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WHO'S WHOcatdev2019-05-10T14:19:37+00:00
Dance & Choreography
Deaf ASL (DASL)
Light Designers
Playwright of several Deaf-themed plays. Dr. Steve Baldwin was born on March 2, 1944 in Boston, Massachusetts.
Before living in Texas the last 28 years since 1980, he worked in Wisconsin, Louisiana, New Mexico, Massachusetts and Utah as a teacher and administrator.
He has three college degrees and several teaching certificates. From Gallaudet, he received a BA in history, from CSUN, an MA in deaf education, and from the University of Texas at Austin, a doctorate in theatre history.
He has won many awards, honors and recognition for his writings and leadership, particularly the NAD Literary Award, Greenmun Memorial Award, and West Texas Chamber of Commerce Cultural Award. He is currently in two athletic halls of fame as a record-breaking long distance runner: GU Hall of Fame and USA Deaf Sports Federation.
He has produced over 20 of his own plays, scripted an award–winning minidocumentary, authored the NTD history book, wrote 122 interview shows, and published over 75 articles on a variety of subjects. He just completed his first screenplay and is now working on a new book.
Dr. Baldwin is now a retired educator who lives in Austin, Texas and is serving his second term as president of the Texas Association of the Deaf as well as the editor as The Deaf Texan.
Reproduced in this website are:
Obstacles, Develop, Divide, Destroy (Section 1 and 2)
Publication: Pictures in the Air
Deaf Smith: Script
Obstacle: Script
Develop, Divide, Destroy Part I: Script
Develop, Divide, Destroy Part II: Script
Midnight Ride Of Billy Dawes 1976
A Play Of Our Own, Part III 1979
You Were Ok, Ok Fine, Fine 1979
Borderline 1980
Christmas Oasis 1980
Sign And Sound A Lovin' 1980
A Play Of Our Own, Part IV 1981
Dynasty 1983
How To Pick A College President 1985
T.H. Gallaudet And Monsieur Clerc: Coming To Terms 1988
A Case Of Matter Over Mouth
A Mafia Doctor Confesses
A Play Of Our Own
Birth Of A Deaf Play
Caught In Between
Coronado Hill Country
Dr. Corson's Famous Tuesday Nite At The Office
How To Break An Evil Bronco
Potluck Dinner
True Hero
Twin D'amorias
Who's Gonna Be The Next Gally Prezy?
Le Petite Caporale, Napoleon, Part I
Le Petite Caporale, Napoleon, Part Ii
Love And Let Love
Deaf Smith: Program
Deaf Smith: $5 Bill
Deaf Smith: Images
Artistic Director-Gallaudet University
From his personal blog site:
My creative nature, combined with my Deaf identity, have long defined the essence of who I am.
I may be the only Deaf scene designer actively and currently working in professional American theater, and within this field, I often collaborate with hearing artists who have never met a Deaf person before.
As a designer, again, the fact I'm Deaf has always influenced and informed my approach to unit sets as stage environments with the ability to seemingly transform themselves through scenic elements manipulated by actors, lighting, and/or machinery, with the goal of creating opportunities for visual rhythm and flow, a musicality in itself, rather than visual inertia and static associated with most unit sets. I think that's in no small part due to the fact we are living in an era where the power of visually-oriented media—in all its forms--has been ascendant for some time now, and it aligns perfectly with the daily streams of consciousness familiar to Deaf people such as myself
When I design, I'm designing not only for the directors I work with, but for the lighting designers I work with, and for random Deaf audience members, too.
My passions are connected to theatre as a visual storytelling tradition: scenography and directing.
Directing Credits (2005-current)
2013 Lysistrata
2012 Hamlet
2011 L'Abbe de L'Epee: A Satire
2010 Lesbians and the Men Who Love Them
2009 Spoon River Anthology
2008 Agamemnon
2007 The Laramie Project
2006 A Streetcar Named Desire
Scene Design Credits (2005-current)
2013 Lysistrata*
Broken Spokes*
2012 Hamlet*
2011 L'Abbe de L'Epee: A Satire*
2010 World Deaf Cinema Festival
2009 Fences*
2008 Agamemnon*
2007 En La Quinta del Sordo (In the House of the Deaf Man)*
2006 A Streetcar Named Desire*
Much Ado About Nothing*
Scene Design Credits (2002-2005)
2005 Lysistrata Aaron Kelstone
The Passion of Dracula Jim Orr
A Midsummer Night's Dream* Bonnie Meath-Lang
2004 The Shape of Things* Aaron Kelstone
Oz (inspired by The Wiz) Thomas Warfield
The House of Frankenstein Jim Orr
2003 Beast on the Moon Aaron Kelstone
The Memorandum Roger Freeman
Tartuffe Jim Orr
The Foreigner Luane Davis-Haggerty and Patrick Graybill
2002 The Laramie Project Bonnie Meath-Lang
Richard of Gloucester, later King Richard III. Richard III, NextStop Theatre Company. Director: Dr. Lindsey Snyder. February 2014.
Scene Design
Titus Andronicus, Faction of Fools. Director: Matthew Wilson. May/June 2014.
Cinderella: The Remix, Imagination Stage. Director: Psalmayene 24. April/May 2014.
A Commedia Christmas Carol (remount), Faction of Fools. Director: Matthew Wilson. December 2013.
Gilgamesh, Constellation Theatre Company. Director: Allison Stockman. May 2013.
A Commedia Christmas Carol, Faction of Fools. Director: Matthew Wilson. December 2012.
2013 Helen Hayes Nomination, The Charles MacArthur Award for Outstanding New Play or Musical; DC Metro Theatre Arts "Best of 2012" Selection, Set Design; "Best of 2012" Selection, Lighting Design; "Best of 2012" Selection, Costume Design; DC Metro Theatre Arts "Best of 2012" Selection, Play; DC Metro Theatre Arts "Best of 2012" Selection, Ensemble.
P.Nokio: A Hip-Hop Musical (remount), Imagination Stage. Director: Psalmayene 24. September/October 2012.
Hamlecchino, Faction of Fools. Director: Matthew Wilson. April/May 2012.
DC Metro Theatre Arts "Best of 2012" Selection, Set Design; DC Metro Theatre Arts "Best of 2012" Selection, Play; DC Metro Theatre Arts "Best of 2012" Selection, Ensemble.
P.Nokio: A Hip-Hop Musical, Imagination Stage. Director: Psalmayene 24. February 2012. 2012 DC Theatre Scene Audience Choice Awards Finalist, Favorite Family Show.
The Wind in the Willows, Imagination Stage. Director: Janet Stanford. June 2011. 2011 DC Theatre Scene Audience Choice Awards Nomination, Favorite Family Show.
Junie B. Jones: Jingle Bells, Batman Smells!, Imagination Stage. Director: Kathryn Chase-Bryer. December 2010.
Mulan, Imagination Stage. Director: Janet Stanford. December 2009.
Zomo the Rabbit: A Hip-Hop Creation Myth. Director: Psalmayene 24. February 2009.
2010 Helen Hayes Nomination, Outstanding Production for Young Audiences.
FILM: The Deaf Family, Mosdeux Films. Director: Wayne Betts. September 2008.
The Jungle Book, Imagination Stage. Director: Kathryn Chase-Bryer. September/October 2007.
Junebug and the Reverend, Imagination Stage. Director: Kathryn Chase-Bryer. February 2007.
Huck Finn's Story, Imagination Stage. Director: Kathryn Chase-Bryer. March 2006.
Hip-Hop Anansi, Imagination Stage. Director: Patrick Crowley. February 2006.
Race of the Ark Tattoo, Geva Theatre. Director: Sean Daniels. March 2005.
Deathtrap, JCCenterstage (Rochester, NY). Director: Kerry Young. December 2004.
Six Degrees of Separation, JCCenterstage (Rochester, NY). Director: Ralph Meranto. March 2004.
Twelfth Night, Catholic University. Director: PJ Paparelli. November 2003.
The Sunshine Boys, JCCenterstage (Rochester, NY). Director: Herb Katz. October 2002.
The Diaries, Signature Theatre. Director: PJ Paparelli. June 2002.
Quinta del Sordo (In the House of the Deaf Man), Gallaudet University. Directors: Willy Conley and Iosif Schneidermann. February 2002.
Love's Labor's Lost, Washington Shakespeare Company. Director: PJ Paparelli. February 2001.
Two Shakespearean Actors, Boston University. Director: Eve Muson. December 2000.
Convention Panels/Presentations
2010 PCRID Workshop Presentation, with Gerard Williams. Topic: "We Can Do it in the Dark: Tech Theatre for Interpreters."
Respondent: Interview contributing to the article by Peter Marks for the Washington Post, "Finding a Common Language, Onstage." January 2014.
Respondent: Interview contributing to the article by Peter Marks for the Washington Post, "A 'Christmas Carol' with an ASL twist at Gallaudet." November 2012.
Respondent: Interview contributing to the article by Ryan Taylor for DC Theatre Scene, "Commedia at Gallaudet: the impact of Faction of Fools." May 2012.
Respondent: Interview contributing to the book by Dr. Joseph Murray and Dr. Dirksen Bauman, The New Normal: Deaf-Gain and the Future of Human Diversity. May 2012.
Respondent: Interview contributing to the piece by Rebecca Sheir for WAMU 88.5, "Local Theater Brings Deaf Actors Into the Fold." April 2012.
Participant and Respondent: Interview with Olivier Schetrit of France as part of his master's thesis on international Deaf theatre. April 2012.
Participant and Respondent: Interview about the Theatre Arts Department production of L'Abbe de L'Epee: A Satire as a case for Deaf Gain, with Dr. Dirksen Bauman and Melissa Malzkuhn for Issue 3 of the Deaf Studies Digital Journal. August 2011.
