle temporal artery flap. Otolaryngol Head Neck Surg. 2007 9;137(3):433–438. PMID: 17765771.
2. Gantz BJ, Wilkinson EP, Hansen MR. Canal wall reconstruction tympanomastoidectomy with mastoid obliteration. Laryngoscope. 2005 10;115(10):1734–1740. PMID: 16222186.
3. Gyo K, Sasaki Y, Hinohira Y, Yanagihara N. Residue of middle ear cholesteatoma after intact canal wall tympanoplasty: surgical findings at one year. Ann Otol Rhinol Laryngol. 1996 8;105(8):615–619. PMID: 8712631.
4. Wilson KF, Hoggan RN, Shelton C. Tympanoplasty with intact canal wall mastoidectomy for cholesteatoma: long-term surgical outcomes. Otolaryngol Head Neck Surg. 2013 8;149(2):292–295. PMID: 23674568.
5. Wolfensberger M, Hilger PA, Hilger JA. Conchal bowl and postauricular flaps for reconstruction of the external auditory canal. Otolaryngol Head Neck Surg. 1983 8;91(4):404–406. PMID: 6415588.
6. Kim MB, Choi J, Lee JK, Park JY, Chu H, Cho YS, et al. Hearing outcomes according to the types of mastoidectomy: a comparison between canal wall up and canal wall down mastoidectomy. Clin Exp Otorhinolaryngol. 2010 12;3(4):203–206. PMID: 21217961.
7. Edfeldt L, StrOmbAck K, Kinnefors A, Rask-Andersen H. Surgical treatment of adult cholesteatoma: long-term follow-up using total reconstruction procedure without staging. Acta Otolaryngol. 2013 1;133(1):28–34. PMID: 23113656.
8. Roberson JB Jr, Mason TP, Stidham KR. Mastoid obliteration: autogenous cranial bone pAte reconstruction. Otol Neurotol. 2003 3;24(2):132–140. PMID: 12621322.
9. McElveen JT Jr, Chung AT. Reversible canal wall down mastoidectomy for acquired cholesteatomas: preliminary results. Laryngoscope. 2003 6;113(6):1027–1033. PMID: 12782816.
10. Leatherman BD, Dornhoffer JL. The use of demineralized bone matrix for mastoid cavity obliteration. Otol Neurotol. 2004 1;25(1):22–25. PMID: 14724487.
11. Mahendran S, Yung MW. Mastoid obliteration with hydroxyapatite cement: the Ipswich experience. Otol Neurotol. 2004 1;25(1):19–21. PMID: 14724486.
12. Ramsey MJ, Merchant SN, McKenna MJ. Postauricular periosteal-pericranial flap for mastoid obliteration and canal wall down tympanomastoidectomy. Otol Neurotol. 2004 11;25(6):873–878. PMID: 15547414.
13. Takahashi H, Iwanaga T, Kaieda S, Fukuda T, Kumagami H, Takasaki K, et al. Mastoid obliteration combined with soft-wall reconstruction of posterior ear canal. Eur Arch Otorhinolaryngol. 2007 8;264(8):867–871. PMID: 17340129.
14. Linthicum FH Jr. The fate of mastoid obliteration tissue: a histopathological study. Laryngoscope. 2002 10;112(10):1777–1781. PMID: 12368614.
15. Black B. Mastoidectomy elimination: obliterate, reconstruct, or ablate? Am J Otol. 1998 9;19(5):551–557. PMID: 9752959.
16. Grote JJ, van Blitterswijk CA. Reconstruction of the posterior auditory canal wall with a hydroxyapatite prosthesis. Ann Otol Rhinol Laryngol Suppl. 1986 Mar-Apr;123:6–9. PMID: 3083756.
17. Clark MP, Bottrill I. SerenoCem-glass ionomeric granules: a 3-year follow-up assessment of their effectiveness in mastoid obliteration. Clin Otolaryngol. 2007 8;32(4):287–290. PMID: 17651273.
18. Brown JS. A ten year statistical follow-up of 1142 consecutive cases of cholesteatoma: the closed vs. the open technique. Laryngoscope. 1982 4;92(4):390–396. PMID: 7070181.
19. Tos M, Lau T. Hearing after surgery for cholesteatoma using various techniques. Auris Nasus Larynx. 1989 16(2):61–73. PMID: 2803117.
Schematic figures of operating technique. (A) An endoaural incision was made as Heermann B incision. (B) A superiorly meatal pedicle flap (SMPF) about 15-mm width and 25- to 30-mm length was designed and elevated. (C) A free bone-connective tissue composite graft (BCCG, white arrow) was harvested (black arrowhead, anterior buttress; white arrowhead, posterior buttress). IBCBF, inferiorly based conchal bowl flap.
Schematic figures of operating technique. (A) The posterior bone canal wall is reconstructed with the bone-connective tissue composite graft (white arrow). (B) The cavities are obliterated with bone chips and pâté, using the parallel overlapping stacking method. (C) The superiorly meatal pedicle flap (white bifid tail arrow) is shielded the surface of the obliterated cavity. (D) The ossicle chain and eardrum is reconstructed without staging (black arrow, inferiorly based conchal bowl flap; black bifid tail arrow, tympanomeatal flap; black arrowheads, split-thickness skin grafts).
Demographics of patients
Age (year), mean (range) 45 (16–69)
Male 21 (47.7)
Female 23 (52.3)
Presenting symptoms
Otorrhoea 29 (65.9)
Reduced hearing 36 (81.8)
Vertigo 8 (18.2)
Cholesteatoma present 39 (88.6)
Mastoidtis (without cholesteatoma) 5 (11.4)
Primary patients 17 (38.6)
Revision patients 27 (61.4)
Canal wall up 12 (44.4)
Canal wall down 15 (55.6)
Values are presented as number (%) unless otherwise indicated.
