text:
Inspiration. Ambition.
Passion. Process. Technique.
By: Geri Cole
Host Geri Cole talks to John Hoffman—co-creator and showrunner of ONLY MURDERS IN THE BUILDING—about the art of putting together a compelling mystery in a writers' room, how his own life experience shaped his connection to the series, and the creative value of staying in bed.
Spoiler Alert: This episode contains lots of big reveals. We recommend you watch the series before you listen.
John Hoffman is a writer, director, and actor who wrote and co-starred in the 1997 Disney Channel original movie NORTHERN LIGHTS before making his theatrical film debut (as both writer and director) with the 2003 MGM/Jim Henson Pictures comedy GOOD BOY!. Since then, his credits have included the 81st Academy Awards (for which he earned an Emmy nomination), the HBO series LOOKING, and the Netflix series GRACE AND FRANKIE.
Hoffman is currently the showrunner of ONLY MURDERS IN THE BUILDING, which he co-created alongside Steve Martin. The mystery-comedy series follows three strangers (Steve Martin, Martin Short, and Selena Gomez) who share an obsession with true crime and suddenly find themselves wrapped up in one. When a grisly death occurs inside their exclusive Upper West Side apartment building, the trio suspects murder and employs their precise knowledge of true crime to investigate the truth. As they record a podcast of their own to document the case, the three unravel the complex secrets of the building which stretch back years, but the secrets they keep from one another might be even more explosive. Soon, the endangered trio comes to realize a killer might be living amongst them as they race to decipher the mounting clues before it's too late.
The 10-episode first season is now streaming on Hulu, and the series was renewed for a second season in September 2021.
Seasons 7-10 of OnWriting are hosted by Geri Cole, a writer and performer based in New York City. She is currently a full-time staff and interactive writer for SESAME STREET, for which she has received a Writers Guild Award and two Daytime Emmys.
OnWriting is an official podcast of the Writers Guild of America, East. The series was created and produced by Jason Gordon. Associate Producer & Designer is Molly Beer. Mix, tech production, and original music by Stock Boy Creative.
If you like OnWriting, please subscribe to our show wherever you listen to podcasts, and be sure to rate us on iTunes.
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Thanks for listening. Write on.
Geri Cole: Hi, I'm Geri Cole and you're listening to OnWriting, a podcast from the Writers Guild of America, East. In each episode, you're going to hear from the people behind your favorite films and television series talking about their writing process, how they got their project from the page to the screen, and so much more. Today, I'm thrilled to welcome John Hoffman, the co-creator and showrunner of Only Murders in the Building. The 10-episode first season is now streaming on Hulu, and the series has been renewed for a second season.
In our conversation, John discusses the art of putting together a compelling mystery in a writers' room, how his own life experience shaped his connection to the series, and the creative value of staying in bed. Spoiler alert, this episode contains lots of big reveals, we recommend you watch the series before you listen. Now let's welcome John Hoffman. John, thank you so much for joining me, I'm so excited to talk to you today, I also really love the series. Congrats on the super fun first season and getting renewed for season two, which I'm not sure how much we can talk about that, but we'll get into that in the end. Let's talk about how this who came together. Are you a true crime enthusiast?
John Hoffman: Not exactly. It's so nice to talk to you, Geri, thank you for asking me to talk to you. No, I knew a certain general more mainstream, I knew of Serial, I knew the podcasts that a lot of people knew, S-Town, and also true crime documentaries I would get into for many years, starting with Errol Morris and the Thin Blue Line and things like that, way back when and then up through the Jinx and things like that. Anyway, but no, not a deep diver, that was Steve Martin. Steve loves mystery and true crime mystery, he loves things like Case File and listening to his podcasts as he's riding his bike. So it was his initial idea and so he had a real good basis for how to tell a mystery story, and so from there it sprang and I was just fortunate to be invited into the party by Dan Fogelman and Jess Rosenthal.
Geri Cole: Wow. So you were brought in as a part of the development team, it sounds like.
John Hoffman: Dan and Jess had lunch with Steve Martin and Steve presented this idea, just a sketch of an idea that he had been thinking about, about three people in New York living all in the same building who all love true crime, and then a murder happens in their building and they choose to investigate. So that was the premise that Dan and Jess brought me into and said, "We need someone to show-run and executive produce and write with Steve Martin." You don't say no to that when someone says that.
Geri Cole: No. No, you do not.
John Hoffman: Right. So you just hope the first dinner goes well, and I brought my own ideas to that dinner with Steve and I just was very intimidated at first, for all the reasons why I loved him throughout the years that I'd been watching him and admiring his work, but then what I was met with in five minutes I felt completely at ease. He was utterly generous, open and kind to all things we were talking about and has been that way from the get-go, and just very embracing of the stuff that I would bring and just the brilliant mind that he is, making it all the more better.
Geri Cole: Wow. Well, you've already answered my next question, which was what was it like working with Steve Martin? So that's good, it sounds like it was a very open and easy and lovely partnership that developed.
John Hoffman: Yeah, absolutely. Also, I think because, I think he was reticent to act in the piece originally, and he'd never done a television series before or in many, many years, but never really as a known commodity to lead his own series like this. I know Martin Short became very central to, he said, "Well, if Marty does it, maybe I'll do it." Marty stepped up and so it became a bit of a family affair with him, and then matching him up with Selena was the big crazy leap we all took in certain ways. Not a leap meaning anything but she's perfect in this way for this role, but I mean a leap of, "What does that combination look like?"
Geri Cole: Yes, it's not a pairing anyone was going to guess.
John Hoffman: Yeah, yeah. This magical chemistry happened right off the bat between them that just took us all back and thought, "Oh, my god." She came to play, A, she's right there with him in some way that feels fresh and is balancing them out with this laser focused dry tone, but also emotionally resonant between them. I just found it the right balance of comedy and just very touching real, hopefully, connection.
Geri Cole: So let's talk a little bit about the writers' room. When you were looking to fill the room, what sort of writers or collaborators were you looking for? Then also, how much of the season was broken in the room?
John Hoffman: A great question. This writers' room is the greatest gift, and we were writing all during the pandemic, so it was all a Zoom room. It was very strange to not be in a room with people you didn't know and you were feeling immediately intimate with, and we had 10 episodes staring us in the face with a legendary group around the show. So a lot of responsibility and an immediate bonding as much as we could do. The other side of that, of course, is what we were all feeling during the pandemic, which was any connection that we could have was exciting. So even the Zoom, everyone was all in with a great focus and energy every day in a way that sometimes when you're in the typical writers' room, in the space itself, the ebb and flow of energy that you feel. This was very focused and right on it.
So picking the writers for this show, it was challenging in many ways. A couple of writers were brought to me that Dan knew, Dan Fogelman knew and loved, and I immediately met them and recognized them as kindred spirits. Kristin Newman and Kirker Butler, Dan had worked with them a lot, and I brought in some friends that I knew, that I worked with. But I wanted the real mix, we have a couple of people, the Zoom room allowed us to have two people living in New York, which I thought was important for the show, as New York is such a character in the show, we have a mix of playwrights, very experienced TV writers, we have two novelists in our room and mystery writers within that mix as well.
That whole thing, the culture and feel and vibe of New York needed, in my mind, to be expressed in the way we built our room. So we had people who grew up in New York, Thembi Banks was one of my favorites who was in the room, she grew up in Harlem and knew New York in all the ways that I didn't. I had been born in New York and then came back to New York after college, but there was this gap, and so it was all about finding the people that could fill in the things that I felt like, "I don't maybe have this part of the show, let's find that person." When we all came together, I had to do a fair amount of prep, we had to pitch this to Hulu and layout a season for them, so there was a good structural basis for a whole season of what we were going to do, and there was a pilot written by the time our writers' room assembled, but there was still a big, big task.
Certainly in the world of comedy writing, this is a very unique show with all of the tones it's balancing, but also a mystery. So that just made it a very different task, because writing a mystery, we found and I think most mystery writers might say the same thing is you have to jump to the end first, and then twist your way backwards so you're hiding what you're going to reveal, but you're layering in and you have to really thread-by-thread clues and red herrings and other paths that might connect a bit but don't lead to the ultimate central mystery. Things like that, and that just was a real task. The smarts of this room and the great minds we collected to write this show, they were the backbone throughout.
Geri Cole: Wow. So again, I'm going to say spoiler alert, so you did know from the start that Jan was the murderer?
John Hoffman: No, no. Surprise, the kicker, that's a great question again. Yes. No, that was the one thing. Here's what I knew, I knew where, spoiler, I knew the end of the season. When I pitched to Hulu, the ending of the pitch was, "So at the end of the season, our trio, who were on this path to investigating with their own connections and reasons why, this murder, are now the central suspects in a new murder and potentially the new subjects of a podcast being done by their hero." So that was always the end, but the murderer themselves, I had a varied group in mind of who it could be, but then that character of Jan developed within the writers' room.
Then it became like, "Okay, well now how …" We were really looking at her simply through the lens of developing Charles' romantic storyline, his challenges to having a relationship and how do we do that? Then once we stepped back further from, at least in my mind, and looked at the bigger theme of the show about loneliness and connection and both sides of it, the challenges in connecting and the ways in which people feel isolated and then are drawn to each other, I thought you have the two sides of the coin, you have this trio that is coming together and finding this family of sorts together in this oddest of circumstances and this unexpected group being brought together, but that's the positive side of it and on the negative side, out of this feeling of loneliness you can find yourselves connecting to maybe the wrong people. That's what Tim Kono did in a certain way with Jan, that's what Charles did in a certain way with Jan, Jan is challenging in many ways, but she is also drawn from the same stuff in a way, but just in a much darker way, to connect.
Geri Cole: Let's talk about the Arconia, the building at the center of the story, because it is a very specific New York experience and it's something that's very fascinating to me, it almost feels like it hearkens back to a time where it's like where artists could afford to live. They certainly make reference to that, of being like, "We couldn't afford to live here now." But also, it's a fantastic set for a mystery. So talk a little bit about that play of neighbors and strangers and how you wanted to weave the connections that are made between the people that you see everyday.
John Hoffman: It's so strange to me that sometimes things feel faded, and this one has felt that way for me honestly, because for the last 10 to 15 years I've been saying out loud, "I would kill, I would just die to do a show in New York City, to make a television show in New York City." I really, really just wanted to. Then the other thing I was thinking genuinely was the love I have for these pre-war apartment buildings in New York, much like in one of my favorite movies, and it's such an odd thing, but it's one of my favorite films ever is Rosemary's Baby. I know, call me crazy. But there is something atmospheric and true to New York, and it's so created around that building that they were in.
It was really one of the last times I felt like that feeling, and I wanted to transfer my love of that into this project, because it deals with similar, "Who's next door? Who's coming? Who's your friend in your building? Who do you not know?" And all of that. All of that started to, in my mind at least, transfer to this new idea, and how brilliantly I think that film creates this sense of paranoia, and yet who do you hold onto and who do you trust? All of those questions that we deal with a little bit, and so that all felt like, "Oh, on the comedy side of it, let's swing there." That's where I think the Arconia, it's such a cliché to say a building, a city is a character in your piece, but in this case I hope it feels that way, I really do.
The sets, the production design on the show, our brilliant designer Curt Beech, everybody involved it the show to make the show look the way it looks and create that atmosphere that feels … I was saying on the set all the time, like when we were building and putting this together, "I want to feel like, I want everyone to watch the show and think, 'Oh, my god. I'd love to live in that building, even though there's murderers every floor.'"
Geri Cole: Oh, my god. I'd love to live in that building.
John Hoffman: Right, right. Oh, good, I'm glad.
Geri Cole: It almost feels romantic, but it also feels so true to New York that it in a way feels like the great equalizer, because you're right next to people that you maybe wouldn't necessarily always be next to. Another thing that I'd really like to talk about is in this vein, we touched on it a little bit earlier, is the intergenerational friendships between Selena, or the three characters. I don't want to use their real names, their character names. Which is a thing honestly, it reminded me that I've been wanting for myself, I'd like some older friends. You don't see it represented much really anywhere, so let's talk about how that decision came to be.
John Hoffman: It's another great question. Geri, thank you. I think it was in the brilliant idea, Dan Fogelman had a brilliant idea, of his many brilliant ideas, to cast this part of this third person, when we had Steve and Marty, to cast this person as someone unexpected. In doing so, it made me rethink how I was looking at the show in a certain way, everything does, casting always does that, but you adjust yourself to what is the new dynamic here. I have to say, it was very great to feel, "Ah, this feels so right."
The show is so much about a balance of classic meets modern, and so it makes perfect sense to me to get these two classic legendary comedians and put a very, very modern young woman with them, and that made everything open up. It made it feel like what it was missing in the show that could elevate it was a perspective, particularly of a young woman in New York and her relationship to true crime and to feeling vulnerable, to wanting to solve the things that are questions in her life that are needs to understand, and why she's driven this way. I was interested to explore all of those questions. But the humor and the intergenerational stuff, I guess it comes …
I've always been, I relate to Mabel in many ways, but one of the ways comedically here is just I've always been drawn to older women. My grandmothers were everything to me growing up, my aunts, and then just older. When I met Steve Martin to write on this show, after our first dinner he invited me to New York to meet with me in his home in New York, in his beautiful pre-war apartment building, and again, I was nervous. I'm going up to Steve Martin's home to work with him, what's this going to be like? So he was in this gorgeous apartment building, old school, and I get in, I'm like, "Oh, boy. Here we go." I'm nervous again, get in the elevator and immediately I was joined by two classic New York older women getting on with their big coats bundled up, it was winter, and they were talking amongst themselves and I was immediately comfortable. I'm with my people, that's how I felt.
Then the door closed and I realized one of the women was Elaine May, who is one of my heroes, and I was like, "Oh, no. Now I'm nervous again." But at least for that moment I felt this kinship, and with Mabel I just get excited at the idea of the ways in which we found the ways in which she plays it that make the intrigue about these guys feel very real, the way she can cut through the years and the way she can also find the humor and find the back and forth, the way they find the back and forth with each other. So it's not just one-sided, they're learning from each other, and that feels like one of the big bridges I was really excited to help build here.
Geri Cole: It's so much fun. So let's also talk about, there's a fantastical element to the show that happens occasionally in Oliver's casting sequence or Charles' bugs and quirky hallucinations, was there a rule that you developed of when things would take this fantastical turn?
John Hoffman: It started, it was a really big leap and I knew, again, it was a really interesting process working on this show because I was throwing out some things and tossing some things out with a gentle, "What if we tried something like this?" I'd back away and go, "They'll probably hate that idea." It was more often than not almost across the board just welcomed, which the first time that happened I was with Dan Fogelman and Jess Rosenthal in their offices very early on talking about the show, and talking about particularly, we didn't have Selena yet, but we were developing the pilot and Steve and Marty we had, and I just kept on thinking I wanted this to be unexpected for them too and for the audience who loves them.