Participant: The Making of Agamamenon mini-documentary, filmed by Jose Saldana.
2009 DC Independent Film Festival (Winner, Washington Up and Coming Filmmaker Award); Deaf Rochester Film Festival 2009 (Winner, Audience Choice Award); Toronto International Deaf Film Festival (Winner, Best Short Documentary); 2009 Northern California Deaf Film Festival (Honorable Mention); 2009 DC ASL Film Festival (Honorable Mention).
Participant and Respondent: Interview with Julia Golden as part of the documentary, Bilingualism. April 2008.
From her personal website:
In 2017, Alexandria worked on the revival of CHILDREN OF A LESSER GODas the director of Artistic Sign Language, which then found its home at Studio 54 in 2018. In the last two years, she worked as the ASL master for the third season of ABC's Quantico and for Sundance Now's This Close (both seasons).
From 2014-2016, she worked the fast and furious turn around of what became the Tony-nominated Deaf West production of SPRING AWAKENINGas the associate choreographer, also adding to her Broadway credits as Marlee Matlin's understudy for "Adult Woman" and proudly being given the role of "Adult Woman" for the show's final month at the Brooks Atkinson Theatre.
Alexandria shared the stage with Meryl Streep and Kevin Kline in the Public Theatre's Shakespeare in the Park production of MOTHER COURAGE, adapted by Tony Kushner and directed by George C. Wolfe.
The list of incredible artists and collaborators she has worked with is...unbelievable. Some are international A-list actors, globally known directors, composers and visual artists, rising performers who are triple, dare I say, quadruple threats and others are brilliant individuals from local communities.
Performing at Superbowl LII with Leslie Odom Jr and Pink.
NYCC's Encores' RUNAWAYS.
The year-long ODYSSEY PROJECT around NYC.
GRUESOME PLAYGROUND INJURIES at Mixed Blood Theatre.
FETES DE LA NUIT at the Ohio Theatre.
SLEEPING BEAUTY WAKES at Kirk Douglas Theatre receiving an LA Ovation nomination for BEST Female Lead in a Musical)
The Broadway revival at Roundabout's American Airlines Theatre (receiving a special Tony HonorsAward), Broadway national tour, and month-long sit-down in Tokyo of Deaf West's BIG RIVER
An original production of THE WILD BOYS with Australia Theatre of the Deaf in Sydney, Australia.
Alexandria had a blast being on Nurse Jackie (episode "Comfort Food"), and Law & Order: Criminal Intent (episode "Silencer").
She has appeared on HBO's HIGH MAINTENANCE (episode "Genghis"), and has directed/acted in several episodes of DON'T SHOOT THE MESSENGER.
In early 2013, she became a resident member of the Heidi Latsky Dance Company. The company performed at the Google building in NYC, at American Dance Festival, at Montclair State University for their Peak Performance series, and in honor of the 2015 Americans with Disability Act (ADA) celebration, performed at the Whitney Museum as well as in public spaces around NYC - more specifically, in Times Square, Chinatown, Brooklyn Bridge Park, the Highline, and in the windows of the Atrium on the grounds of Lincoln Center in HLD's site specific performance piece- On Display.
In true artist-freelancing-in-multi-tasking form, she is a museum educator for the Whitney Museum of American Art, the Lower East Side Tenement Museum, Lincoln Center Performing Arts and the Jewish Museum. You may see her featured in the Guggenheim's online ASL vlogs highlighting a few of their works in the Thanhauser Gallery.
For nearly ten years, she was a teaching artist with Theatre Development Fund (TDF) and with Interactive Drama & Education Awareness in Schools (IDEAS). She continues to work with TDF with ASL directing the interpreting teams for their 'hands up' performances. Between TDF and Hands On, she has walked a mile in theatre interpreter 'shoes' and interpreted ALADDIN, Rodgers & Hammerstein's CINDERELLA, ON YOUR FEET and in at the Delacorte, in KING LEAR and TAMING OF THE SHREW.
Eugene Bergman
Dr. Eugene Bergman has co-authored with Bernard Bragg the play Tales From a Clubroomand is the co-author, together with Trent Batson, of Angels and Outcasts, an anthology widely used in Deaf Studies classes. More recently, he has authored the short story "A Morning in the Ghetto," Midstream, March-April 2008, and the memoir, Survival Artist: A Holocaust Memoir, was published in the spring of 2009 by McFarland Publishing.
Survival Artist: A Memoir of the Holocaust
Fish nor Fowl: Script
An accomplished actor, director, playwright and lecturer, Bernard Bragg has trekked around the globe for fifty years beginning in 1956 when he studied with Marcel Marceau in Paris upon his invitation. As if that was hardly sufficient, he arking on yet another trip to Europe in January 2009 to deliver a keynote address at BDA Conference in England. In the 1960s, he played an instrumental role during the formative years of the NTD, contributing as an NTD leading actor, administrator, and sign master for ten years. Readers will remember him in The Quiet Man TV series as well as in CBS's A Child's Christmas in Wales and TV movie And Your Name is Jonah, among many others. He has written numerous articles and several books related to theatre and signed arts. Among his many national and international awards, Mr. Bragg was awarded an honorary doctorate in Human Letters from Gallaudet in recognition of his extraordinary service to deaf people of the world in theatre, education and communication. He was also awarded a Lifetime Achievement Award from World Federation of the Deaf in appreciation of his pioneering efforts in theatre, culture and signed arts. A resident of California, Mr. Bragg continues to enjoy giving lectures, workshops and one-man shows around the country and aboard.
Lessons in laughter
Signs of silence
Plays Written and Directed by Bernard Bragg
Bragg, Bernard. "Moments Preserved." National Association of the Deaf, San Francisco, CA, 1966
Bragg, Bernard and Eugene Bergman. "Tales From a Clubroom." Premiered in Cincinnati, OH, 1980.
(Commissioned by NAD -- and premiered at NAD's Centennial Convention)
Bragg, Bernard. "That Makes Two of Us." Premiered at Gallaudet University, Washington D.C., 1982.
Bragg, Bernard. "On the Eve of Golden Wedding Anniversary." Premiered in Berlin, Germany, 1998.
Bragg, Bernard. "To Whom It May Concern." Premiered at California State University, Northridge (CSUN), Northridge, California, 1998.
Bragg, Bernard. "Laugh Properly, Please." Premiered at CSUN, Northridge, California, 1999.
Bragg, Bernard. "To Whom It May Concern" [German version]. Premiered in Berlin, Germany, 1999.
Bragg, Bernard. "True Deaf." Premiered at CSUN, Northridge, California, 2000.
Bragg, Bernard. "A Journey Into the World of Visual Wonders." Premiered in Hong Kong, China, 2004.
Deaf Mosaic 0103_1985
Deaf Mosaic 0303_1987 Part 1
Bragg: Past and Present of Deaf Theatres Around the World
Lessons in Laughter: The Autobiography of a Deaf Actor
Conley, a professor and chairperson of the Theatre Arts department at Gallaudet University, is an award-winning playwright who has published in American Theatre, The Deaf Way II Anthology, Deaf World, Theatre For Young Audiences Today, The Tactile Mind, No Walls of Stone and Deaf American Poetry. He has two books, Broken Spokes and a new one due out in May 2009 – Vignettes of the Deaf Character and Other Plays by Gallaudet University Press.
His plays have had professional productions nationwide and internationally, including the Kennedy Center, the Boston Center for the Arts, ARBOS, the Boston Playwrights Theatre, Centerstage, the National Theatre of the Deaf, Imagination Stage, Olney Theatre, Amaryllis Theatre, Bailiwick Repertory Theatre, Omaha Diner Theatre, and off-off Broadway.
He has garnered awards from the VSA arts 2000 Playwrights Discovery Competition, the Sam Edwards Deaf Playwrights Competition, The American Deaf Drama Festival, the Baltimore Playwrights Festival, the '97 and '99 NeWorks Festival in Boston, the Laurent Clerc Cultural Fund, the Lamia Ink! International One-Page-Play Festival, a PEW/National Theatre Artist Residency grant, and the 2007-2008 Schaefer Professorship.
He holds a B.S. degree in Biomedical Photographic Communication from R.I.T., a certification as a Registered Biological Photographer (#319), an M.A. in Creative Writing/Playwriting from Boston University (where he studied with Nobel Laureate, Derek Walcott), and an M.F.A. in Interdisciplinary/Intercultural Theatre from Towson University.
He is an Associate Artist with Center Stage, an Affiliate Artist with Quest: Arts for Everyone, and an Associate member of The Dramatists Guild. Conley lives in Hanover, Maryland with his wife, Stella, son Clayton, and Kadi, their Welsh Corgi.
Vignettes of the Deaf Character and Other Plays
Broken Spokes 1990
The Hearing Test 1991
Playing Seriously 1994
Water Falls 1996
Vignettes Of The Deaf Character 1997
Falling On Hearing Eyes: Of Sign/Anguish For People With Communication Disorders 1998
For Every Man, Woman, And Child 1999
The Fallout Shelter 2000