Surgical results of the patients during the follow-up at one-year postoperation
Intact eardrum
Well aerated middle ear
Retraction pocket
Disease recurrence
Primary (n=17) 15 (88.2) 17 (100) 17 (100) 0 0
Revision (n=27) 23 (85.2) 25 (92.6) 23 (85.2) 3 (11.1) 2 (7.4)
Total (n=44) 38 (86.4) 42 (95.5) 40 (90.9) 3 (6.82) 2 (4.5)
Mean AC, BC, and ABG values (all 0.5, 1, 2, and 4 kHz PTA) of the patients during the follow-up
AC 44.7±3.78 40.2±4.18 42.7±2.41
BC 19.8±2.13 19.6±2.15 19.9±1.31
ABG 25.0±2.48 20.6±3.21* 22.8±1.48
Values are presented as mean±standarard error of the mean.
AC, air conduction; BC, bone conduction; ABG, air-bone gap; PTA, pure tone average.
Paired t-test;
* P<0.05.
Patients' air-bone gaps during the follow-up
Air-bone gap (dB)
<10 9 (20.5) 2 (4.5) 19 (43.2)
11–20 7 (15.9) 29 (65.9) 9 (20.5)
21–30 14 (31.8) 5 (11.4) 5 (11.4)
>30 14 (31.8) 8 (18.2) 11 (25.0)
P-value <0.05 <0.05
McNemar test.
Mastoid Obliteration with Silicone Blocks after Canal Wall Down Mastoidectomy 2012 March;5(1)

redpajama_set_name: RedPajamaCommonCrawl


S corporation is commonly known as the normal or ordinary businesses or limited liability companies or partnership. For purposes of the federal taxation, S corporations channel their corporate gains, loans, deductions and even losses through their owners (shareholders).
Are You Looking for S-Corporation Tax Planning?
Selection of an appropriate mode of accounting that shall help lower the corporations tax liability as long as it aligns to the IRS.
Use of efficient and effective inventory valuation procedures such LIFO or FIFO in their appropriate advantage periods.
Purchasing of adequate and up to date operation equipments, plant and assets regardless of the costs incurred because this shall be deducted to the final taxable income for the corporation.
Involving high end or the most qualified operational staff, consultancy officers, legal officers, accountancy officers for the benefit of the business. All this shall however be deducted at the end of the year when filling returns.
Undertaking various business operations modes whether by sales or cash. Bad debts on credit sales shall at the end be deductible on the corporations' taxable income.
Acquisition of financing through loans or even credit purchases. This is so because all interests accrued on loans received from any financial institutions is deductible on the corporations taxable income.
The company may have the advantage of using medical compensation plans. i.e. all the employees medical expenses can be met by the company thereby making this a deductible expense to the company as well as being tax free to the employee's.
S-corporations have the ability to accrue earnings for future growth and expansion at a lower cost compared to other entities.
S-corps companies requiring quite an amount of capital may approach venture capitalist for their capital.
Acquisition of equipments costs. This however may be limited to certain equipments as outlined in the IRS. More over it is encouraged that this be spread over a number of years.
Bad debts written off. Any expenditures that may be incurred as a result of failure of payment on credit sales qualify for tax deduction under the federal tax laws.
Costs incurred on advertising of the business are also deductible on the corporations annual incomes.
Expenses incurred on professional services for instance consultancy, legal services, compliance with tax codes, accountancy services etc.
Operational expenses for the business. This may include rent for the premises, office stationeries etc.
Interest expenses incurred on loans or credit services required for start and operation of the business.
Insurance expenses. This may come under various forms i.e. premiums paid for burglary/theft, fire insurance, debt insurance, laborer's compensation insurance, error/omission insurance etc. All this qualify for tax deduction.


Wash the smoked collar of pork with warm water and leave to soak for a few hours in cold water, exchanging the water 2 – 3 times, then bring to the boil in the same water.
Change the water after 20 – 30 minutes, bring back to the boil and add vegetables as if for a hot pot.
Cooking time for an average sized collar: 1½ – 2 hours.
Broad Beans: To get them right, the most important ingredient is savoury.
Cut some savoury very finely. Cube one onion, and some streaky bacon.
Season, and add 1 table spoon of flour. Cook for a further 20 minutes.


The Chillicothe Fire Department is participating in the Columbia Gas of Ohio "Smell and Tell Firefighter Video Contest" and is in the running to win $5,000.
The competition challenges hundreds of fire departments around the state to create videos demonstrating natural gas safety.
The Chillicothe Fire Department is one of only 11 statewide in the final round of the contest. If you'd like to vote for the Chillicothe Department's video, simply visit the facebook page page for Columbia Gas of Ohio, HERE Votes can be cast through May 7th.
The Chillicothe Fire Department is currently in second place behind Toledo Fire and Rescue.


Police Minister Stuart Nash says anecdotal evidence suggests an increase in the number of sexual assaults at the beginning of each year may be linked to students heading to university.
The police made the possible link when Stuart asked them about the trend late last year.
Of the roughly 6000 sexual assaults reported between July 2017 and July 2018, more than three quarters of the victims were female and almost half were younger than 20 years old.
Internationally, sexual assaults are recognised as being significantly underreported - it's estimated to be only about 10 percent.
An increase in sexual assaults around February and March over a number of years prompted the police minister to ask what might be to blame.
"This is when the universities go back and maybe what's happening is 18 and 19-year-olds are away from home for the first time, mixing with alcohol and orientations for example - that might be the reason,'' says Stuart.
"And police say maybe around this time some of the assaults that occurred over the Christmas break are only just being reported, maybe a woman has found herself pregnant."
Stuart stressed the advice he received was purely anecdotal.
But he said more police resources are being put into keeping young people safe, given one in five female secondary students say they have had unwanted sexual contact.
"What we do know is you mix alcohol with young men and women then sometimes, not always of course, but sometimes it doesn't end well.
"I agree that police will come up with a programme that looks out how do we best target our education towards those who are the most vulnerable in society, and whether that means going into schools and having uncomfortable conversations with young men and women,'' he said.
Victoria University of Wellington Students' Association Tamatha Paul says linking an increase in sexual assaults to alcohol and the start of the university year was harmful because it made it sound like victims have chosen to put themselves in that position.