I wanted to give the audience what they do best, be funny, have that great chemistry, let that fly, but I wanted it also to go a little deeper, I wanted it also to recognize the higher level they go to in comedy and true reaches that they've both made in their own careers. So great classic comedy ideas, what is the thing that feels elegant? They're both elegant comedians in my mind. So that notion, I found this thing I had been obsessed with for about a year before that was this beautiful dance piece to the Clair de Lune that was online, and it was this floating bouncing thing on a trampoline that takes you up the staircase, and it became a central part of the pilot and it became a thematic way of showing what was underneath the characters, that they're all dying to bounce back into their lives a little bit, feel alive again.
Again, to the great credit of Dan and being able to say, "Here's this piece I found and I look at it and I want to use it, because it feels like somehow Marty and Steve feel like a part of this feeling of this piece." And boom, we went with it. Dan said, "Yeah, we should. Let's incorporate it. Let's do it." So now we have this lovely bouncing moment that feels, to me, just elevated storytelling at times, to connect you to the feeling underneath it. That's really where all of that came from, and then it went into the subconscious and being able to break open and be a little bit, great word, fantastical.
Geri Cole: That also makes me think then about the last episode where we get a lot of physical comedy with Steve Martin, on the other side of that spectrum. Was it just like, "Oh, we need to work this in. We need some classic Steve Martin in this."
John Hoffman: It was sublime, right?
Geri Cole: Yes.
John Hoffman: It's the greatest thing. There were these tremendous lovely reactions to that episode for his performance particularly too, and it makes me so happy because I think he's so beautiful in the show. He's a slow-burn build throughout the show in certain ways, that way comedically, because he's holding more of the center of the balance between Selena and Marty, and Mabel and Charles, Oliver. But there's a question, he's 75 years old and I was like, "Steve, we're thinking of doing this with the last episode, and what do you think?" He was like, "Oh, I'm all in, I'm all in."
Then he actually walked down the Arconia hallway for me doing a thing that felt like All of Me, and back in the day, I'm like, "Oh, god. He's still got it in every way, this is going to be a killing." Once he said he was in, then we really were like, "Okay, let's rock it. Let's find a way to let him roll." It was just very exciting, and I liked that last episode, I hope, I very, very much was hoping and wanting that to come together in a way that all threads, or most all threads at least, were coming together story wise, but also tonally. The fact that this moment comes off a very, very, very different toned conversation between him and Jan and what's going on in that scene, and then boom, there's this switch into physical comedy for him that I just wish everyone could be a fly on the wall on the set for those days where's he's throwing suggestions out to say, "What if I did this? What if I did this?"
One of my favorite moments, just to say it, was the moment on set, we didn't have this in the script, but it was where he comes upon his phone and he pulls the pillow off and he pulls his phone out to reveal that he's been recording Jan, and then he pokes his nose down and he stops the recording, and he's incapacitated and he sets his head down and we didn't have the line, but we knew we wanted Fields of Gold to play, Sting's song on that, and Siri to pick up his words. So we were standing on set with only three minutes before we were going to shoot like, "Okay, what are the words that sound like Fields of Gold?" I was going back and forth with him and I don't know, if you please just re-watch it, his delivery is so innocent and real when he says, "Siri, I don't feel good."
I just will never forget him doing that, because I thought, "This is the moment of all the hundreds of thousands of moments." I felt so lucky to have Steve Martin and all of these people on the show, but that moment particularly, I could not have come near that.
Geri Cole: Yeah. Wow, wow. I have a bunch of followup questions, but I want to also make sure to get to the cast, because you just mentioned that Sting song and Sting was also in your cast. So obviously Steve Martin, Martin Short, Selena, amazing, but also Tina Fey, Jane Lynch, Nathan Lane, Sting, this feels ridiculous. How did that happen?
John Hoffman: It gets more ridiculous in season two, spoiler alert. Yeah, it's going to be amazing. But yeah, well, you learn you have Selena Gomez, Steve Martin and Martin Short in your show, you're going to draw people to you, which is amazing, amazing. That was the gift here in a big way. Then it was the unfortunate time which we had to make this show and the world was living through, within the pandemic, but it also made everyone more available, sadly, but more than that it also, I think it was the most moving part of the whole experience for me was the fact that everyone came to play during this time when there were real risks involved.
Every day was a real tightrope walk for every production that was going during this time, and so I just felt so honored by everyone coming in and going through the protocols and putting themselves out there at a time when no one was doing that with real purpose. So I just thought it did things for the show in certain ways that made every moment matter, in a way maybe more than it would have. I know it's how I felt, just palpably alive. To be in a space with each other and we get to do these things, while other people and while we'd been kept home and alone for so long, that energy underneath it was just thrilling. To watch people be funny on top of it, while all this was going on, it was just a real healing process I found for everybody.
Geri Cole: Yeah. It's a very difficult time, but to make something that feels so, it's such a great mix of grounded and it's a murder mystery, but it's also so silly and fun and all these things, is really fantastic. Let's talk also a little bit about your process. If there's any rituals you'd like to share, what practices that you feel like you've developed over time that have really served you, in terms of trying to be productive and/or be focused when you're creating things.
John Hoffman: I love these questions so much, thank you.
Geri Cole: Thank you.
John Hoffman: No one asks that. It's so funny, the writers' room would immediately tell me to answer this way, and I will, because I talk about it a lot. It's very strange, but my big ritual thing that I do every day that I'm writing the show, which is every day, is to not get out of bed when I wake up. I take 20 minutes, 15, 20 minutes just to lie there. There's no pressure at that moment, you're just waking up, you don't really ask yourself to answer a question, you're just in a space. For me, if I've gone to bed with questions, I wake up and somehow I can more easily find, "Oh, oh, oh." In those first 20 minutes, than any other time of the day. So it's become a thing.
If there's a weird idea, usually it's coming in those first 20 minutes of the day. Or if it's a real linchpin struggle, what if we try this? For me, it's a place of simplicity that my head has gotten to, that I'm not tied up with a bunch of other things that have been coming in throughout the day, and it's your most private alone moment in a certain way before you start your day, and for me it's like taking that time either way, whether that writing answer comes in those 20 minutes, somehow it feels like you're grounding yourself. It's a meditative space.
Geri Cole: That's amazing, because as you were saying that, I was like, "Oh, my. Yes, I know that space." I know those 20 minutes where sometimes I will be in those 20 minutes and be like, "Oh, it's this, this is what …" Having just figured out the thing that I didn't even realize I was trying to figure, but that the work that I needed to do or … Wow. Just trying to leave that space or recognize and appreciate that space, that you stay connected or are freer in that first consciousness space.
John Hoffman: Noiseless, a little noiseless. If you can have it, people with kids, people with dogs, it can be challenging.
John Hoffman: Grab what you can in those noiseless first moments, just for yourself and just to empty, on that empty mind. It's a good place.
Geri Cole: Yeah. I always like to believe, and this is maybe going to get a little weird, but I refer to it as the ether, where there's like groupthink cloud space where all the answers are, and it's in that first waking space you're pretty tethered to the ether, and so it's like you can pull things down if you need to.
John Hoffman: Great way to think of it. I'm going to take that, that's a great … No, I do believe in all of that. Any writer working knows the thing of the thrill of finding an answer or finding something that feels alive and kicking, or something maybe you might not have seen, at least not in this context, or maybe you have seen it but it fits here in this own new way for your story. But those light bulb-y moments, and however you get them, they're the big thrill of the gifting that goes on around the writing that we all need, but we all wonder certainly at the beginning and throughout the process, are they ever going to come? So I just think it's acknowledging that fear and then letting it go and opening up to whatever might come. Yeah.
Geri Cole: I think that's a perfect lead into my next question, which is a question that I like to ask everyone who comes to the podcast, which is about the idea of success, because that sounds like success to me when you can trust that the answers will come and have the space and time to do so. So I like to ask everyone about success, because being in a creative profession it feels like an allusive animal, and so I'm always curious about how people define success for themselves and maybe how that's evolved over time. Especially when they're arguably experiencing success, do you feel successful in this moment?
John Hoffman: I love that question, I really do. I really mean it, it's so central to what I'm feeling and what I've been talking about. I was just literally talking about this last night with a friend of mine, because I'm a writer who's been working a really long time. Screenwriting first, segued into TV later than many people, and I care so much about the storytelling. All I really care about is telling the best story of this thing we're working on, episode for episode. So that is really at the bottom of everything, and yet all those years of, we all go through lots of rollercoaster moments, and you have to hold in your head, always the hope of maybe, maybe, maybe my 10 or 15-year jaunt of a show in New York, wouldn't that be something?
May not have happened, but here we are. But it's that holding of the light, always there for yourself, because it really, anything is possible I think if you hold that up. But I also think now in this lovely moment of having the show come out, be watched in great numbers and received in a lovely way like this, to have people involved in it that you feel this great weight of responsibility, I hope they like it, I hope they want to do more of it, and to get over those hurdles, these are the steps along the way to feeling really good a bout what you're doing. But it's very interesting to me that in this moment of feeling like, "Oh, I've gotten to a place where here is the feeling that I've been thinking I was getting to or wanting to get to," and it's fascinating to me that it feels good, I don't want to say that at all, but it's not the thing.
There is no thing there, the thing is inside, and I'm still telling stories, so the thing I'm working on is the thing I'm working on, and the thrill I get every day is when a writer comes in with a great idea and I'm like, "Oh, my god. You're the best." There it is, and you're working and you're continually making the better thing. So the feeling of success, I don't want to say is nothing, I feel thrilled, I feel so lucky and grateful to be where this who has brought me here right now, but I will say it's been an interesting revelation to have it be in real context and feel like, "Oh, there's no separate feeling. There's no [crosstalk 00:32:18]." It's all a part of a flow of everything.
Geri Cole: Wasn't there going to be one big special thing?
John Hoffman: Where's the crown? Where's the crown of glory that you sit under and the sun's always shining? It doesn't happen that way. I still have my dumb hat on.
Geri Cole: Are we sure? I thought there was a crown.
John Hoffman: Exactly, exactly.
Geri Cole: No crown, no crown apparently.
John Hoffman: That's a lesson any writer will tell you, it's that thing of we're always, I had in my head always of like, "Wouldn't it be nice to get to a place where they were just offering you things? When do I get there? When do they just, you're the guy they go to with all of their best things?" Any time I've gotten into that thinking, it's always been that moment of like, "Oh, that really doesn't happen and a lot of times it's not where you want to be." Because you really, I find the real success, as you were saying before, the real success is when you feel like you've been connected to something that means something to you and you get to share it with the world.
If you get to share it with six people who read your screenplay, you're sharing it. If you get to read it with people all over the world and it becomes a television show that people like to watch, there's a real even balance, I have to say. Because the feeling is just that, you're connected in a personal way, has it moved people? Has it connected? That's all that really matters to me.
Geri Cole: Yeah. I feel like connection being the success, it also feels like a lovely parallel to the show where it's like just the connecting to folks that you, I guess, aren't assumed that you would connect to, is what we're all striving for?
John Hoffman: Yeah. You bring your own personality and your own life experiences, and I've said this before, but this show is also born of a bit, not a bit, a real tragedy in my own life, and I don't want to say my own life, I was close to this person when I was growing up and a year before this show came to me, I heard that my friend who I'd been out of touch with for years was in a murder/suicide situation in Wisconsin. So that led to me doing something like I'd never done before, which is I had to know what happened. How did he end up here? I didn't know anything about his life and I went on a year-long obsessive journey to understand.
I met his ex-wife who I'd never known he was married to, I met his two kids who didn't know existed. I was in his world and trying to sort out what happened, and there were so many questions around this. From the injuries that were involved in this case, the first impulse when you hear the injuries was to believe that my friend had shot someone and then killed himself. I had known him when he was younger and were very, very close, but I could not get that in my head as something I understood. It actually, by the end of this investigation, it reversed itself and I did find out that he was murdered actually. So there was this gut impulse about this that felt in some way reaffirming through the tragedy, that I understood him in some way and I did know him in a way, and there were things I didn't know.
It's all a lot of Mabel's journey that's underneath Mabel's journey in our show, but again, I think when you tell stories, they're redemptive, but there's always a lot, not always, but sometimes there can be really deeper things involved in your experience on working on some things. So that theme of connection, my connection to my deep friend that I felt had separated, and now I was trying to do that again, to understand things more. So that's underneath the whole show as well, so it's all of these experiences that can come together I think if you're open to it, to make a part of something that might not feel like it fits. That's a very tragic story that I was working through, but it found its way into this odd little comedy.
Geri Cole: Thank you for sharing that. Yeah, that I think also speaks to people being obsessed with murder mysteries, this wanting to understand and connect to how, going from the journey from themselves to how someone could end up in those situations, and that's an endlessly fascinating question of just wanting to understand think journey a person could take to end up in that situation. Wow. We're running a little bit out of time, I do want to ask as much as I can about season two. I know we ended on this cliffhanger and I also was like, "Wait, did Mabel stab …" She did have the knitting needle. I'm not sure how much you are allowed to share, but what can you tell us?
John Hoffman: It's so good, we're so deep in it right now, we start shooting in less than two weeks.
Geri Cole: Oh, wow.
John Hoffman: We're very excited. At the end of last season, we had obviously our main characters really step in it, or be dropped into it, and we'll find out more about that. I would say a little bit of a tee-up for it is that the three of them are balancing in season two both the good side and the bad side of being talked about in New York City, and having to navigate the balance between who they are and what's being said about them, and how to grapple with trying to own your own story when stories are existing out in the world that are painting a very different picture.
Geri Cole: Oh, my goodness. That's fantastic. It's like a mirror within the mirror, mirror, mirror, mirror of the murder mystery where it's like, "Who's the subject?"
John Hoffman: Exactly, yeah. We get very meta in the show, but it's a challenge to balance that in here this year.
Geri Cole: Well, that sounds super exciting, and I can't wait to watch. Thank you so much for taking the time to talk with us today. Again, folks, sorry if you listened to this before watching, we definitely spoiled some things.
John Hoffman: A little.
Geri Cole: We can still go back and watch, because it's a really fantastic show.
John Hoffman: Thank you so much, it's so nice to talk to you, really.
Geri Cole: That's it for this episode. OnWriting is a production of the Writers Guild of America, East and is hosted by me, Geri Cole. This series was created and is produced by Jason Gordon. Tech production and original music by Taylor Bradshaw at Stockboy Creative. Our associate producer and designer is Molly Beer. You can learn more about the Writers Guild of America, East online at WGAEast.org and you can follow the Guild on all social media platforms at WGAEast. If you liked this podcast, please subscribe and rate us. Thank you for listening and write on.
Back To Onwriting