Goya-En La Quinta Del Sordo(In The House Of The Deaf Man) 2002
Oh, Figaro! 2003
Tales From India 2004
Hearing Test/25 Cents Program
Call for Auditions
Cast of Characters and Descriptions
Performance Announcement
Conley: From Lip-Reading Ants to Flying Over Cuckoos Nests
Patti Durr
Patti is Associate Professor in the Cultural and Creative Studies Department at the National Technical Institute for the Deaf at Rochester Institute of Technology in Rochester, New York. Durr was one of the founders of Lights On! Deaf Theatre, a community theatre company committed to plays about the Deaf experience, and served as artistic director for several years. She wrote the play, META, about a Deaf Jewish survivor of the Holocaust being befriended by an African-American college student, which was produced by NTID and Lights ON! in 1993. She was also artistic director of the first Deaf Rochester Film Festival (DRFF) in 2005.
Durr has made written and directed several educational videos for NTID/RIT:
The Grey Area: His Date / Her Rape
HIV and AIDS Prevention Video for Deaf Students
Me Too (monologues on relationship and sexual violence)
Deaf Artists Interviews (with Paula Grcevic)
Narrative films:
Don't Mind? (with Elizabeth Sorkin)
Page Me (with Elizabeth Sorkin)
Documentary film:
EXODUS: A Deaf Jewish Family Escapes the Holocaust
Durr has also been information architect, content expert / curator, and producer of three websites for NTID/RIT:
Deaf Artists website - https://deaf-art.org/
Deaf People and World War II website - https://deafww2.com/
The Heart of Deaf Culture - https://heartdeaf.com/
META: Script
Sign Off 1993
META: Video
META: Photos
META: RIT Reporter Article
META: Poster
Gilbert Eastman
Actor & Director
Gil Eastman was an alumnus of the American School for the Deaf and Gallaudet University. He founded the Theatre department at Gallaudet, where he directed and inspired many young Deaf actors.
He was involved in the founding of the National Theatre of the Deaf (NTD). Eastman wrote and produced several Deaf plays. Sign Me Alice(inspired by Pygmalion and My Fair Lady) is an important work examining the Tower of Communication Babel with the onslaught of various sign systems being utilized in Deaf education and later wrote Sign Me Alice II. He also wrote Laurent Clerc: A Profile, about the famous French Deaf teacher who came to the U.S. to help Thomas Gallaudet found the American School for the Deaf and who is often credited as bringing French Sign Language to Deaf Americans. He wrote several other plays, directed numerous productions, and taught many theatre classes.
Eastman became a Deaf American household figure entering our homes as one of the hosts for the Deaf Mosaic news program, which was produced by Gallaudet University. He also helped to develop the concept of Visual Gestural Communication (VCG) to more deeply examine visual communication and theatrics.
Just A Deaf Person's thoughts
Sign Me Alice & Clerc
Sign Me Alice 1973
Hands 1975
Laruent Clerc: A Profile 1976
What 1981
Sign me Alice II 1983
Can Do: A Revue 1989
Eastman: Interview with Eastman
Drew Emery
Hearing playwright (with Deaf playwright Lewis Merkin) of the play "Language of One."
Writer, director and filmmaker Drew Emery has created a significant body of community-centered work while living in Seattle for the past 17 years. After receiving his MFA in playwriting from the University of Virginia and winning the Virginia Playwriting Prize and the Howard Scammon Drama Prize, Drew moved to Seattle and began working with Alice B. Theatre, a gay & lesbian theatre for all people.
In addition to co-directing the nation's first national lesbian and gay theatre conference, Drew collaborated with various artists to create Hidden History: True Stories from Seattle's Lesbian & Gay Elders and Language of One, the personal odyssey of a deaf gay man.
Language of One went on to a successful Equity showcase production at New York Deaf Theatre, which Drew directed, and a run at the Sydney Mardi Gras Festival, produced by Australian Theatre of the Deaf. Other theatrical work includes Solo for Four, a short performance poem for queer youth and contributions to Voices of Christmas at the late great Group Theatre. In 2004, Drew collaborated with Eric Lane Barnes on the book for The Stops, a new musical that premiered in Seattle at The Empty Space Theatre and produced by DramaQueen.
After receiving a Seattle Arts Commission Seattle Artists Award in 1998, Drew broadened his artistic work to include fiction and poetry. But it is his foundation in oral history storytelling that has led him on a path of documentary filmmaking.
In 2000, Drew received a City of Seattle ArtsUp community collaboration grant to partner with the Seattle LGBT Community Center and create The Bridge, a video documentary built around a virtual dialogue between lesbian, gay, bisexual and transgender elders and queer youth. The culmination of a two-year process that involved significant community outreach, workshops and, ultimately, 45 one-on-one on-camera interviews, The Bridge was made with a single mini-DV camera and a laptop. Premiering in November 2002 at The Broadway Performance Hall, The Bridge was created to address a generational divide within the LGBT communities but ultimately became a film about growing up and growing old. By unleashing the power of first-hand stories from everyday storytellers, this project became a springboard for the creation of the True Stories Project and the development of Inlaws & Outlaws.
After Inlaws & Outlaws premiered to sold-out houses at the Seattle International Film Festival, Drew was chosen as a runner-up for Best Director. The film has since gone on to win the Grand Jury Award at the deadCENTER Film Festival, Best Local Film at the Seattle Lesbian & Gay Film Festival and Best of Fest at the Palm Springs Film Festival.
Language of One: Script
Language of One: Background
The play is an ensemble piece for four men and five women. To make the play fully bilingual, voicing and signing characters double for each other in a technique we call "shadowing." Most importantly, both Albert's and Peter's characters have a double, a shadow who provides not just translation but also serves as the "inner voice" of each character. These two characters, the shadows, are played by women.
Important: Unless indicated, all dialogue is both signed and voiced. When we use brackets [like this] to indicate when something is signed only or we indicate "voiced only," we mean that the character whose dialogue it is either signs or voices only—but their shadow still provides the appropriate interpretation for the audience's sake.
An earlier version of this play, Language of Love, was originally commissioned by Alice B. Theatre of Seattle and received a workshop production in April 1993 with Howie Seago directing. The play, retitled Language of One, was further developed by New York Deaf Theater with a two-week production at the Vineyard Theatre in August 1995 with Drew Emery directing. Since then, the play was adapted for Auslan (Australian Sign Language) and presented by Australian Theatre of the Deaf in a limited run at the Sydney Mardi Gras in February 1999 with Julia Cotton directing.
Language of One: Reviews
In Sydney, Australia
"This was one of the best nights at theatre I have had for a long while. I was entertained, moved and enlightened. The script is particularly strong . . . best of all, it disavows neat resolutions or happy endings. As a very well-constructed and effective bilingual production, it is a rare good thing. Language of One was equal to a main-stage production at Sydney Theatre Company or Company B." Portia Adamsons, Australia Council of the Arts.
"A groundbreaking play," Sydney Daily Telegraph
"An impressive offering . . . an interesting, witty American play – and a small triumph." RealTime
"Recommended as a 'don't miss'" QStage Review
"A glorious piece . . . a gem. Powerful, brutally honest, hauntingly beautiful," Campaign Magazine
"It brings a freshness, clarity and a shot of faith to complex issues," Sydney Morning Herald.
"Earnest, thoughtful work . . . directed with polish by Mr. Emery."
"Smart, thought-provoking and accessible to both deaf and hearing viewers."—The New Yorker
"Do not read another word of this review. Pick up the phone and make a reservation with The New York Deaf Theatre for their astonishing, magical production of Drew Emery and Lewis Merkin's forceful play, Language of One . . . The deftness with which Emery and Merkin weave multiple conceits and characters into and around each other is amazing, particularly given that the play is simultaneously performed in English and ASL in an utterly fluid, seamless fashion . . . I defy anyone to attend this play and not be moved by the sagacity of its text, the inventiveness of Emery's staging or the grace of it's cast." —Mark J. Huisman, LGNY (Lesbian Gay New York)
"A remarkably moving play" —Andrew Solomon, The New York Times Magazine