"Now we have a whole bunch of students that are going to be anxious and nervous about university because they feel like they're not safe,"says Tamatha.
"When really we know from evidence that sexual violence happens most frequently ... between people that know each other.
"The problem is that people don't know what consent is and what healthy relationships are."
Victoria University student academic services director Pam Thorburn says a national campaign emphasising positive relationships needs to start from a young age, potentially from early childhood, and continue through secondary and tertiary education.
Counsellors at the university won't always know when a student has been a victim of sexual assault, as there are multiple avenues for reporting it.
But Pam says the university does do lots of work with students, especially at the start of the year, to help them transition into the city.
This includes collaborating with the police and the hospitality sector on the Ask for Angela campaign, which began in the United Kingdom, and lets people discretely alert bar staff if they feel unsafe while out drinking.
"The Ask Angela campaign we've had involvement in helping to shape that.
"We've worked with police on Don't Guess The Yes, which is around consent. And we've put a huge amount of information into our halls for students,'' says Pam.
"This year for the first time we've got compulsory modules in place for students around consent."
Pam says the university had also done a lot of work with the police around alcohol-free events and safe zones, both on and off-campus.
David Kirby, the police's sexual violence spokesperson, says they did a lot of work at the start of the university year to make sure students look after their friends when they're drinking - and know when to tell them enough is enough.
"Ages probably 16 to 25-years-old is our highest proportion of sexual assault complaints that we receive.
"Couple that with the linkages with alcohol and it is often the start of the university year where you've got those two coincide - that can create times where people don't make good decisions."
He says the irony of the statistics was that if the number of reported sexual assaults went up, it didn't necessarily mean the problem was any worse, it may just be that more people feel comfortable reporting it.


Did you know that the City of Danbury is ranked as the 4th Most Diverse Small City in the country? That attribute is celebrated all throughout the city by way of lively, energetic cultural clubs who not only celebrate their heritage but embrace and influence the Danbury community. To honor the diversity and history of this city, Mayor Boughton installed Heritage Plaza outside of City Hall. Cultural groups are welcome to build a monument of their heritage to add to the plaza, all leading up to the Hatters Monument, dedicated to the history of factory workers here in the Hat City. If you haven't seen it yet, come by City Hall and take a look!
Established July 29, 1924 - the 160th lodge to be established under the Order of the Sons of Italy. The members of the Amerigo Vespucci lodge are mostly of Italian culture and take our heritage seriously.
Throughout the year, they celebrate the Italian heritage and support Italy through activities like the FIFA World Cup Games, or to honor Amerigo Vespucci on Memorial Day. The City of Danbury erected a monument of Amerigo Vespucci to honor Italian-Americans in the Danbury area. The public is encouraged to come and enjoy the lodge and people of Italian descent are encouraged to apply for membership.
Amerigo Vespucci lodge is a Non-Profit Organization who elects board members each year that volunteer and dedicate their time to managing all aspects of the Lodge.
The Ecuadorian Civic Center of Greater Danbury celebrates the Ecuadorian heritage in the city and surrounding area. The center prides themselves on being at the forefront of a dynamic and diverse community. Recognized as a Not-for-profit Legal Entity, by the State of Connecticut, April 21, 1997. The center carries out social, cultural, and sports activities that help the unity and interrelations of the whole community.
The purpose of the GDICC is to establish a permanent place in the Danbury community dedicated to preserving the cultural influences and historical contributions of the Irish people who emigrated to this country and in particular to the Danbury area. Centered on the motto "Tradition, Pride, Friendship and Community", the Greater Danbury Cultural Center will be a place where the Irish language, music, and dance can be taught to young and old alike: Irish books and history may be collected and shared: and Irish Craic (camaraderie) may be enjoyed.
The Lebanon-American Club of Danbury is a community organization that was founded in 1922 and has been a positive and unifying presence in the region ever since, through ongoing involvement with civic and cultural activities in Danbury. The Club has awarded thousands of dollars to college-bound students through its annual scholarship program, supported by local organizations.
The club host numerous social events throughout the year, including Friday Night Dinners, sporting events watched on TVs, or outdoor, such as the Golf Outing Classic. In addition, they hold cultural events such as Teachers Exchange Program, Lebanon Day and Persons of the Year. You can see a monument dedicated to the Danbury-area Lebanese people at City Hall's Heritage Plaza.
Polish American Citizens Club was established in 1923 as a place to celebrate Polish heritage within the greater Danbury area. The club operates as a place for social gatherings in Downtown Danbury and is open to the public.
In 1924, with the creation of the Sons of Portugal Club on Liberty Street, in Danbury, Connecticut, the Portuguese-American community were given a familiar environment for social advancement in the pursuit of the "American Dream."
This club became very popular, and the need for larger facilities that could accommodate the fast growing Portuguese American community quickly grew. Therefore in 1938, the Portuguese American Club was created and was also erected on Liberty Street.
For nearly 50 years, the two clubs became the nucleus and the focus of the Portuguese American community, bringing with them several Portuguese American businesses and residents, creating the downtown area to be known as "Portuguese Square," or "Little Portugal."
In July of 1998, the need for even bigger and better facilities could no longer be ignored. The Portuguese American community was at its peak in numbers. The decision was made to merge the Portuguese American and Sons of Portugal Clubs, creating the NEW Portuguese Cultural Center of Danbury.
The club is committed to providing the hospitality that the Portuguese are known for. They offer soccer, music school, theatrical groups, and many more activities.
The Multicultural Center was founded in July 1968 as the Hispanic Civic Center of Danbury by a group of Hispanics, mostly Puerto Ricans, who wanted to preserve their traditions and language and pass it on to the next generation. It began as a cultural center for the Latino community. The group met in St. Anthony's Church, where they had classes to teach children their parent's language and customs.
The goals of the agency were, "the encouragement of the culture, fraternity, and mutual assistance of its members as well as the sponsoring of social and sporting activities, with special attention and emphasis on the furtherance of the Hispanic Cultural of its members." At that time, Danbury's Hispanic population was about 3,000, composed primarily of Puerto Ricans.