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Prof Elaine Kelly
Academic staff profile Prof Elaine Kelly
Job title: Personal Chair of Music and Politics
Role: Leverhulme Trust Major Research Fellow, 2021-24
Email: elaine.kelly@ed.ac.uk
Research outputs: Prof Elaine Kelly on Edinburgh Research Explorer
Music - BMus (Hons)
Music - PhD/MSc by Research
Musicology - MMus
Elaine studied at Maynooth University and Queen's University Belfast. Her research focuses on the intersections between music, politics, culture, and intellectual history in nineteenth and twentieth-century Germany. She is particularly interested in the German Democratic Republic, and has published extensively on the relationship between culture and politics in the state. She is author of Composing the Canon in the German Democratic Republic: Narratives of Nineteenth-Century Music (Oxford University Press, 2014), editor together with Amy Wlodarski of Art Outside the Lines: New Perspectives on GDR Art Culture (Rodopi, 2011), and editor with Derek B. Scott and Markus Mantere of Confronting the National in the Musical Past (Routledge, 2018). She has published articles in venues such as the Journal of the American Musicological Society, Opera Quarterly, Kritika, Nineteenth-Century Music, Twentieth-Century Music, and Music & Letters.
Her current research is concerned with the global contexts of the GDR. She is working on a monograph that develops a model of how musical diplomacy operated at the peripheries of the Cold War by charting the musical relations that developed between the GDR and various postcolonial countries.
Elaine is co-editor of the Journal of Musicology and a vice president of the Royal Musical Association (2019-23). She was head of the Reid School of Music from 2017-20, and is currently a Leverhulme Trust Major Research Fellow (2021-24), working on a project entitled: "Musical Diplomacy at the Peripheries: East Germany and the Postcolonial World."
Elaine is not currently contributing to UG or PGT teaching. She continues to welcome applications for PhD study in areas relating to her research.
My research interests span a number of broad themes including cultural diplomacy, global socialism, canon reception, music historiography, opera production, and Marxist aesthetics, many of which coalesce in my work on the German Democratic Republic. My current research, funded by a Leverhulme Trust Major Research Fellowship, explores the musical contexts of political relationships that the GDR fostered with postcolonial countries such as Cambodia and Egypt, looking variously at the use of music as a political tool, the music that evolved from diplomatic endeavors, musical expressions of international solidarity, and the musical activities of international students and workers in the GDR.
Details of my publications can be viewed on Edinburgh Research Explorer.
Cole Bendall
Deirdre Harnedy
Sio Pan Leong
The Interpretation of Musical Dreams: Expanding Hermeneutic Approaches to the Dream Aesthetic in Franz Schubert's Music
Joshua Weitzel
PhD Supervision Topics
Accepting applications.
Topics relating to music in 20th and 21st-century Germany; the Cold War; music diplomacy; global music histories.
Composing the Canon in the German Democratic Republic (Oxford University Press)
The Journal of Musicology