"Language of One is a small treasure—an object lesson in the quality of deaf theatre, a further proof of how artless language can carry the most heartfelt and complex emotions, and last, but not least, a marvel in performance . . ." —Aaron Schloff, The Jewish Week
"A moving drama . . . refreshing and welcome . . . gracefully and appealingly mounted."
—L.C. Cole, The New York Native
"New York Deaf Theatre's humorous, irreverent boy-meets-boy play by Drew Emery and Lewis Merkin forges a language of it's own. But this isn't merely a hearing play interpreted for the deaf—it's about being deaf in a hearing world." —The Village Voice
In Seattle
"The Best New Play of 1993" —David-Edward Hughes, Seattle Twist Weekly
"I laughed, I cried, I applauded bilingually. It's a rich evening that will drag hearing people toward . . . no longer thinking of the deaf as handicapped." —Doug VanDerhoof, Seattle Weekly
"Alice B. Theatre has toed the line of genius in their newest presentation." —Seattle Gay News
Thomas K. Holcomb comes from a multigenerational Deaf family. His parents, grandparents, children and grandchild are all Deaf. Currently, Tom is Professor of Deaf Studies at Ohlone College in Fremont, California where he teaches courses related to Deaf Culture, Deaf Education and Interpreting to both deaf and hearing students. Previously, he taught at San Jose State University and National Technical Institute for the Deaf at Rochester Institute of Technology.
Tom is considered a leading authority on Deaf Culture. He was awarded with the Teacher of the Year Award by American Sign Language Teacher Association (ASLTA) in 2002. He is well known for his dynamic presentation style which he uses to bring together deaf and hearing people and has presented in 45 states and several international countries including Japan, Sweden, Chile and Canada. He is also an accomplished storyteller and is the featured performer in the Boys Town Press videotape series, Read With Me: Stories for Your Deaf Child. His two DVD productions entitled See What I Mean: Differences Between Deaf and Hearing Cultures and A Sign of Respect: Strategies for Effective Deaf/Hearing Interactions, have received widespread acclaim for their humorous yet effective portrayal of the deaf experience. In addition, a book he co-authored with his brother and father, Deaf Culture, Our Way illustrates the unique experiences of deaf people living in the mainstream. It is now considered a classic in Deaf literature.
Tom's theatrical experiences began when Eric Malzkuhn took him under his wings when he was a student at Model Secondary School for the Deaf. There, he performed as Artful Dodger in the Oliver Twist production and received the Joe Veditz award. While at Gallaudet, he was on the cast for two different productions, Ah Wilderness and Sherlock Holmes. Upon graduation from Gallaudet, he coordinated the development of four different plays with the involvement of the deaf community. They include: Deafnasty, The Week The World Heard Gallaudet, Hear No Scream: AIDS in the Deaf Community, and Side by Side.
Tom's academic credentials include a Bachelor's degree in Psychology from Gallaudet University, Master's degree in Career and Human Resources Development from Rochester Institute of Technology, and a Ph.D. in Curriculum and Instruction from University of Rochester.
Hear No Scream: Script
Side by Side: Script
The Week the World Heard Gallaudet: Script
Actor, Director, & Playwright
Aaron was born and raised in Kansas and attended the Kansas School for the Deaf (KSD) from 1956 to 1967. He was fortunate to have a strong performing arts program available to him while he was at KSD and that has instilled a life long love for the arts and literature.
Since then he has had opportunities to be an actor, director, and playwright. All of this had contributed towards an enriching life experience that he remains fully grateful for having achieved.
His teachers at the school saw early on that he had potential to be a good teacher and encouraged him to follow that career direction. Naturally being a stubborn person he went on a long roundabout journey to other fields and experiences. However, late in his life he found his journey brought him back to teaching and the experience at NTID, Department of Cultural and Creative Studies has been an enriching experience for him.
He is currently working on his my Ph. D in education from Northeastern University with expectations to complete his work by 2012.
Master of Arts – English Literature Cleveland State University, 2001
Bachelor of Arts – English Literature Cleveland State University, 1994
25 Cents: Script
Follow the Sun: Script
Legend of Sleepy Hollow: Script
Snow White and the Seven Dwarves: Script
Handful of Myths (1995)
10 Handful Of Myths (1996)
Legend of Sleepy Hollow (2000) Adaption
The Giving Tree AND Other Stories (2003) Adaption
Lysistrata (2005) Adaption
25 Cents: Video
Example of A-B-C Card Used for the Play
Raymond Luczak
Director & Playwright
Raymond Luczak is the author and editor of ten books, including the award-winning novel MEN WITH THEIR HANDS (Suspect Thoughts Press) and the anthology EYES OF DESIRE 2: A DEAF GLBT READER(Handtype Press). Thirteen of his plays have been performed in three countries so far. His comedy, SNOOTY, the first place winner of the Samuel Edwards Deaf Playwright Competition 1990, was later published as a book by the Tactile Mind Press; it will be reprinted in his collection of full-length plays called PLAYING IT BY EYE: STAGE PLAYS ABOUT THE DEAF AMERICAN EXPERIENCE, which GallaudetUniversity Press will bring out in September 2009. Also a filmmaker with two full-length documentaries to his credit, he lives in Minneapolis, Minnesota.
His web site is www.raymondluczak.com.
Photo by Louis M. Miranda
Eyes of Desire 2
Silence is a four letter word
When I am dead
Darkest Room in the House (In Progress)
Gambit (In Progress)
Deal (In Progress)
Honeymoon (In Progress)
I Never Slept with Helen Keller (In Progress)
Lifeguard (In Progress)
Jackhammer (In Progress)
Penny Lover (In Progress)
The Happy De Von Campers (In Progress)
Threshold (In Progress)
White Chocolate (In Progress)
Among Fathers (1997)
Daffodils (1995)
Doogle (2005
Hippos & Giraffes (2002)
In Love and Trust I Lust (2005)
Interpretations (2001)
Love in my Veins (2003)
Six Women in Search of a Perfect Play (1994)
Snooty (1996)
The Rake (1992)
This (2003)
Whispers of a Savage Sort (1996)
Eric Malzkuhn
Actor & Playwright
April 21, 1922 - January 23, 2008
Eric Malzkuhn, commonly known as Malz, was a dedicated and exemplinary actor, teacher, sign language master, and playwright. By all accounts Malz's love for ASL and the English language was infectious. He graduated from Gallaudet University ('43) and later was awarded an honorary doctorate. Malz was involved in the National Theatre of the Deaf and assisted with several translations of classics. He is most well known for his performance in the Gallaudet production of Arsenic and Old Lace, which was performed on Broadway, and for his translation work on the Jabberwocky into ASL and George Veditz's Preservation of Sign Language ASL speech into English.
MSSD, the Deaf high school on Gallaudet's campus, has its auditorium named in Malz's honor due to the many years he taught there and directed their productions. We are very fortunate to have his play Color of Love in this on-line collection of Deaf plays.
Photo courtesy of Melissa Malzkuhn
Color of Love: Script
And Gladly Teche
Crooked Cop
The Eternal Road
The Flying Zarillas
The Lonely
Sounds of Silence (1955)
Moments Preserved (1966)
Lewis Merkin
Lewis Merkin-playwright (with Drew Emery): Language of One. Currently resides in New York City. Professional actor for over 28 years: Broadway (original Cast-Children of a Lesser God); off-Broadway; national and international tours and regional (Los Angeles and Seattle). Lewis is also a nationally certified sign language interpreter (CDI) and is proud to be third generation Deaf in his family.
NOTE: The phone number listed on the script is out of date. To reach the playwright you may use-
VP- 866-954-6755
Dorothy Miles
August 19, 1931 - 1993
Dot Miles was a native of the U.K. and worked within the U.S. for many years. Noted poet, playwright, performer and scholar, she was well loved and respected by many in the Deaf-world. She is hailed as being one of the earliest poets to try to represent and respect English and Natural sign language in poetry. She created works in both British Sign Language (BSL) and American Sign Language (ASL) as well as in written English. Dot graduated from Gallaudet University ('61) with distinctions and performed with the National Theatre of the Deaf.
We are very grateful to have permission to reproduce Dorothy Miles' wonderful play, "Troubles Just Beginning: A Play of Our Own" here in addition to two of her scolarly writings about Deaf Theatre.
Photo courtesy of the National Theatre of the Deaf
Trouble's Just Beginning: Script
Miles: History of Theatre Activities
Miles, Fant: Sign Language and Deaf Theatre
Shanny Mow