In the 1970s, the center's name was changed to Hispanic Cultural Society of Danbury's the size of the community increased, its needs changed. Many of the new immigrants did not speak English and needed to know how to function in a new society as well as what was available to them. The mission of the Center changed with the population, the center evolved into a social-service agency. The focus of the center was on teaching English and helping Spanish-speaking adults earn high school diplomas. In the 70s, among other programs, the Center began to offer summer programs for children. Its primary mission became to integrate Spanish speaking people into the broader community, to help people become self-sufficient and progress. In 1993, the center was renamed the Hispanic Center of Greater Danbury, reflecting the agency's growth in its mission and that it was no longer only a cultural center, but a social service agency.
The Hispanic Center of Greater Danbury serves, supports, and educates Spanish-speaking residents in their effort to strive and succeed, creating a benefit to the Danbury community at large.
This non-profit community organization serves western Connecticut with the goals of promoting cultural awareness of India and celebrating the Indian culture. As a strong community in Danbury, the Indian Association welcomes the community to get involved and take initiatives. They offer many community events throughout the year and have established a youth committee for future leaders that range from middle school to college-aged students.
If you are a member of a cultural club and believe this page has an error, please click here to make a suggestion.


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A Cut Above The Rest: The World Premiere Of The Sherman Brothers' Musical "Levi!" Is A Perfect Fit For L.A.C.C's Theatre Academy!
Leo Buck
A classic "Rags to Riches" story (by earning riches out of rags) set in the early-to-middle decades of the nineteenth century, true to form, many of the numbers heard here gratis the talented tunesmith-siblings will stay enchantingly in your head, lifting your mood long after the final curtain has been wrung down.
"Kritzerland Entertainment" And Los Angeles City College's "Theatre Academy" Presents The World Premiere Of "Levi! The Musical" November 16—December 2, 2017 At "The Camino Theatre" On The Campus Of Los Angeles City College In Los Angeles CA.
At one time or another, who hasn't owned a pair of good ol' Levi's Jeans—you probably have several in your closet or laundry basket right now! But how much do you know about the man whose very name has become synonymous with the britches that became working America's trademark? Over a century before names like Calvin Klein, Tommy Bahama and Gloria Vanderbilt found their way onto hind-end labels, there was Levi Strauss. Now, none other than Richard and Robert Sherman—the Oscar-winning siblings behind such iconic film scores as "Mary Poppins", "Charlotte's Web" "Chitty, Chitty, Bang, Bang", "Bed-knobs And Broomsticks" and "Summer Magic", are celebrating the life of this true-blue pants-designing pioneer with the World Premiere of their new musical "Levi!" A classic "Rags to Riches" story (by earning riches out of rags) set in the early-to-middle decades of the nineteenth century, "Levi! The Musical" features a book by Larry Cohen and Janelle Webb Cohen with music and lyrics by Messrs. Sherman and Sherman. Produced by Kritzerland Entertainment, this debut production opened at Los Angeles City College's "Camino Theatre" in Los Angeles, California as part of their "Theatre Academy" program.
The life of Apparel Pioneer "Levi Strauss" (1829-1902) is retold with drama, romance, humor and music in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical"
Directed by local theater impresario Bruce Kimmel with Choreography by Broadway Veteran Kay Cole and Musical Direction by Richard Allen, the Cohen's Book is swiftly moving, while also surprisingly pithy, dramatic, and even timely in its exploration of Immigrants rights over the centuries. This is not always one of those standard light-weight, 'feel-good' musicals, (albeit there certainly are those elements in it.) Kimmel's streamlined direction plays to every one of the multitudinous strengths the librettists have infused into their story (even the set changes seem like quick little dance breaks.) Likewise, the score by Richard Sherman and his late brother Robert, boasts plenty of clever turns-of-phrase as we've come to expect from this supremely accomplished (one might even say "Legendary") duo. True to form, many of the numbers heard here gratis these talented tunesmith/siblings will stay enchantingly in your head, lifting your mood long after the final curtain has been wrung down. This production comes as the realization of a long-held dream that began back in the 1980's when the Sherman Brothers met with the husband and wife screenwriting team of Larry Cohen and Janelle Webb Cohen about creating a musical about this too-often overlooked fashion and American icon. Whereas word has it that the story was optioned three times over the ensuing years, frustratingly nothing 'concrete' ever came of this interest. That is, until a year ago when Richard Sherman brought Kimmel the score and script noting that it was he and his late brother's considerable heartbreak that the show had never been done, further inquiring whether there was any possibility of Kimmel doing a staged reading. Instead, Kimmel not only agreed, he decided to mount a full production at his alma mater, Los Angeles City College, where he frequently returns to help keep musical theatre alive and support their "Theatre Academy" program. "Then I met with the authors," he observes, adding that the couple also agreed to make whatever changes he, as the director, thought might be needed, ultimately giving him their blessing to work from a revised edition of their script. This 'Labor Of Love" has categorically been a worthwhile pursuit for everyone involved–those in attendance on opening night couldn't scramble to their feet fast enough in conferring a thunderous—and abundantly deserved–Standing Ovation to this genuine theatrical 'discovery' of a show!