redpajama_set_name: RedPajamaCommonCrawl


Today our company is pleased to announce the release of the first version of our new product Stimulsoft Reports Server.
This is a Business Intelligence product that provides a full cycle of working with reports from creating them to sending results to users. Stimulsoft Reports Server successfully solves the following issues – data conversion from popular data sources, creating and editing reports using the built-in report designer, centralized storage of reports in the workspace of the server, planned data processing using the built-in scheduler, notification of the server events related to data processing.


A listener wrote the show "My friends and I were chased out of the woods by one when we were twelve. This happened in Georgia, in 1974. We were back in the swampy, sandy creek bottom, and were going to make a fort out of the bamboo that grew there. The first thing that happened is that the woods got completely silent - the birds and tree frogs had stopped their chirping. Then we heard a branch snap about 20 yards behind us in the dense brush. We thought to ourselves, what if some crazy guy with a knife was about to off us all, so we started to file out of there, when we heard this wild animal scream behind us, and could hear the footfalls running towards us. None of us ( about five of us ) saw it because we all tore out of there as fast as we could. We had to run up this ridge and follow it out to the subdivision. We got back over to our culdesac, and discussed what it was that chased us out. We had seen The Legend of Boggy Creek a year before, so I guess that's why we settled on Bigfoot as the likely explanation. To make a long story short, in the next four months ( this happened in February ) we got to see one adult, about a seven footer and two juveniles, all three of which came up behind our houses on the culdesac , each on a separate occasion. I would love to chat with you guys about all my experiences and about the subject in general"


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Shruti Seth Bio, Age, Boyfriend, Family, Affairs, Height, Photos
Shruti Seth Bio: Shruti Seth is lives in India and she is an Indian actress and video jockey. She started her career as a tv show host, she becomes more popular with her comedic roles in several tv shows and the Hindi film industry.
Shruti Seth Biography
Personal Information: Shruti Seth Bio
Filmography: Shruti Seth Bio
Physical Statistics: Shruti Seth Bio
Affairs/Marital Status And Family: Shruti Seth Bio
Career: Shruti Seth Bio
Social Media: Shruti Seth Bio
Photo's: Shruti Seth Bio
She was born and grew up in Mumbai, Maharashtra, She is graduated from St. Xavier's College with a degree in economics. She entered into a modelling career and starts hosting tv shows for Channel V. A significant turning point came in her life journey when she was cast in the character of Jiya Malhotra, a teenage witch in Star Plus's comedy series titled Shararat (in the year 2003–06), which is hit show. The show's popularity grew over the years and Seth gained an appreciation for her very nice performance. She made her film debut in the year 2003 with Waisa Bhi Hota Hai Part II, and after that gained praise for her supporting roles in top-grossing productions titled Fanaa (in the year 2006) and Slumdog Millionaire ( in the year 2008). She was cast in Disney Channel's original series titled The Suite Life of Karan & Kabir and continued to host such tv shows as the Comedy Circus series.
Real Name Shruti Seth
Nickname Shruti
Birth Place Mumbai, Maharashtra, India
Home Town Mumbai, Maharashtra, India
Read This Biography Also:
Simran Kaur Mundi Bio
Mandira Bedi Bio
Gurdeep Kohli Bio
Shruti Seth is popular for
Bloody Brothers(2022) ,
Kadakh(2020)
The Forgotten Army – Azaadi ke liye(2020).
Height 5′ 3″ Feet
Figure Measurement 35-28-35
Eye Colour Light Brown
Hobbies Yoga, Watching Movies, Shopping
Boyfriends Danish Aslam (Film Director)
Marriage Date 10 October 2010
Family Mother: N/A
Father: N/A
Shruti Seth began her journey as a guest relations executive at the Taj Mahal Hotel, in Mumbai. She started modelling at the same time to make some extra money, and after that, she was got offered guest roles in a few television shows. Shruti Seth then hosted such successful shows as Junglee Jukebox and First Day First Show on Channel V. She says that, in an interview, it was her time as a video jockey and tv presenter on the channel "that firmly put her on the map." She went on to vast in other tv shows named Kyun Hota Hai Pyar, Rishta.com, and Des Mein Niklla Hoga Chand, on Sony Entertainment TV.
She has got cast in a few films. On moving from tv to films, she says, "I have not shifted to anything. It is not that I would not do television and only do films. Yes, more avenues have begun offered to me. I am game for doing something exciting on any medium – stage, celluloid or television".She is probably best popular for her character as Fatima "Fatty" in Fanaa (in the year 2006) with superstar Aamir Khan and popular actress Kajol. She got cast in Tara Rum Pum, produced by Yash Raj Films, and made an appearance in Prakash Jha's film titled Raajneeti in the year 2010. On her character in the film Rajneeti, she says in an interview that "I am hoping that my hard-hitting character in film Rajneeti will change my being typecast because it is the most unlikely role one would expect me to play".
Facebook @Shrutiseth
Twitter @sethShruti
Instagram @shru2kill