He was born in Stockton, CA, became deaf at the age of five from meningitis. He received his B.S. in education from Gallaudet College and M.A. in Educational Administration from California State University at Northridge, and has taught at schools for the deaf in Montana, New Mexico and Hawaii. He has also worked as a printer, photographer and ASL researcher. Since joining the National Theatre of the Deaf in 1978 as an actor in Volponeand Early One Morning, Mow has served as Resident Playwright, instructor in Professional Theatre School, and artistic director of the Deaf Playwright Conference. He continued to perform in numerous productions, the most recent being Oh, Figaro. Mow was Artistic Director of Cleveland Signstage where his play Counterfeits was nominated for the American Theatre Critics New Play awards. He once directed 'night, mother in Swedish Sign Language in Stockholm. Currently, he resides in Santa Fe, NM, free-lancing as a playwright/director.
Bachelor of Science in Education, Gallaudet College, 1961
MA in Educational Administration, California State University, Northridge, 1977
Postgraduate Study: Linguistics, University. of California at San Diego; Educational
Media, University of Tennessee; Special Education, San Francisco State College.
Biography information courtesy of Quest for Arts website-
Quest For Arts
Counterfeits: Script
Fingers Around The World:: South Of The Border* Little Theatre Of The Deaf/ntd, 2005
Bell In Hell Visual Theatre Retreat, 2004
Squanto Spoke English American Deaf Play Creators, 1998
Shakespeare Unmasked Ii Little Theatre Of The Deaf/ntd, 1998
Selecting A Ghost* New Mexico School For The Deaf, 1997
Shakespeare Unmasked Little Theatre Of The Deaf/ntd, 1995
Eight Handfuls Of Myths* Fairmount Theatre Of The Deaf, 1992
Myths: Baked, Boiled & Fried* Fairmount Theatre Of The Deaf, 1992
Letters From Heaven* Fairmount Theatre Of The Deaf, 1991
You Asked For It* Fairmount Theatre Of The Deaf, 1990
La Legenda Da La Llorona*2 New Mexico School For The Deaf, 1990
The Ghost Of Chastity Past National Theatre Of The Deaf, 1981
Gilgamesh National Theatre Of The Deaf, 1981
Daisy & Pole & Milly & Evelyn & Mike & The Superintendent & The Spanking Machine Deaf Playwrights Conference, 1978
The Cat Spanking Machine* Cleveland Signstage Theatre, 1997
Love Thy Neighbor* National Tech. Institute For Deaf, 1995
Odyssey National Theatre Of The Deaf, 1989
The Greatest Little Sign Show A Sign Of Hands Prods., Toronto, 1988
The Iliad, Play By Play National Theatre Of The Deaf, 1980
Directing:
Who'll Be Merlin Xxxiv? New Mexico School For The Deaf, 1999
The Golden Arrow American. Play Creators, Rochester, 1998
'night, Mother Sveriges Dövas, Stockholm, 1998
A Story's A Story Cleveland Signstage Theatre, 1998
Deathtrap Cleveland Signstage Theatre, 1998
The Glass Menagerie Cleveland Signstage Theatre, 1995
I Ought To Be In Pictures Fairmount Theatre Of The Deaf, 1994
Children Of A Lesser God Fairmount Theatre Of The Deaf, 1994
Escoffier, King Of Chefs Fairmount Theatre Of The Deaf, 1993
Fools Fairmount Theatre Of The Deaf, 1992
The Diary Of Adam & Eve Fairmount Theatre Of The Deaf, 1991
Fools Southwest Institute For The Deaf, 1990
The Passions Of Amoroso Randolph Hs/boston Sd, 1988
Children Of A Lesser God Fayetteville Little Theatre, 1984
The Brute Theatre In Sign, Ntd, 1980
Bedtime Story Theatre In Sign, Ntd, 1980
Acting:
Oh, Figaro Basil, Antonio, Sheryl Kaller
Odyssey Carpenter, Will Rhys
The Heart Is A Lonely Hunter Biff Brannon, J Ranelli
In A Grove Buddhist Priest, Arvin Brown
Farewell, My Lovely Driver Enthroned, Will Rhys
Our Town Mr. Morgan, Mack Scism
The Wooden Boy Cat, Joe Layton
Volpone Corvino, Don Redlich
Quite Early One Morning Grocer, Dennis Scott
Little Theatre Of The Deaf Various, Various
Related Experience:
Faculty Member Ntd Actors Academy, 2000, 2002-04
Faculty Member Ntd Prof. theatre School, 1980-1999
Director Of Artistic Development Cleveland Signstage Theatre, 1995-97
Guest Instructor College Of Acting, U. Of Stockholm, 1996
Artistic Director Fairmount Theatre Of The Deaf, 1990-95
Theatre Panel Member Ohio Arts Council, 1992
Artistic Director Deaf Playwright Conference, 1980-90
Faculty Member Theatre Institute, Mssd, 1987-89
Sign Master National Theatre Of The Deaf, 1984
Sign Language Researcher Salk Institute, 1973-74
Photographer Salk Institute, 1973-74, Also Free-lanced
Michele Verhoosky
When Michele Verhoosky was a young child and would gather with her friends for fun and games, a popular choice was to create impromptu plays. "That was one thing all my friends in the neighborhood would do," Michele stated in a 1995 interview with her local paper, The Pictorial Gazette. "We'd become kings and queens, and charge our mothers a nickel to witness our fabulous imaginations."
During these times it was discovered Michele had a severe hearing loss. Since that time the condition has progressively worsened to the point where Michele is now completely deaf in her left ear with approximately only15% of hearing in her right ear. But that hasn't stopped her from pursuing many interests and accomplishing many great things.
Michele studied children's theatre, speech and oral interpretation at Emerson College in Boston, where she working and performing with their Children Theatre Department. She went on to graduate Phi Beta Kappa, Magna cum laude from The University of Connecticut with a degree in English and Creative Writing. Her progressive hearing loss led to learning sign language and studying playwriting and deaf theatre arts at The National Theatre of the Deaf.
She went on to be a two-time winner of The Sam Edwards Deaf Playwrights Contest, sponsored by New York Deaf Theatre. A Laying of Hands was performed on Theatre Row in New York City, earning a rave review from The New York Times which stated "Her insights into despair, hope, wickedness and rascality are extraordinary, and often brilliantly exploited...what is most striking is how natural all this conversation is and how much it reveals about imagination, speech and silence." Her second award-winning play, I See The Moon was showcased by The National Theatre of the Deaf at their 1st International Deaf Playwrights Conference under the direction of Tony-award winner, Phyllis Frelich.
In 2002 Michele was commissioned by Debra Wise of Underground Railway Theatre to produce a new work for the famed Women On Top Theatre Festival. Beyond The Blue, inspired by September 11th, premiered at Boston Playwrights' Theatre. Incorporating music, sign language and the spoken word, this mystical play is an incredible journey to the world beyond and the world within, crossing boundaries, revealing secrets, reclaiming lost love and—ultimately—setting it free.
"One of the greatest lessons I've learned from my life is that what could have been viewed as my most severe disability has turned out to be my greatest ability," Michele states about her deafness. "It's what enables me to dive completely into any of my myriad interests and lose myself completely. I give it 100% focus. It's the same when I talk with people. I have to give them my full attention to sign, lip-read and speak. And you know what? People love that! The fact that somebody's actually listening to them and interested in what they have to say. And I love it because nine times out of ten a fabulous conversation ensues."
A certified yoga instructor, Reiki Master, Hypnotherapist, Michele is a member of The Dramatists Guild, published poet, short-story writer, artist, musician, and songwriter. She and her husband traded in their long-time affiliation with the rugged New England coastline to move to the "Prince-of-Tides" low country of the Carolinas. They are the doting grandparents of three beautiful little girls and a Puerto Rican rescue puppy.
A Laying of Hands (written in 1992) Winner of The Sam Edwards Deaf Playwright Contest sponsored by New York Deaf Theatre, A Laying of Hands was first produced by Onyx Theatre Company at Westbeth Theatre in 1995. A Laying of Hands moved to The Judith Anderson Theatre on Theatre Row, earning a rave review from The New York Times. Tours of the show have included performances at Gallaudet University and The University of Massachusetts at Amherst.
I See The Moon (written in 1994, winner of The Sam Edwards Deaf Playwright Contest sponsored by New York Deaf Theatre. Selected by The National Theatre of the Deaf for their 1st Worldwide Deaf Theatre Conference for a special showcase production under the direction of Tony-award winner Phyllis Frelich in 1995.
The Middle of Nowhere (written in 1997) Selected by The National Theatre of the Deaf for their 3rd Worldwide Deaf Theatre Conference for a special showcase production under the direction of Aaron Weir. Excerpt of this play published in DEAF WORLD, A Historical Reader and Primary Sourcebook edited by Lois Bragg (New York University Press, copyright 2001) in an article written by famed deaf playwright, and good friend, Willy Conley.
I See the Moon: Script
A Laying of Hands: Script
The Middle of Nowhere Part I: Script
The Middle of Nowhere Part II: Script
Beyond the Blue (2002)
A Laying of Hands: Lyrics
A Laying of Hands: Information