"I am standing in America—and it Fits!" Fresh off the boat and brand new to the U.S.A., Marc Ginsburg as "Levi Strauss" and the other immigrants look forward to living in a land where "The Streets Are Paved With Gold" in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical
When we initially meet Strauss, he's on the deck of a ship heading into New York Harbor where he left his home in Bavaria seeking a better life in a land where he hears "the streets are paved in Gold". That he, himself has come over in steerage class is of no matter—he realizes if one is smart and ambitious enough there's "Opportunity" to be had at every turn! Even this opening is worthy of significant praise and plaudits in its own right, and at its conclusion he portentously proclaims, "I am standing in America…it fits!" Once there, he moves in with his Uncle Isadore and a household full of relatives. They're peddlers by trade who induct the new arrival into their sale force. Lacking a wagon ("We sold the horse," they tell him; "he wasn't family!") or even a push-cart, he must hoist his wares up onto his back. When news of the gold strike in California (which isn't even a State yet,) rocks the nation, his family urges him to head out there to take advantage of the growing possibilities for their dry-goods business in what is sure to be a boom economy ("Go West!" they inveigle him; "Do your best!") …the only bad part is, with no trans-continental railroad (which at this time is only in the fledgling phases of being built and far from completion,) the fastest, safest way to get there is by boat—and the trip will take months to complete—going all the way around South America's "Cape Horn" (the Panama Canal also being decades away.) "You mean I got off at the wrong end of the country?!" he puzzles. On shipboard (again,) he meets a comely lass named "Sarah Zimmerman" who will become the love of his life and this bittersweet relationship motivates much of Strauss's actions, either directly or indirectly. Below deck he also meets a pair of shifty, bigoted "Carpet Baggers" named "Stafford" and "Howard", who also mean to take advantage of the throngs scurrying to the West Coast with high hope of striking it rich. They serve (more or less) as the "Baddies" of the piece, exemplifying just about everything that was wrong with America's whole "Manifest Destiny" movement during this era. Arriving in San Francisco, the miners offer up a lively reprise of "Opportunity" (with stanzas that address what's happening with the Gold Rush.) Trouble is, in looking for some fast cash for a failed attempt to 'bribe' his new love's Husband-To-Be, Strauss has sold most of his family's inventory they sent him with to establish his new store. Indeed, all he's left with are yards and yards of a durable blue material called "Denim" (so-called for the French town of "De Nimes" where it was manufactured.) This leaves Levi to fret alone "What am I going to do with all this blue cloth?!" as the curtain falls on Act One. Following the entr'acte, things pick up with our boy fighting his discouragement and hard at work—not as a merchant, but working in the gold fields, while picking up what money there is by doing odd bits of tailoring and clothing repair for his fellow "Fortune-Hunters" and "Forty-Niners". One of them, "Han Chow" an immigrant from China asks that Strauss make some trousers for his friends—a trio of "Coolie Hatted" 'Boys' he also brought over. It's while measuring them that Levi happens upon a startling revelation: "It's strange," he says, "You Asian boys have the same measurements as Caucasian girls…" (His facial expression at this point when realizing the reason is one of the show's more priceless sight gags!) He agrees to keep their secret if they help him take all that denim cloth and create the article of clothing he will soon become world-renowned for ("After all, they can each sew," Han offers.) While working with such rough, thick cloth is tough, a blacksmith friend (played by Bedjou Jean) suggests using rivets to help reinforce the stitching (for which Levi promptly makes him his new partner!) Success, it seems, is in the cards…
Now a success in the clothing industry, Marc Ginsburg as "Levi Strauss" finds that along with prosperity in nineteenth century America there's also pitfalls and compromises as he tries to "Look How It All Adds Up" in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical"
In the title role, Marc Ginsburg triumphantly leads the enthusiastic cast of 23. Without a doubt, this is a dream part for any actor and in decades past one could easily picture the likes of Dick Van Dyke or Joel Grey winning accolades for it. Happily, Ginsburg more than lives up to this promise. On stage practically the entire time driving the action, he makes the most of each golden moment giving, for all intents and purposes, a flawless performance here (and he does it all using an authentic Germanic accent!) It helps that he's a very likeable and charismatic presence and also possesses a solid voice, which he unveils at the top of the show with his part in "The Streets Are Paved With Gold" and "Opportunity". He also scores with "Seven Beautiful Children" as "Levi", out on his first day as a "Peddler" finding his way through the streets of New York, dreams of what life will be like when he's finally an affluent "Family Man" (–and what his future offspring will be like.) Similarly, Marc's winning rendition of the rapidly-intoned "Levi's Pants" is a bona fide highlight of Act Two; but Ginsburg's real 'shining moment' however, occurs amidst his 11 O'clock declaration, "Look How It All Adds Up", as Strauss, buffeted by recent political developments (some would say set-backs) in the 'City by the Bay' is undergoing a crisis of faith. Like a decisive soliloquy surrounded by musical notes, and worked through via song, this is a truly incredible number–and one powerfully interpreted by our leading man. His emotion here is seething and intense—and what immaculate phrasing and powerful tones he conveys it with!
Rachel Frost as "Sarah Zimmerman" and Marc Ginsburg as "Levi Strauss" dare to hope that a shipboard romance can lead them to a more lasting "Happy Love" in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical"
Rachel Frost is also a marvel as "Sarah Zimmerman". Gifted with a clarion voice, her introduction is via a nifty little love duet opposite Ginsburg called "We Know Why", that rates among the Academy-Award Winning song-writing team's very best work. It even starts out as a simple music-box melody as Levi and Sarah meet on deck. Subsequently, Frost also scores big with the lilting (not to mention deeply poignant,) "Happy Love" as she breaks to Levi the news that she's actually being 'sent' to California to marry another whom her father made a business arraignment with. When at last she meets her new 'intended' on the dock, she's less-than-thrilled with him, but this was a time when women (even in America) had few rights, so what's an obedient daughter to do? Post-Intermission, she returns again to provide still another knock-out melody, as "Sarah" is 20-years older and now a seasoned society lady in an empty marriage, which gives rise to the wistful, "So Many Empty Rooms", a stalwart rumination on taking the wrong path in life and finally being experienced enough to realize it. Interestingly, this song was written specifically for this inaugural production with music by Richard Sherman and Lyrics by Bruce Kimmel. ("When you're poor, you have everything to laugh at," a world-weary Levi tells her at length; "When you're rich, everyone is laughing at you!")