As you may have ascertained from reading previous posts of mine, complaining about what frustrates or even infuriates me is an endeavor in which I have taken part. To sometimes appease those visions of red, I cool down with a choice beverage. But, just for your reading pleasure, my pessimism has found a way to infiltrate my beer drinking pastime and has found the topic itself to be worthy of my general disappointment. To be more specific, beer advertisements are so insulting to our collective intelligence, but what's even worse? They work. There is a catch however: a positive one at that.
Many of you have seen the Coors Light commercial with John Brenkus from ESPN Sports Science and the adoptive "celebrity" spokesperson for Coors, Ice Cube. As seen in said commercial, the premise of their entire ad campaign is that their beer is cold. This ingenious, bastion of marketing techniques that required so much out of the box thinking and university trained sales practices has yielded a lot of success for those who employ it. That is unfathomable. Whether it's the silver bullet train covered in ice, the two frosted bearded men rappelling in a glacier to remove beer bottle crystals, the "cold-activated" Rocky Mountain features on the cans turning blue when your beer is cold, or the assertion that the beer company's distribution trucks are kept at a lower temperature than the rest is just so absurd as a way to entice people to buy beer. What do we learn from those infantile in complexity ploys? We want beer, we like it cold, and we don't care what it tastes like. But, fortunately, American consumers are beginning to shed this dead weight of marketing idiocy rivaled only by the Budweiser horses whose relevance is still beyond me. They are doing so in favor of the growing Microbrewery resurgence in the U.S.
Two centuries ago, this country was an artisan beer market. Many German immigrants had traveled here and used similar hops and barley on their new American farms as they had grown in Bavaria and the regions their families inhabited overseas. The abundance of fresh water running through virtually every rural hillside and valley led to the popularization of home brewing and distilling. As a result, when the industrial revolution took shape in America, many factories were created to produce beer and would qualify today as microbreweries. Americans consumed an exorbitant amount of alcohol in that time period which eventually led to the period of Prohibition which resulted in the closure of many of these family owned breweries who could then not afford to reopen after the repeal of Prohibition due to high costs of registration, licensing, and a growing emphasis on health and safety regulations in factories. America lost a lot of its beer brewing heritage which was not revitalized post Prohibition until recently. In fact, the only reason why MIller, Budweiser, Coors, and a few others are popular today is due to their incessant advertising campaigns combined with growing sophistication of bottling practices and the beer containers themselves.
America's big names in beer, responsible for 99% of our Super Bowl commercials are all lager producers. In fact, 90% of the American beer market is lager. They are lighter in color, thinner in body, watery in taste, low in flavor, and extremely low in alcohol content (so you drink/buy more and it's cheaper to produce). Microbrews are bringing back into the market a higher quality, higher alcohol by volume product with more flavor, complexity, and greater opportunity for specialization than in the American lager market. Hopefully, this trend will continue and we can reject the supposed appeal of a beer company whose unique characteristic is the beer's temperature.
Here are a list of some breweries that are worth your attention.
Although I don't disagree with the opinion voiced by my cowriter, Mr Madison, I would just like to expound on those thoughts while they're still fresh in everyone else's mind. Granted, this is all giving Miley Cyrus more attention than she is deserved, but what this writer writes about her isn't going to affect her inflated ego one way or the other.
I agree with Madison about the fact that we need to be more conscious about the messages that crap Top 40 music is sending us as the listneners. In today's day and age, it's easy to avoid the Ryan Seacrest hosted music scene that comes with the garbage that is played over the radio on a daily basis. There's XM radio, iPods, talk radio, or even CDs to listen to before you turn your radio dial to any popular music station. If you don't want to be inundated with the trash flow that is played on the radio these days (irregardless of content, the music itself is bad), you have about another million options. And if you don't want your kids listening to that music, set the precedent in the household that that is simply not the norm. Pretty easily done.
But then, how many of you actually sat down and intentionally watched the VMA's? I know I sure didn't, but I was still bombarded with images or news about what happened during them. I chose to watch a much better production in Breaking Bad on my Sunday night, but I was still made well aware of the happenings on MTV. Pretty much any internet news site or social network was completely exploding with VMA information whether you wanted it or not. Every memebase on the web started cranking out VMA related memes that hit the internet as fast as pictures of cats do. Which then leads to people talking about it at your work, or amongst your friends, or in your family. And it's all part of a genius system, that attracts your attention to something so that it stays relevant.
And then what happens once you see and hear everyone talking about it? You get online and watch the performance yourself. And then, when you hear the song you realize it has a catchy tune you can't get out of your head, which you hear the next time you accidentally turn on the radio. Which then leads you to turn on the radio more often, leading you to have your brain turned to mush by the dumpster bin quality of what is being played. And then when the moment of clarity comes when you realize what the catchy song is really about, you either don't care enough to try and change, or you just stop listening to it. Either way though, you bought into The System.
One thing is certain, is that something needs to change. The System has gotten so good, so rich, and so powerful, that unless you literally live underneath a rock, you're guaranteed to hear about the dunghill news that the entertainment biz cranks out on a daily basis. Whether you choose to invest any actual time and or money into it is a different matter, but it doesn't change the fact that somehow, somewhere, you're going to hear about it. And quite simply, that's a huge problem. Blame it on America, capitalism, the FCC, the degradation of basic morals, whatever. But the fact will always remain that somehow, you're to blame.
In a system based on greed, the person with the most wins. The most money, viewers, listeners, fans, stuff, etc. In a country where success is equated with excess, bigger is better as long as bigger means more. There's even a television show based on people who do nothing but hoard things. We rank people and businesses based on the value of their assets, or what they have, instead of who they are and what they do. Album sales matter, not album content. Ratings matter, not what is being displayed on television. Quantity wins over quality every single day without contest.
So how do we avoid more Miley Cyrus controversy? It's not by restricting what can or cannot be shown on television, or forcing strict morals on society, or issuing harsh statements from conservative watchdog groups. It's by as a society on the whole, becoming less materialistic and greedy. Remember the old Chinese proverb, "Give a man a fish, feed him for a day. Teach a man to fish, feed him for a lifetime." Sure, banning Miley in your household is going to make a temporary difference, but instilling values that don't consist of the need to accumulate things is what is going to make the lasting difference. When you no longer care about the inane materialism that is in most pop songs, not only will you stop listening to that genre of music and all it glorifies, but you won't even care to tune into MTV anymore, or the VMA's specifically for that matter.
Does this all mean that I think it's okay for Miley Cyrus' disgusting performance being so raunchy and on basic cable that it overshadows that of Lady Gaga, who chose to wear a thong on-stage? I certainly don't think so, but I don't think that the immorality is the inherent problem. Regardless of whether you care (watch) about the VMA's or not, The System has learned exactly how to maniuplate people into getting what they want. It's built by people who want or have fame and fortune, as they project that image onto millions of other people who in turn desire the same thing. And if those aren't your priorities, then you simply won't buy into the System. The more people that don't buy into it, the less profitable it will be, and the less we'll hear about it. It's not a quick fix, but it certainly is not going to be, after decades of the focal point of this country being the accumulation of wealth and power. Everything in moderation, especially Miley Cyrus.


9/12/2018 I Sell Health, Inc.
8/30/2018 I Sell Health, Inc.
5/2/2018 Open Enrollment is over-What happens now?
3/8/2018 My Plan was not Substandard!
2/26/2018 Have you checked your 401(k) today?
2/9/2018 Understanding why health insurance cost as much as it does.