text:
The Army's Top Ten Greatest Inventions of 2008
The U.S. Army's Top Ten Greatest Inventions program recognizes the best technology solutions for Soldiers. Innovations are selected by Soldiers from active-duty divisions based upon their inventiveness, potential benefit outside the Army, and impact on Army capabilities from the warfighter perspective.
The Army's Greatest Inventions program spotlights innovations fielded during 2008 and the determined civilian force that has devoted their careers to protecting Soldiers on the battlefield. The recognized technologies are:
1. XM153 Common Remotely Operated Weapon Station (CROWS); U.S. Army Armament Research, Development and Engineering Center, Picatinny Arsenal, N.J.
2. Projectile Detection Cueing (PDCue)- Common Remotely Operated Weapon Station (CROWS) Lightning; U.S. Army Armament Research, Development and Engineering Center, Picatinny Arsenal, N.J.
3. Light Machine Gun & Medium Machine Gun Cradle; U.S. Army Armament Research, Development and Engineering Center, Picatinny Arsenal, N.J.
4. Overhead Cover for Objective Gunner Protection Kit; U.S. Army Armament Research, Development and Engineering Center, Picatinny Arsenal, N.J.
5. Enhanced Mobile Rapid Aerostat Initial Deployment Vehicle; U.S. Army Aviation and Missile Research, Development, and Engineering Center, Redstone Arsenal, Ala.
6. Whisper; U.S. Army Communications-Electronics Research, Development and Engineering Center, Fort Monmouth, N.J.
7. Combat Gauze for Treating Hemorrhage in Injured Soldiers; U.S. Army Institute of Surgical Research, Fort Sam Houston, Texas
8. MRAP Armor Weight Reduction Spiral Program; U.S. Army Research Laboratory, Adelphi, Md.
9. MRAP Expedient Armor Program Add-on-Armor Kit; U.S. Army Tank Automotive Research, Development and Engineering Center, Warren, Mich.
10. One System Remote Video Terminal A-kit; U.S. Army Tank Automotive Research, Development and Engineering Center, Warren, Mich.
For more information about these inventions go to: U.S. Army Recognizes Top Ten Greatest Inventions of 2008
What does the Army have planned for the future?
Army science and technology will continue to reach from the laboratory to the foxhole so that every invention placed in the hands of the Soldier makes a positive impact. The science and technology community will continue to keep the Army on the cutting edge of technology by listening to the voice of the warfighter as it develops technological solutions that help the Army maintain its battlefield dominance today and in the future.
According to Lt. Gen. James H. Pillsbury, deputy commanding general, U.S. Army Materiel Command: "Each and every one of these innovations is helping a Soldier survive. Your contributions make the difference between life and death to the Soldier."
RDECOM Web site
Bloggers Roundtable
The kid who wanted to play Army
What does the Taliban say...
A letter to my wife
Army Media Player: Thanksgiving greetings 2009 (The U.S. Army)
Army's oldest NCO Academy celebrates 60 years of excellence (The U.S. Army)
Pilot program allows officers to switch career track (The U.S. Army)
Family seeks honors for Soldiers who committed suicide (Wall Street Journal)
Months of planning ensures deployed troops get 'taste of home' for holiday meal (The U.S. Army)
Tanker's wife wins 'Rising Star' singing contest (The U.S. Army)
Obama may add 30,000 troops in Afghanistan (The New York Times)
U.S. expects more NATO troops for Afghanistan (DefenseLink)
War speech to outline escalation and exit (The Washington Post)
U.S. strategy on Afghanistan will contain many messages (The New York Times)
U.S. intelligence chief in Afghanistan wages battle for resources (Los Angeles Times)
Britain examines its role in Iraq war (The Washington Post)
Big Pakistan offensive has failed to nab any Taliban leaders (McClatchy Newspapers)
Mullen leads U.S. in arms control talks with Russia (Yahoo)
Witnesses say reservist was a Fort Hood hero (USA Today)
Pentagon team at Fort Hood to probe killings (Houston Chronicle)
Talk of war surtax for Afghanistan expenses heats up (Los Angeles Times)
Oliver North's 'War Stories' films at Fort Bliss (The U.S. Army)
Army wives join 'G.I. Jane Platoon,' get glimpse of daily Soldier life (The U.S. Army)
Former NFL player considers Soldiers his third family (The U.S. Army)
Barack Obama praises India ties in talks with PM Singh (BBC)
India, U.S. to cooperate in counter-terrorism (The Hindu)
Obama vows to 'finish' Afghan job (Al Jazeera)
Officials tell inquiry Iraq and Al-Qaeda 'not allies' (BBC)
Mahmoud Ahmadinejad: U.S. and Israel 'don't have the courage' to attack Iran (London Daily Telegraph)
U.S. Army Racing
Military Family Appreciation Month
National Native American Month
Warrior Care Month
Veteran's Day Week
Nov. 26: Thanksgiving Day
Nov. 27: STAND-TO! edition will not be published
"Tribal America has brought to this great country certain values and ideas that have become ingrained in the fabric of the American spirit. The knowledge that humans can thrive and prosper without destroying the natural environment and the understanding that people from different backgrounds, cultures, religions and ethnicities can come together to build a great country."
- Col. Stephen Sicinski, garrison commander, Fort Bragg, attributed Fort Bragg's effort, to care for the environment, to the valuable lessons learnt from Native Americans
Army recognizing service of Native Americans
Year of the Noncommissioned Officer
"These observances enhance public awareness and education among all Soldiers, civilian employees, and their families of the contributions of all cultures and groups that help shape our great nation, thereby promoting understanding, teamwork, harmony, pride and esprit among all groups."
-Master Sgt. Chanley Pickard, 193rd Infantry Brigade equal opportunity adviser, speaking about the Native American Heritage Month being observed at Fort Jackson
Native American spirit soars at luncheon