For their safety among the Gold Miners, Tristen Kim as Chinese Émigré "Han Chow" instructs Eliza Kim as "Tim Sang", Prisca Kim as "Su Lin" and Brianna Saranchock as "Tam Lee" how to disguise themselves and act "Like A Man" in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical"
Tristen Kim also brings off an engaging performance as "Han Chow", a hapless young Chinese émigré who has brought along with him a trio of sisters who must masquerade as boys due to "The Page Law" of 1875, which prohibited female immigrants from China: "Most Chinese men work on the railroads," Chow reminds them; "and the Railroad owners don't want them to be married!" His "Like A Man", as he tries to teach the girls how to walk, act and pass for members of the masculine sex is a buoyant comic interlude, and lines-up an absolute crowd-pleaser. Joining him is Eliza Kim as "Tim Sang", Briana Saranchock as "Tam Lee" and Prisca Kim as "Su Lin" (whom Strauss playfully re-dubs "Small", "Medium" and "Large" when they start working for him.) This quartet form the basis if the potent subplot, concerning immigrant's rights in the 'Wild West", and how Levi intervenes on their behalf to become their "Great American Friend". Additionally, Prisca's turn as "Su Lin" sees her enmeshed in another story-line which at least "infers" several cases of unrequited love—hers for Levi, and Han's for her. This engenders her sensitive, introspective solo, "The Dream I Must Not Dream", which she sumptuously and soulfully delivers later in the second act. Introducing an element of "Anti-Immigrant" menace into the mix are Jesse Trout as "Mr. Howard" and Connor Clark Pascale as his equally devious associate, "Mr. Stafford". Looking much like a matched set of bookends in their top hats and Victorian finery, think of them as something like a cross between "Tweedle-Dee" and "Tweedle-Dum" and "Ebenezer Scrooge" and "Jacob Marley—an infamous team that would sell the very clothes off a pauper's back (and probably have!) Both Actors are outstanding singers to boot, which they handily demonstrate with their re-emergence late in the story. Preaching racial purity and separatism (augmented with plenty of graft and double-dealing,) this they make melodically clear in their reprise of "Business Is Business", now with an arraignment that recalls those melodramatic, overtly 'emotive' Villain anthems or leitmotifs that frequently accompanied more sinister parts in silent movies. ("Stop thinking like a Jew!" they spit at Strauss consequent to their unexpected reunion; "And start thinking like an American!") Laudable (if somewhat transitory) support—and a few superb 'gag' lines–are also supplied by Kole King as "August", Levi's friend who from the old country and original traveling companion. He is refused entry at Ellis Island due to illness, but remains active with his clothier-comrade "in spirit" through the many letters Strauss sends him, which act as kind of an inner-monologue, filling us in on Levi's thoughts and feelings when he reads them out loud to us.
A burly band of Prospectors dream of their big "Opportunity" to strike it rich during California's 'Gold Rush' in Kritzerland Entertainment and Los Angeles City College Theatre Academy's World Premiere Production Of "Levi! The Musical"
Kay Cole's choreography is both subtle and elegant, portioned out in modest allotments to begin with, but when they do erupt into full-blown production numbers the fancy-footwork and exotic exchanges that enliven them are surely memorable! The opening, "Opportunity" sets the theme and the pace for the entire show. A terrific group effort, it's bouncy, bubbly and supremely optimistic as the immigrants carol forth their intent, "To dream, to thrive—not just survive"; arriving at Ellis Island they're greeted by a less than welcoming chorus of "Welcome To The U.S.A." sung by a bristling band of disgruntled New Yorkers hostile that 'more of them' have arrived. Regardless of which side of the 'boat-ramp' they're on though, this number displays some solid ensemble work and launches the going-on in a grand manner. "Business Is Business" is another preeminent addition to the score, sung by Paola Fregoso as a local Bowery Street-Walker who warbles "If there's no cash in it, I don't get passionate!" (You can bet writing for Disney was never like this!) Other moments of marvelous motion include the sprightly dance exchanges as part of "We Know Why". Initiating as "Sarah" tries to teach "Levi" how to waltz (–a new dance at the time that was sweeping society) soon they're joined by other couples making for a thoroughly charming group intermezzo. "Pay Dirt" is one more rousing group success that rockets us into Act Two sung (and danced) by the jubilant prospectors with a heapin' hankerin' for a down-home 'Hootenanny' (and that's exactly what they give us!) Unquestionably though, Ms. Cole's master-work for this piece is a colorful mini-ballet in the style of the Chinese Opera which portrays through dance the fall-out from the passing of "The Chinese Exclusion Act" of 1882—a law prohibiting the continued immigration and naturalization of all Chinese Immigrants, and the mass rioting and vandalism it brought about in its wake (including to the Levi Strauss Clothing Factory in San Francisco!)
The story of one iconic American dreamer, in a larger sense "Levi!" is really all about the "American Dream" itself. For more information about the production, complimentary on-campus parking, or the location of the "Camino Theatre", log onto: http://Theatreacademy.lacitycollege.edu
On the Technical side of things, Tesshi Nakagawa's inspired Scenic Design consists of mobile elevated platforms and unvarnished staircases that can be shifted with each different setting. Against these are projected vintage black and white 'tin-type' photos from the time (and the places) the action is being played out in. Moreover, Austin Quan's Sound Design is near pristine—tailor made for the "Camino Theatre's" Mid-size Auditorium; this is especially auspicious as the orchestra (also under the direction of Richard Allen) is situated upstage at the back, where they're partially obscured by the ever-moving platforms. Happily, owing to Mr. Quan's contributions, nary a note is lost or muffled—often sounding like they're being performed merely a scant few feet away. It's also exhilaratingly apparent that Morgan Gannes has done her research in preparing such spot-on costume designs. From the gritty dishevelment of the Gold-Miner's coveralls and dungarees (particularly the durable 'blue garments' in question,) or the drab, work-a-day street-wear that resounds with hints of the home countries of the 'tempest-tossed', 'wretched refuse' of New York's Immigrant Class who wear them, to the more colorful and 'refined' apparel of the upper-class enjoying the height of their "Belle Epoque", social strata as well as time period are brilliantly reflected by way of her impeccable sartorial choices.