Linguistic competence is the inherent knowledge of a grammar possessed by a native speaker of that language.
It contrasts with linguistic performance, and was first introduced by Noam Chomsky. The two are generally accepted as a valid paradigm of linguistics and psycholinguistics.
Linguistic competence is tacitly acquired; knowledge of rules and meanings, pronunciation and ambiguity were never learned or taught, but rather picked up along the way.


text:
Ajiri a Quantum Developer
Kuajiri a Quantum Developer kwenye Freelancer
Quantum theory originated in 1900 and is based on the principle developed by Max Planck that energy and matter both exist as individual units known as quanta.
Key components of Quantum theory:
Energy is made up of individual units rather than a continuous matter.
Depending on the environment; matter and energy can perform like either waves or particles.
It is impossible to predict the movement of particles as it happens entirely at random.
It cannot be presumed that particles or waves have particular assets until the point that they're assessed.
Developments in Quantum theory have, in recent years extended into the Information Technology sector and Quantum computing or Quantum IT is the growth of computer technology using the philosophies of the Quantum theory.
Research into Quantum computing began in 1984 when David Deutsch struck on the idea of designing a computer with its foundations laying in Quantum theory. The theory that a particle can survive in many states opened up a new realm of computing removing limitations that previously existed.
Key differences in Quantum computing:
The main unit of information is known as a qubit. Qubits are stockpiled as units known as photons.
Data can be managed much faster.
Quantum computing can use optical fibre links to grant safeguarded communication.
A Quantum computer can operate with a logic gate which has two modes.
The two most significant aspects of quantum physics are Superposition and Entanglement. Used together the two concepts have the capacity to create a computer with enormous power and capabilities which can perform many logical operations simultaneously.
One of the biggest barriers in introducing quantum computing into our day-to-day lives is the practical fact that it is currently impossible to operate qubits using silicon chips. Despite this, research continues and is evolving continually. Quantum computing is an idea that once seemed like it was a space-age theory for the future. The reality now though is that within as little as 10 years, it could be mainstream in homes and offices across the globe.
If you are conducting research into Quantum computing or you are looking to introduce this as a new area into your business, hiring a Quantum expert through Freelancer.com will enhance your results. They will be able to impart their expert knowledge on Quantum theory and Quantum physics to assist with your research and professional development.
Quantum theory is a particularly specialized area of research and if you intend to use those theories to enhance your organization it is essential that you engage with a Quantum expert found through Freelancer.com.
Quantum Computing was once just a vision for the future but with research evolving with ground-breaking speed, the future could be upon us much sooner than was initially anticipated.
Pata Wajenzi wa Quantum Sasa
Rezence
Schematic Review
RADAR/LIDAR
Robotics and Cognitive Automation
Rasch Analysis
RFID (Radio-frequency identification)
Utafiti wa kisayansi
Mbinu ya Itifaki Ijizalishayo
Inayohusu Roboti
RUST Programming
Radio Frequency Engineering


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The Gentrification of Sacramento's Oak Park
The Gentrification of Sacramento's Oak Park | Link TV
Kris Hooks
City Rising is a multimedia documentary program that traces gentrification and displacement through a lens of historical discriminatory laws and practices. Fearing the loss of their community's soul, residents are gathering into a movement, not just in California, but across the nation as the rights to property, home, community and the city are taking center stage in a local and global debate. Learn more.
A new mural rests on the outer red brick wall of Arthur Henry's Supper Club in the North Oak Park area of Sacramento. The painting resembles a colorful and abstract view of the workings of human organs, yet it's one unwanted addition to the mural that stands out the most.
"Gentrify 101: Make it hip! (Fuck that)" is tagged in white at the bottom of the art. It's an obvious slight toward the ever-expanding gentrification of one of Sacramento's toughest neighborhoods.
And, to an extent, the anonymous tagger is correct. The mural is just one of several attempts at addressing blight in the area by bringing in new upscale housing in the form of lofts, new businesses and, in this case, art.
The tagged Arthur Henry's Supper Club mural in North Oak Park, Sacramento, CA.
Up until recently, the tight-knit Oak Park community carried the stigma of being a neighborhood with a high poverty rate, gang violence and neglect. And for a long time, that was mostly true.
Both the poverty and crime rates in the area sat well-above the city's average for years. And with no continuous financial investment into the area until recently, many of the properties in the area sat in a state of decay.
There were early efforts to change all of that. In 1973, the city established the Oak Park Redevelopment Project Area to help bring a resurgence to the city's first suburb. In the 2000s, changes began to become more visible.
"Closed for Redevelopment:" Still from 1983 KCRA-TV news clip on Oak Park crime, blight and redevelopment. | archive.org
Now, with its proximity to downtown Sacramento, more people are moving to the neighborhood, forcing residents who have lived in the area to move because of increasing housing costs.
It's the gentrification that the anonymous tagger addressed: fixing blight with new, hip attractions to bring in new, hip residents.
Racial Tensions and Riots in Oak Park
Oak Park was not always known as a struggling community. In its infancy, Sacramento's first suburb became something of a second central center with affordable housing, thriving businesses and entertainment.
As economic conditions continued to improve in the early 1900s, so did the area. The California State Fairgrounds was moved to Stockton Boulevard, an area on the east side of Oak Park, and another streetcar line was added, connecting Oak Park to downtown Sacramento.
The area was a haven for working class families. Although it was primarily White families, Oak Park was home to a few Black and Mexican-American families.
Oak Park in Sacramento, showing trolley cars, ca.1900. | USC Digital Library
Watch "Ch. 1: Legacy" now!
But as with most of the country, the Great Depression and World War II greatly affected the community's growth and laid the groundwork for "White Flight." Businesses began to shutter, jobs were lost and home values plummeted. The streetcar line that connected workers from Oak Park to downtown stopped, and the city's amusement park, Joyland, was closed.
Homeowners who could not maintain their properties began to sell or rent and started to move to newly-built and less-expensive suburbs.
Soon, the area became an oasis for the African Americans and other minorities who were displaced from the city's West End through urban renewal. Unlike many other neighborhoods in Sacramento, Oak Park was not subjected to the kinds of racial covenants that restricted home and land ownership for nonwhites.
Is housing a human right?
Learn More About This Discussion
Affordable Housing is a Right and a Cornerstone of an Equitable Society
Housing is linked, inextricably, to health, emotional well-being, family financial security, and economic mobility.
Legislators and developers are critical to how we address this issue, as are landlords and tenants, but our actions are framed by our thinking about housing.
Financialization of Single-Family Rentals: The Rise of Wall Street's New Rental Empire
One-fourth of single-family rentals today are owned by institutional investors, and more than 200,000 families pay their rent to nine giant private equity firms. This financialization of single-family rental housing is increasing income inequality.
Many White-owned businesses that closed were soon replaced by new or relocated Black-owned businesses. As the area's new residents began to create a new culture, they were literally split from the rest of the city with the completion of Highway 99 and Highway 50.
In 1968, the California State Fair Commission opted to move the fairgrounds from its Oak Park location to a northern part of Sacramento, contributing to the area's economic waning.
Oak Park's continual decline brought an increase of crime, and with it, a heavier police presence. Sacramento's police department began to enforce a law-and-order-style approach that often led to racial discrimination.
Tensions between the community and police hit a high point of furor in 1969 when officers raided the headquarters of the Sacramento Chapter of the Black Panther Party, sparking what became known as the Oak Park Riots. The clash between the community and police worsened the relations between the two and led to more shuttered businesses as people chose to leave the area.
The following year, four members of the city's Black Panther Party were arrested after police alleged that they fatally shot an officer while he was driving through the neighborhood. After an eight-month trial, the Oak Park Four, as they were later known, were acquitted of all charges.
Revitalization or Gentrification?
It was not difficult to miss. A new Starbucks located on the corner of Broadway and 35th Street, just a few blocks from the former headquarters of the Black Panther Party. For some, the business signaled caffeine for coffee lovers, but for others, it was a sign of what was to come.
The Starbucks was part of former Sacramento mayor Kevin Johnson's development project, which renovated the historic Guild Theater and Woodruff Hotel. While the theater remained, the hotel was transformed into loft apartments, a bookstore, a barbershop and an art gallery.
"This project is a much-needed catalyst that will boost the economy and vitality of the Oak Park community."
The project was paid for in part by loans and grants from the Sacramento Housing and Redevelopment Agency, as well as from Johnson's St. Hope Development Corporation.
Then-city councilmember Lauren Hammond, who represented the area, said the development would "benefit the community."
"This project is a much-needed catalyst that will boost the economy and vitality of the Oak Park community," Hammond said.
It was Oak Park's first major change in years.
The city first began its efforts to revitalize the area's economy in 1973 when it established the Oak Park Redevelopment Project Area through SHRA.
The Woodruff Hotel and Guild Theater corner property that former Mayor Kevin Johnson purchased. Today, it is the site of Underground Books and a newly renovated Guild Theater.
Old Soul bakery-cafe in Oak Park, a recent site of redevelopment.
The plan implemented a tax that new homeowners paid when buying within the neighborhood. The money from the tax would go into a SHRA fund to be reinvested in Oak Park, addressing residents' complaints of "widespread deteriorating housing and commercial property, inadequate public infrastructure, empty lots and abandoned buildings."
Over the years, SHRA started purchasing smaller lots in the area to turn into larger parcels for new development.
There were various other changes to the area over time, including the addition of public housing on 35th Street near the former headquarters of the Black Panther Party.
Despite efforts over the years, the area still suffered from deteriorating buildings, boarded-up houses and crime-ridden streets.
The area didn't see major cosmetic change until the 2000s when investors, fueled by incentives from the city and a successful deal between SHRA and Johnson's 40 Acres, began to buy property and develop.
The city's continued efforts to revitalize the neighborhood included an expansion to the Oak Park Community Center, installing new street lights and renovating McClatchy Park and the addition of new mixed-use lofts.
Kevin Johnson announces his candidacy for the position of Sacramento Mayor at the Guild Theater in Oak Park, Sacramento, California, March 5, 2008. | Sacramento Bee / Getty Images
As the city continued to put money into changing the neighborhood from poverty-stricken to a trendy place to live, residents who've lived in the community for decades got the short end of the stick.
For years, homes in Oak Park were mostly owned by absentee landlords who left properties to wither away despite collecting rent. That soon changed.
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In 1997 the city established an incentive program — the Boarded and Vacant Homes Program — which resulted in more than 100 owner-occupied residences in its first five years.As the years went on, more houses were bought, more houses were renovated, and more houses were sold.
In 2014, then-mayor Johnson broke ground on what was arguably his biggest accomplishment during his tenure — the Golden 1 Center. The new arena, home to the Sacramento Kings, solidified downtown as the city's hub.
The areas surrounding the arena, Oak Park included, felt the impact through housing costs.
The price to buy a home Oak Park has risen 10 percent in the last year alone. According to housing websites, rents for a two-bedroom in the neighborhood have reached upwards of $1,500 per month, and some houses are selling for close to $450,000.
Now, businesses that once catered to the minority community they served are being replaced by health bars, coffee shops, breweries and boutique shops. The red-brick buildings once left abandoned and battered are now covered in colorful, cartoonish murals.
In an area that, according to Census data, once held a 34 percent poverty rate and had over half of its residents paying more than 35 percent of income on rent, the changes signal trouble for residents in the renter-heavy Oak Park.
To put it simply, residents who have lived in Oak Park for decades, communities who were pushed out of the West End in the '50s and raised their families in areas where nobody wanted to live, are on the verge of being priced out.
Construction of the Golden 1 Center
Top Image: Grounded. A real estate company that flips houses in the Oak Park neighborhood.
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FCA published the consultation paper CP19/4, which proposes several amendments to the Senior Managers and Certification Regime (SM&CR) for banking firms, insurers, and FSMA-authorized solo-regulated firms [FSMA: Financial Services and Markets Act 2000]. The proposals are designed to ensure the effectiveness of the SM&CR and support its objectives. Comments are requested by April 23, 2019. FCA will publish the rules and guidance in a policy statement in the third quarter of 2019.
SM&CR was introduced for banking firms in 2016 and insurers in December 2018. It will apply to solo-regulated firms from December 2019. FCA made near-final rules on the SM&CR in July 2018 and final rules for insurers in September 2018. When consulting on these rules, a few areas requiring changes were identified. The proposals set out in CP19/3 are intended to provide extra clarity in certain areas and to help firms adjust to the SM&CR.