redpajama_set_name: RedPajamaCommonCrawl


SKU: JF298. Category: Gums & Resins. Tags: buffer, cigar adhesive, coughs, diarrhoea, emulsifier, incense, magic, mucilage, paint binder, polysaccharides, spiritual, stabilizer, stiffener, texturant additive, thickener.
The sap is drained from the root of the plant and dried. The gum seeps from the plant in twisted ribbons or flakes which can be but doesn't have to be powdered. It absorbs water to become a gel, which can be stirred into a paste. The gum is used in veg-tanned leatherworking as an edge slicking and burnishing compound and is occasionally used as a stiffener in textiles.
It contains an alkaloid that has historically been used as a herbal remedy for such conditions as cough and diarrhoea. As a mucilage or paste it has been used as a topical treatment for burns. It is used in pharmaceuticals and foods as an emulsifier, thickener, stabilizer, and texturant additive (code E413).
Also, it is the traditional binder used in the making of artists' pastels, as it does not adhere to itself the same way other gums (such as gum arabic) do when dry. Gum Tragacanth is also used to make a paste used in floral sugarcraft to create life-like flowers on wires used as decorations for cakes. It makes a paste which dries brittle in the air and can take colourings. It enables users to get a very fine, delicate finish to their work. Additionally, it has traditionally been used as an adhesive in the cigar rolling process used to secure the cap or flag leaf to the finished cigar body.
The Gum is less common in products than other gums, such as gum arabic or guar gum, largely because most Tragacanth is grown in Middle Eastern countries which have shaky and largely unstable trade relations with countries where the gum is used. Commercial cultivation of Tragacanth plants has generally not proved economically worthwhile in the West, since other gums can be used for similar purposes.
Gum Tragacanth is also used in incense making as a binder to hold all the powdered herbs together. Its water-solubility is ideal for ease of working and an even spread. Only half as much is needed, compared to gum arabic or something similar.


text:
Media and Telecoms
German regulator suspends law on storing phone and Internet data
BERLIN (Reuters) - A German regulator has suspended the launch of a law obliging German telecom companies to keep telephone and Internet data for up to 10 weeks to help fight crime, citing a court ruling.
Models use their mobile phones backstage at the Berlin Fashion Week Autumn/Winter 2016 in Berlin, Germany, January 20, 2016. REUTERS/Fabrizio Bensch
The data retention law, which had been due to come into effect on Saturday, requires companies to keep data on the timing and duration of telephone calls, as well as online traffic through IP addresses. Location data from mobile phones is to be stored for four weeks.
A German administrative court ruled last week that storing location and connection data, without a justifiable reason such as suspicion of crime, ran contrary to European Union law.
Regulator Bundesnetzagentur said on Wednesday it would not force telecoms to store such data until legal proceedings surrounding the law had been concluded, and would not fine them for failure to store the data for the time being.
In 2014, the European Union's highest court overthrew a rule that required telecoms companies to store the communications data of EU citizens for up to two years on the grounds it infringed human rights.
In 2010, Germany's Constitutional Court blocked a law requiring storage of all data for six months.
Privacy is a particularly sensitive issue in Germany because of the surveillance by the Gestapo in the Nazi era and by communist East Germany's Stasi secret police.
Disclosures by former NSA contractor Edward Snowden about widespread espionage in Germany by the United States caused outrage.
German telecoms company Deutsche Telekom welcomed the suspension of the new law.
"There must be legal certainty for such a sensitive infringement of the right to privacy," Telekom board member Thomas Kremer said.
Reporting by Thorsten Severin; writing by Maria Sheahan; editing by Andrew Roche


As many of you know our link missionaries who were in Peru, Harland, Gill, Ingny and Lilia have left BMS to return to Leeds so that Harland can do some further studies, Gill is working for Compassion and the girls are enjoying school in Leeds. They are missing friends, coffee and the sun and send greetings to us all.
We have already have Beth the delightful nurse who has visited us twice as one of our links and now have added two more. Daniel and Regiane Clark and daughter Ana who are now in Lima, Peru. Daniel is a Baptist minister and former missions tutor. He will be using his experience and theological training to teach at the Baptist Seminary in Lima. Regiane will work with low income communities, using her skills and experience in church based community work. They particularly ask for prayers for Ana that she will settle quickly and make good friends at her new school.
Our other new link is with Claire and Michael Skinner who are now settling into life in Beirut, Lebanon. Claire will take on the role of Programme Officer in the Lebanese Society for Education and Social Development. Michael is likely to work at Beirut Baptist School he has worked in a range of IT settings.