The tale of one 'emblematic' American dreamer, in a larger sense "Levi!" is really all about the "American Dream" itself. Having 'Previewed' on Thursday, November 16, "Levi! The Musical" officially opened on Friday, November 17, where it's set for a limited run through Saturday December 2, 2017 in the "Camino Theatre" on the campus of at Los Angeles City College, located at 855 N. Vermont Avenue, in Los Angeles, California. Remaining show-times are Wednesday, November 29, Thursday, November 30, and Friday, December 1, at 8:00 PM with an additional Saturday matinée on December 2, at 3:00 PM. Advance tickets may be ordered exclusively on-line from Vendi Tickets by visiting:
:https://red.vendini.com/ticketsoftware.html?t=tix&e=b3d784085302c0056f5583711938c080
For more information about the production, complimentary on-campus parking, or the location of the "Camino Theatre", call (323) 953-4999 X 2990 ; or log onto:
http://Theatreacademy.lacitycollege.edu
Production Stills By Carrie Frances, Courtesy Of Michael Sterling & Associates (www.msapr.net) Kritzerland Entertainment and Los Angeles City College Theatre Academy; Special Thanks To Michael Sterling, Bruce Kimmel, Kay Cole, Richard Allen, Richard Sherman Larry Cohen, Janelle Webb Cohen–And To The Cast And Crew Of Kritzerland Entertainment and Los Angeles City College Theatre Academy's 2017 World Premiere Production Of "Levi! The Musical" For Making This Story Possible.
This entry was posted in Theater reviews, World Premieres and tagged "Happy Love, "Levi's Pants", "Opportunity", "So Many Empty Rooms", "The Camino Theatre", "The Dream I Must Not Dream", "The Streets Are Paved With Gold", "We Know Why", "Welcome To The USA", 1849 Gold Rush, 2017 Los Angeles Theater Season, 2017 So Cal Theater Season, 2017 Southern California Theater Season, 2017 World Premiere Musicals, A Cut Above The Rest, Biographical Musicals, Biographical Plays, Blue Jeans, Bruce Kimmel, California Gold Rush, California History, De Nimes, De Nimes France, Denim, Denim Jeans, Gold Miners, Gold Prospectors, Han Chow, Immegrants Rights in Theater, Janelle Webb Cohen, Kay Cole, Kritzerland Entertainment, L.A.C.C. Theatre Academy, Larry Cohen, Levi Strauss, Levi! The Musical, Los Angeles area theaters, Los Angeles City College, Los Angles Theater Premieres, Marc Ginsburg, Miner Forty Niners, Musicals set in San Francisco, Musicals Set On Ellis Island, Nineteenth Century Musicals, Oscar Winning Song Writing Teams, Oskar Levi Strauss, Richard Allen, Richard Sherman, Robert Sherman, Sarah Zimmerman, Su Lin, Tam Lee, The Chinese Exclusion Act Of 1882, The Page Law Of 1875, The Perfect Fit Musical, The Sherman Brothers, The Victorian Era, Tim Sang, World Premiere Musicals. Bookmark the permalink.


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The rantings of an obsessive musician and music fan
NAME THAT CHILDREN OF BODOM SONG!
December 4, 2020 Ryan PannyLeave a comment
What's up guys! It's about time for another "Name That Song" contest!
For this episode we're competing with Children of Bodom, one of the top bands of my adolescence. This was an absolute blast to do and we got lucky because a LOT of deep cuts popped up. After all, you don't want too many softballs. So if you're a fan of the band this is a must-watch!
Of course, be sure to comment below the video with your score and see if you beat me!
And this is a good time to mention that if you haven't yet, be sure to do the Slipknot one, the Lamb of God one, the Pantera one, the Trivium one, and….I'm sure I'm forgetting a couple but head over to my YouTube channel for the rest!
UncategorizedAlexi Laiho, Are You Dead Yet, Blooddrunk, Children of Bodom, Follow the Reaper, Guitar Solo, Halo of Blood, Hate Crew Deathroll, Hexed, Melodic Death Metal, Review
Recap of September 18th Releases
September 22, 2015 September 22, 2015 Ryan PannyLeave a comment
This past Friday, September 18th, was like Christmas. Dozens of the most heavily anticipated early-fall releases were unleashed onto the world. Having a set of working ears on this day was like having a fucking golden ticket. So many exciting releases from so many different corners of the industry. While I am most certainly still sorting through the ashes and gathering my senses, I would like to share the seven releases that I've given the most attention these past four days.
Long Live – Atreyu
Returning from a four-year hiatus, metalcore veterans Atreyu exceed any and all expectations on this superb return-to-form, effortlessly revisiting some of the best moments from their catalogue, adding quite a bit of muscle to their sound in the process. Read my initial review of the title track here, and watch my full review of the album below:
GO:OD AM – Mac Miller
Already universally hailed as his best work to date, Mac Miller comes back from a messy battle with substances with more confidence and self-assurance than ever. GO:OD AM is fun and ambitious, yet never overindulgent. With minimal contributions from guests, the spotlight never leaves Miller, and he doesn't waste a second. Tracks like "ROS" and "Jump" are some of the best hip hop songs of 2015. Read my full review of the album here.
Pagans in Vegans – Metric
More stadium-ready, energetic, absurdly catchy electro-pop from Metric, who – along with 2009's Fantasies and 2012's Synthetica – have now made a trio of top-notch albums. Though my ears may be clamoring for more of the guitar-driven sounds of the band's earlier work, it is impossible to be mad at tracks like "Cascades", "Fortunes" and "The Shade". Slower moments like "The Governess" add a nice contrast.
Metal Allegiance – Metal Allegiance
Along with a murderer's row of guest appearances, "Metal Allegiance" features the core lineup of Megadeth's David Ellefson, Testament's Alex Skolnick, and ex-Dream Theater/current Winery Dogs drummer Mike Portnoy. Given the involvement of thrash legends like Skolnick and Ellefson, it comes as no surprise that tracks like the crushing opener "Gift of Pain" – which features Lamb of God's Randy Blythe – pay homage to the Bay Area. The unlikely duet of Dug Pinnick of King's X and Hatebreed's Jamey Jasta works tremendously on "Wait Until Tomorrow". "Let Darkness Fall", featuring Troy Sanders of Mastodon, is another highlight. The album also closes with a ripping cover of the classic Dio track "We Rock". An incredibly fun, larger-than-life project that is loaded with first ballot heavy metal hall-of-famers. Let's pray we get to see this live.