text:
The latest version of the 1970 British Cohort Study Activity Histories is now available
The latest version of the 1970 British Cohort Study: Activity Histories (1986-2013) has now been released at the UK Data Archive.
The updated longitudinal dataset contains data, where available, for all BCS70 cohort members' work and non-work activities, lasting one month or more, from age 16 to age 42. The data is based on responses to questions, about work and non-work activities, asked at each sweep from BCS70 Age 26 Sweep onwards.
The dataset includes data on activity type, start and end dates, duration, reason for leaving jobs and socio-economic codes associated with work activities.
This third edition of the 1970 British Cohort Study: Activity Histories updates the second edition deposited in April 2016 to include the latest BCS70 wave, extending coverage to 2013.
The dataset is available to access now on the UK Data Service website


THE Mactan-Cebu International Airport (MCIA) is on heightened alert in anticipation of the influx of arriving and departing passengers this week.
MCIAA general manager and chief executive officer Steve Yuhico-Dicdican, in a statement, said all units are in place and that they have enough personnel at work to ensure security in the airport during the Holy Week.
Private operator GMR-Megawide Cebu Airport Corp. (GMCAC), likewise, assured passengers of smooth airport operations during this peak travel period.


text:
Peru's President Wins Vote for Corruption Reforms
Written by Samuel Trilling
Peru's congress green-lighted President Martin Vizcarra's anti-corruption reforms with a vote of confidence on Wednesday, relieving tensions after he threatened to dissolve the legislative body if it were to fail.
President Martiin Vizcarra (Peru Ministry of Foreign Affairs CC BY 2.0)When Vizcarra reintroduced his ideas for combating corruption last week, his initiatives came with an ultimatum. Peru's constitution allows for the President to call for a new congressional election after two failed votes of confidence, the first of which came in 2017 while Vizcarra was Vice President.
In April Vizcarra put forward hundreds of pages of political reforms, many of which target loopholes or workarounds that corrupt politicians utilize. Among the reforms, which are expected to be the focus of congress, are a removal of immunity for lawmakers, campaign finance changes, and a ban from office on those previously convicted of corruption.
"It is urgent to save our democracy from corruption. It is urgent to prevent people who are guilty of criminal offenses from representing us. It is urgent to promote the strengthening of political parties," Prime Minister Salvador Del Solar said in support of Vizcarra during the confidence debates on Tuesday.
The past four Presidents of Peru have been caught up in the scandals relating to Odebrecht, a Brazilian company which filled the pockets of politicians throughout Latin America, which admitted to giving over US$800 million in bribes in the past decade.
Former Presidents Kuczynski, Humala, Garcia, and Toledo have all been accused of corruption relating to the scandal: one is in prison, one faces extradition, one is on house arrest, and another killed himself before police could arrest him.
But some saw Vizcarra's move as too drastic, even going as far as to call it a "coup."
"We lament the adjectives and name-calling he has used against Congress," opposition legislator Luz Salgado said, according to Reuters.
Vizcarra doesn't seem to mind the intensity of the dialogue, saying the reforms are what his country deserves.
"They keep putting up obstacles, building a system of impunity and doing all they can to keep Peru from progressing," Vizcarra said during a speech last week. "It's unacceptable."
Peru	lava jato	martin vizcarra
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6th member of the pence family pet rock rock hold... So far a pence family run down Bevis pence.. Shimmer pence... Chewy pence... Dingo pence... And augus pence... And finally Walter pence the 6th member of the pet rock pence family house hold Meet Walter pence..
Allow me to introduce you to my precious rocks and their house. I am not a very skilled crafter but I tried.
This is Rocco my pet rock. He's a good boi.
"Got a pet rock, why not show it off?"


Hi all - you have posted in this thread but have not yet upgraded. I realise this may be because you have changed your mind, but if you simply haven't seen the PM, please check your peefans inbox for the easy instructions on completing the upgrade. Alternatively, if you're having any problems upgrading, or have any questions first, please just let me know and I'll be very happy to help.
To everyone who has posted here and successfully upgraded - thanks again for supporting the site! I'm currently getting the next batch of videos ready for the gallery as we speak.
@randy AlI didn't include you in the above list as you will have only recently received the private message, so just have a look when you get chance.


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Les Arts Florissants makes a delightful (and belated) Miami debut
By Lawrence Budmen
William Christie and Les Arts Florissants performed Wednesday night at New World Center.
The New World Center was transformed into an intimate Baroque opera house on Wednesday night when five singers and four instrumentalists from the renowned ensemble Les Arts Florissants presented "Airs sérieux et à boire" (Serious Airs and Drinking Songs). A collaboration between the Miami Bach Society and the Consulate General of France, the event was a delightful coda to the annual Tropical Baroque Festival and marked the local debut of renowned Baroque specialist William Christie.
Christie and his team of musicians and vocalists have played a seminal role in reviving French Baroque opera and vocal music. With annual performances in Caen and a festival in France's Vendée region plus international tours and over a hundred recordings, the group has not only staged the major works of such masters as Lully and Rameau but also explored the musicological byways of the era, bringing some fascinating discoveries to light. In the Miami Beach performance, the first of an American tour, the beguiling melodies of Michel Lambert were a particularly worthy resuscitation.
For this program, Christie combined a series of air de cour into a mini-operatic pastiche. (He has revived the pastiche which combines the music of several composers around a simple theme or story.) The air de cour were originally the popular ditty of the era, often sung by the working classes. Eventually the songs were embraced by the French aristocracy and became a mainstay of Parisian salons, albeit in more serious versions with texts about lost love rather than drinking and revelry.
The stripped-down tour staging was witty and vivacious, the musicians as much a part of the show as the singers. In a tale of love found, lost and reborn, older and wiser, the vocalists effectively probed the joys and emotional depths of fleeting romance. The music of Lambert took pride of place, comprising more than half of the program. The father-in-law of Jean-Baptiste Lully, Lambert's tunes are alternately joyous and plaintive, happiness tinged with forebodings of coming sorrows.
Christie opened with D'un feu scret je me sens consumer, a quintet in which the singers' individual timbres stood out rather than blended, a dramatic effect to suggest the romantic tumult to come. That these artists' voices could indeed meld beautifully was clearly evident in the quartet Il faut mourir plutôt que de changer, an exquisite acapella rumination on the sufferings of the heart.
As the show's heroine, Emmanuelle de Negri was a total delight. With a fetching and bubbly personality, de Negri displayed a soprano of sizable proportions. She spun pitch-perfect coloratura in the highest tessitura but also unfurled a voluminous lower register that sounded almost like a mezzo. Her trills were spot-on, avoiding the chirpy approximations of some Baroque sopranos. In a dramatic scena by Lambert, she conveyed pain and desolation with the lustrous tones and stoic dignity of a great singing actress.
Mezzo Anna Reinhold sang a lengthy air by the obscure Joseph Chabanceau de la Barre with dramatic power, her strong low range rising impressively without strain to high tones. Tall and statuesque in a red gown, Reinhold was a subtle collaborator in duos and ensembles, her burnished sound smoothly produced. Her bridal duet with de Negri, to music by Couperin, was particularly winning.
Described in the program as a high tenor, Reinoud Van Mechelen was a born entertainer and stylist, his voice produced with the ease of a popular chanson crooner. In comedic interludes by Marc-Antoine Charpentier, he joined Marc Mauillon and Lisandro Abadie in bawdy Baroque vaudeville routines, barking like dogs, passing wine among the musicians and imitating Christie's playing at the harpsichord.
Abadie's bass was secure in the lowest range, his tone even, sonorous and devoid of vibrato. Mauillion's light sound and deft style provided consistent support in the ensembles.
Christie's incisive harpsichord, Thomas Dunford's delicate therbo and the warmth and vibrancy of violinists Florence Malgoire and Tami Troman's playing kept the show rolling in spirited fashion. Special kudos to Myriam Rignold whose elegant viola da gamba was consistently rich and beautiful.
This was period-instrument performance at its highest level. Christie should return soon with a larger contingent of his outstanding organization.