Abysmal – The Black Dahlia Murder
If there's one feeling Black Dahlia fans aren't quite familiar with, it's disappointment. Seven albums in, and we're still getting top shelf death metal. The dizzying technicality and manic riffage of "Re-Faced" are like an old friend stopping by and checking up on you, just making sure you're still cool. "The Fog" contains the albums thrashiest moments, while the doomy "Stygiophobic" gives the album a welcome dose of breathing room. Ranking Abysmal in the band's discography will take more than a few listens, but Black Dahlia continue to uphold the high death metal standards they've set for themselves.
Threat to Survival – Shinedown
Threat to Survival is certainly a good batch of catchy, radio-friendly rock songs, with soaring, defiant choruses and stomping grooves. What it is not, however, is the edgier, borderline-metal riff-fest that was 2012's Amaryllis. Despite occasional misses like the sappy album closer "Misfits", and the dull "It All Adds Up", frontman Brent Smith's ear for choruses remains undeniable, and Threat to Survival is highly recommended for fans of Papa Roach, Buckcherry, and Saving Abel.
I Hurt (single) – Children of Bodom
"I Hurt" is the opening track and now third single from Children of Bodom's forthcoming I Worship Chaos album, due out October 2nd. I was not a fan of first single "Morrigan" initially (though I was probably just cranky), but the pummeling title track pulled the band back into my good graces. New single "I Hurt" features a heavy Pantera-style groove that is unorthodox for the band, yet adds a whole new layer of aggression. Elsewhere, the tune is classic Bodom, and my ears are definitely tingling in anticipation for the release of I Worship Chaos.
Children of Bodom, Death Metal, Hip Hop, Mac Miller, Melodic Death Metal, Metal, Metal Allegiance, Metric, The Black Dahlia MurderAbysmal, Alternative, Atreyu, Children of Bodom, David Ellefson, Death Metal, GO:OD AM, Hip Hop, I Hurt, I Worship Chaos, Indie, Jamey Jasta, Long Live, Mac Miller, Metal, Metal Allegiance, Metric, Mike Portnoy, Pagans in Vegas, Shinedown, The Black Dahlia Murder, Thrash Metal, Threat to Survival
Children of Bodom's "Morrigan" Single
July 10, 2015 September 29, 2015 Ryan Panny1 Comment
Maybe I am hungover. Maybe a night of uninspiring small talk and watered down gin-and-tonics has left me slightly cynical. But did one of my Mount Rushmore bands just disappoint me for the first time in my life? Did I just find out Santa Claus isn't real?
Children of Bodom have undergone major stylistic changes with nearly every release in their career, leaving impossible-to-please metal fans cranky and disillusioned every step of the way. For almost half my life, I have vigorously defended this band, because to my ears, the quality has been incredibly consistent despite the variety of styles (head over to my Youtube channel for that rant). But, alas.
This new single is so fucking uninspiring that I might have to put my guitar down and go to law school. The riffs are boring, the solo is like a 30-second flatline, and the production just neuters the guitars. If I want overly-processed distorted guitars, I'm sure I have a copy of Nickelback's Dark Horse laying around here somewhere. But this is metal. I need amps in the face. I need that raw, primal-instinct-triggering onslaught of rage that makes our music so beautiful and so unique. This song does nothing of the sort for me. This song makes me think of spooning my hypothetical wife 20 years into our marriage. All of this aside though, "Morrigan" does have a double bass-laden chorus that heavily compensates for the rest of the track. But for me, it still falls short of redemption.
Children of Bodom's new album I Worship Chaos comes out October 2nd. Hopefully the complete vision is simply misrepresented by "Morrigan". Or hopefully I will have found love and will be in a better mood.
Children of Bodom, Metal, MusicAlexi Laiho, Children of Bodom, I Worship Chaos, Metal, morrigan, Music
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Easy Hebrew™ comprises individual text/workbooklets of study called, Units. Each of the four Unit booklets comes with its own audio CD on which every vocabulary list is pronounced twice, and each little "story" is read slowly enough to understand. On each CD you will also hear helpful study tips and brief instruction other than in the printed Unit. The instructor speaks to you as if your own tutor. Within the lessons of the Units it is clearly indicated when and where to turn on the CD. Even each lesson is sub-divided into lesson segments, conducive to daily (or per-session) study. Both the printed material and audio are thorough but friendly.
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Based on the suggestions, comments or other communication on each lesson quiz, you adjust, correct and practice any weak areas. Then at the end of four lessons, which is the completion of a text/workbooklet (Unit), you turn in a brief unit exam for grading. The quiz sheets serve not only as indication of your progress, but also as part of preparation for the exam.
The course material is very self-explanatory and self-contained. However, if there is still a question, you may mail in one of the question-forms provided or email/ phone. We do everything possible to help you learn and retain the material.
Many students are able to and enjoy writing single or multiple-sentence messages to the instructor in Hebrew along with their quiz sheets within a few weeks! In short, there is a real person behind the course who is committed to helping you know Hebrew well enough to reach your goals.
The study schedule is both structured and flexible. Easy Hebrew™ is designed to be completed between six months and twelve months, depending on the pace you choose. We are committed to helping you succeed and are available to you for up to twelve months for each Phase of the two-phase course. If, for some reason, you need additional time to complete a phase of the course, you may apply for a time extension. A $25 per six-month extension fee is required to retain active student status beyond the initial twelve-month period.
We recommend that you set aside a minimum of one hour a day or five to seven hours per week, throughout several days. This is better than long hours with large gaps between study sessions. If a sudden change in study schedule is temporarily needed, your instructor can recommend creative ways to retain the material.