Abstract: The 11th Edition of the classic Andrews' Diseases of the Skin, by Drs. William D. James, Timothy G. Berger and Dirk M. Elston, provides the ultimate foundation in dermatology with comprehensive guidance to effectively diagnose and treat a wide range of skin conditions. These highly respected authors balance evidence-based treatment guidelines with advice from their own clinical experience, offering a practical and realistic medical perspective. Updated throughout with the latest dermatologic findings and a new chapter on cosmetic surgical techniques, this title helps you keep current, improve your skills, and prepare for exams. It also includes online access to the complete text, images, and bonus illustrations making this an indispensable, convenient reference for trainees and practicing dermatologists...Confirm your diagnoses by comparing your clinical findings to more than 1,150 illustrations, 40% of which are brand new. Update your surgical skills with chapters devoted to basic dermatologic, laser, and cosmetic surgery, contributed by Dr. Issac M. Neuhaus. Search the complete contents online, download all the illustrations, and view an additional 400 images, at www.expertconsult.com. In Andrews' Diseases of the Skin, the authors provide practicing dermatologists and residents with the core information needed.


Looking for pet-friendly accommodation in the Snow?
With our great range of properties that welcome your beloved pet, you won't need to look any further.
These luxury 2, 3 and 4-bedroom self-contained luxury pet-friendly cottages nestled on 62 acres in the Goobarragadra Valley have 180-degree views of the river and rural surrounds. Well spaced apart, the cottages offer quality furnishings with every facility to make your stay comfortable and memorable. The covered decks are perfect to capture the morning sun while giving protection from the afternoon heat. Red Gum and River's Edge cottages have fully fenced backyards whilst all cottages have enclosed balconies for your dog. Dog bowls, treats, and poop bags are supplied. While dogs are allowed inside the cottage, they do not go on to carpeted areas and do not sleep on the bedding or furniture.
Affordable and friendly, the country-style home offers a range of self-catering suites to suit families and couples. The animal-friendly hosts are helpful and inviting, guests have access to tennis courts and gardens with beautiful views of the Tumut valley. A pet fee applies.
Adjoining the Kosciuszko National Park, these Swiss-style chalets are set on 2800 acres of bushland and suit all budgets. Choose from budget accommodation in park cabins up to deluxe chalets. Pets are not permitted in the national park, and while domesticated animals are welcome to stay inside you are responsible for any damages caused. New pet enclosures have been constructed so that pets will be safe if they are left behind in unfamiliar surroundings. Perisher ski tube is just 5 minutes away and 15 minutes to Thredbo.
This motel has 2 special dedicated pet rooms so pets and their owners can share the room together. Situated in a beautiful grassed area where dogs are free to run. Located in the foothills of the Snowy Mountains NSW.
Set in lovely bush surroundings, this family-friendly park welcomes pets at the discretion of the Manager in site accommodation. Bright is around 11 kilometres away. BYO linen or rental is available.
These luxury self-contained bed and breakfast apartments feature king size beds with quality linen, fluffy robes and slippers, well-appointed kitchen, private deck and a salt chlorinated pool. Small breed dogs are welcome and can also sleep indoors – advise at time of booking. Owners need to bring all requirements for their little pet. Please keep your little dog supervised at all times in the garden and consider other guests – your dog cannot be left unattended under any circumstances within the apartment and must accompany you when leaving the property. Tariff includes full breakfast provisions.
This gorgeous property has stunning views to Mt Buller, river frontage and is located 2 kilometres from Lake Eildon. The award-winning retreat aims to make pets as welcome as their owners and allows domesticated animals to stay inside at all 3 facilities which consist of: a 2-bedroom apartment, a B&B room and the self-contained caravan. It's not just cats and dogs that have holidayed at Liptelvin, some pets that you are less likely to see on the road such as guinea pigs, have travelled here to holiday with their owners. Other animals reside on the property.
For more great places to stay with your pet grab a copy of the book Travelling with Pets on Australia's East Coast.


Swat's Blog | Analytics: Which cities are home buyers targeting most?
Analytics: Which cities are home buyers targeting most?
Which cities are home buyers targeting the most?
Realtor.com recently released its search rankings of 146 metros during the month of September. The following are the 12 most-searched markets last month, including their median list prices.
Things I learned & quotes from the book "The ONE Thing"


My wife did a great recap from the first day of Kindergarten for Josh and the first day of preschool for Alex. Rather than duplicate her synopsis, I'll simply link over to her blog for the details. The picture below pretty much sums up how Alex feels about school these days.


Art Laur says Preston was taken into custody Friday night. Missions I grieve deeply for those who suffer, in body and soul, from… 2 days ago. Trump pledges asylum crackdown, tent cities; is it legal? Body found on Aberdeen porch; police take woman into custody. Sandstrom Capoeman, Peter Rattie 11 hours ago. No one else was in the home. Tharinger wins re-election for fifth term as 24th representative State Rep. Mike Chapman is headed back to Olympia for a second term as…. After a strong showing in Lewis County on election night, incumbent James….
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Celebration scheduled to say goodbye to the Alaskan Way Viaduct.
Death Notices Jeffrey L. An Aberdeen man was arrested last week under suspicion of assaulting his…. Body found on Aberdeen porch; police take woman into custody. Start the discussion and register today for the Refuse to Abuse 5K.
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Faced with a suicidal subject in a locked trailer filled with propane,…. Keys left in Elma ballot drop box Seal unbroken inside box, so ballots were secure, county Auditor Chris Thomas says. With a second round of votes counted Wednesday afternoon, challenger David Mistachkin….
Driver who hit and killed 3 children told police 'the kids were right in front of her'. Final football game canceled for Everett High over 'safety' concerns.
Harbor News Lake Sylvia will last until October Washington State Parks announces that [ ] Aberdeen and Hoquiam police work together in car chase. Local news for Aberdeen, WA continually updated from thousands of sources on the web.
Tell me when there are new stories. The Daily World, Aberdeen, WA. likes · talking about this · were here.
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Extra place set at the table could help combat holiday blues I read that there is a suicide somewhere in the world every 40 seconds.
CRAIGSLIST FOR WEBSTER CITY IOWA The decease's identity will be released after next-of-kin is notified.
With a second round of votes counted Wednesday afternoon, challenger David Mistachkin…. More in Northwest News. Letters to the Editor Educate yourselves on I The dirtiest carbon polluters are using economic scare tactics to defeat I Extra place set at the table could help combat holiday blues I read that there is a suicide somewhere in the world every 40 seconds.
The general legend of Queen and its larger-than-life lead singer, Freddie Mercury, is told with as much grandiose theatricality as the band itself. Walsh still holds slim lead over Frasier in 19th After a strong showing in Lewis County on election night, incumbent James… Nov 7th, by Dan Hammock.
Live, local, late breaking news for Western Washington, with News Director Dave Haviland.
Two Injured at South Aberdeen House Fire · Dave Haviland. Aberdeen Police Department has joined with the Grays Harbor County Sheriff's Department, the Hoquiam PD and the Montesano Police Department to initiate. The Daily World Serving Grays Harbor and northern Pacific counties in Southwest Washington, The Daily World is the only daily newspaper on the coast of.
Final football game canceled for Everett High over 'safety' concerns.
Child found dead at Pennsylvania bus stop, police said. Hoquiam native Stu Elway has been up close with politics Sidebar Look for breaking coverage of local and regional races online Tuesday… Nov 5th, Jay Inslee out of Washington state past Election Day. Steve Tharinger will serve a fifth consecutive term as state….
JOBS OBETZ OHIO Preston into custody after a nearly nine-hour standoff at a home where officers found a body on the porch.
Steve Tharinger will serve a fifth consecutive term as state… 2 days ago by Louis Krauss. Death Notices Jeffrey L. The decease's identity will be released after next-of-kin is notified. Keys left in Elma ballot drop box Seal unbroken inside box, so ballots were secure, county Auditor Chris Thomas says.
Incumbent Arie Callaghan is an easy winner over challenger Allen Werth in….
Returning… 3 months ago by Bank of the Pacific. After a strong showing in Lewis County on election night, incumbent James….
Violent death in Lakewood group home fuels demands for change. Driver apparently loses control, crashes car into Seattle's Northwest Hospital.
Walsh still holds slim lead over Frasier in 19th After a strong showing in Lewis County on election night, incumbent James… Nov 7th, by Dan Hammock. No one else was in the home.