Better than: Anyone might have possibly expected.
Can one Bee Gee make up for the lack of three?
After Maurice Gibb's passing and Robin Gibb's recent health scare, it was left to brother Barry to carry on the band's legacy and prove that he can keep the band's spirit shining. Definitely, a formidable task.
One of the most successful bands of the past 40 years, it was the group's spirited harmonies and collaborative songwriting that assured their success. So, when Barry Gibb bravely ventured out on the Hard Rock Live stage to stand solo in the spotlight, he likely realized he faced a challenge. Could he meet the audience's expectations? Happily, the answer was yes.
The high falsetto, used to such great extents, from Saturday Night Fever on, was more than proficient. Several more-obscure selections, some dating back to their earliest days in Australia, proved more than adequate when it came to providing a Bee Gees devotee's desire for deep cuts.
Though his lion-like mane is thinning and has gone completely gray, Gibb retains the same magnetic charisma that first commanded attention early on. And onstage at Hard Rock, he looked perfectly at ease, though a bit awestruck at the enthusiastic reaction that greeted him throughout the set's 20 songs and hour and a half duration. Garbed in a green silk shirt and jeans, he soaked up the fact as a South Florida homeboy, he's celebrated as a conquering hero at home.
"Thank you for coming," he said early on. "You'll never know how much this means to me. To do something in my hometown is extraordinary."
Indeed, it was both fitting and auspicious that Gibb should choose a local stage like the Hard Rock for his first U.S. solo appearance. The emphasis remained mainly on the Bee Gees canon, with several otherwise obscure selections providing historical affirmation. Who would expect to hear such gems as "First of May," "Spicks and Specks," "Every Christian Lionhearted Man Will Show You," "Morning of My Life," and "Lonely Days" tossed into the mix when he could have relied solely on more obvious hits?
While he wisely avoided those songs that his brother Robin sang lead on ("Gotta Get a Message to You," for example, was sorely missed), the chart busters old and new ("Stayin' Alive," "Words" "1941 New York Mining Disaster," "Jive Talking," "More Than a Woman," and "Night Fever") kept the oldies enthusiasts satisfied. What's more, his eight-piece band, which includes his eldest son, Stephen, on guitar, was right on cue. It astutely replicated the original arrangements, while a trio of backing singers dressed '70s-style did their best to fill the vocal gaps caused by the absence of his brothers.
In fact, thoughts of family continually pierced the proceedings. "Words" was dedicated to wife, Linda, and his growing brood of grandkids and his expanded family of children, nephews, and nieces.
Earlier, a representative of the latter, Maurice's daughter Samantha, made a well-received cameo appearance, beginning with a solo take on the evergreen classic "End of the World" (one of two non-Bee Gees entries in the set, the other being Barry's slinky cover of "Fever," which segued into an equally sultry version of "Stayin' Alive").
She brought down the house, suggesting that a rewarding singing career lies ahead of her. Likewise, son Stephen's selection, a gritty yet otherwise unknown Maurice track called "On Time," gave him ample opportunity to spotlight his impressive guitar prowess and a gritty vocal that seemed well in sync with his tattooed hands and forearms. The boy does not look like a Bee Gee.
Barry also shared the spotlight later on, bringing back-up singer Beth Cohen to center stage to sing the Dolly Parton and Barbra Streisand role on "Islands in the Stream" and "Guilty," respectively. The former was especially impressive, further proof that even beyond the Bee Gees, Gibb ranks as one of the most prolific and proficient songwriters of the modern era.
Still, the most poignant moment of the evening came at the finale of the set and just prior to the encore, when he paid homage to his brothers Andy and Maurice, both deceased, and Robin, apparently still struggling for his life.
"I know there are people in the audience with an inclination for prayer," he said softly. "I know that I'm one as well," he added, letting his words trail off after expressing the obvious. He then launched into a powerful and heartfelt read of "Immortality," a song the brothers penned for Celine Dion. It was clearly an exercise in emotion, with Gibb giving it his all and allowing the lyric "We never say goodbye" to resonate with meaning. He then left the stage, returning a short time later for his sole encore, a reprise of "Stayin' Alive," this time performed in its original incarnation.
A great concert, one that was truly captivating, we found Barry as brilliant as ever. Sometimes, it seems, nostalgia need not be confined to the past. In this case, it embraced the present as well.
Personal bias: The song selection was ideal. I particularly loved the fact that he did "First of May," one of the loveliest songs the Bee Gees ever recorded.
Random detail: The crowd was older, as might be expected, but there was also a significant number of enthusiastic middle-aged individuals, affirming the fact that the Bee Gees still command a broad audience.
By the way: Even the Saturday Night Fever songs were terrific. All is now forgiven for their digression to disco.


text:
Q: Why does Spring Roo give persist() Propogation.REQUIRES_NEW I've been looking at the code generated by Spring Roo and I noticed that the persist() method it creates is given Propagation.REQUIRES_NEW.  Wouldn't the default propagation be sufficient?
@Transactional(propagation = Propagation.REQUIRES_NEW)
public void Entity.persist() {
    if (this.entityManager == null) this.entityManager = entityManager();
    this.entityManager.persist(this);
}

Some additional information.  Here is the roo log that produced this code:
// Spring Roo 1.1.0.RELEASE [rev 793f2b0] log opened at 2011-02-04 10:01:02
project --topLevelPackage org.sotest.sscce --projectName Test --java 6
// Spring Roo 1.1.0.RELEASE [rev 793f2b0] log closed at 2011-02-04 10:01:04
// Spring Roo 1.1.0.RELEASE [rev 793f2b0] log opened at 2011-02-04 10:01:06
persistence setup --database GOOGLE_APP_ENGINE --provider DATANUCLEUS
entity --class ~.entities.Entity
exit
// Spring Roo 1.1.0.RELEASE [rev 793f2b0] log closed at 2011-02-04 10:02:55

I am using the GAE database with the DN provider.  I simply created an entity, I did not touch any files other than issuing the above roo commands.  When I open Entity_Roo_Entity.aj I get the above code.
I will try this again on the latest version of Roo and verify the same output.  I will also post this issue on a Roo-related forum.
Update: The same code is generated with Roo 1.1.1 (latest version)

A: SECOND ANSWER (after additional info was added to question)
It's likely due to the use of GAE. The GAE datastore doesn't use traditional transaction semantics.  See description of GAE's transaction isolation here. Specifically:

Queries and gets inside a transaction
  are guaranteed to see a single,
  consistent snapshot of the datastore
  as of the beginning of the
  transaction. ... This consistent
  snapshot view also extends to reads
  after writes inside transactions.
  Unlike with most databases, queries
  and gets inside a datastore
  transaction do not see the results of
  previous writes inside that
  transaction. Specifically, if an
  entity is modified or deleted within a
  transaction, a query or get returns
  the original version of the entity as
  of the beginning of the transaction,
  or nothing if the entity did not exist
  then.

There are also restrictions on querying within a transaction.  With this in mind, the REQUIRES_NEW is probably added so that any subsequent reads of the entity within the "first" transaction work as expected.  Seems confusing and non-standard, but perhaps this is the best option when working in the constraints of GAE.
FIRST ANSWER

There must be a misunderstanding or something else at
  play.  I just checked with Roo v1.1.1
  generating a simple entity with
  Hibernate provider, and the default
  transaction propagation is used.  This
  is also somewhat verified in the
  documentation:

All persistence methods are configured
    with Spring's Transaction support
    (Propagation.REQUIRED,
    Isolation.DEFAULT).

Using Propagation.REQUIRES_NEW would
  not make sense for the default persist
  methods.
I'm not an expert in Roo, so can't
  even think of anything that might do
  this. Perhaps you should post more of
  your code, particularly any
  non-standard configurations.  Random
  questions/ideas:

*

*Are you using Hibernate provider or ?

*Any custom configuration of the persisence-unit?

*Do see the Propagation.REQUIRES_NEW on all of
  your entity persist methods?

*Where are you seeing the propagation annotation. (e.g. In the
  *_Entity.aj file?)

*Is there any chance that your entity class (or one of it's parents)
  has it's own .persist method (thus
  overriding Roo's generated method).
1:
  http://static.springsource.org/spring-roo/reference/html/base-persistence.html

1: ah. I think it's highly likely to be due to use of the GAE/DN provider. I'll modify my answer accordingly. In the meantime, check out the notes around GAE's transaction isolation here: http://code.google.com/appengine/docs/java/datastore/transactions.html .

redpajama_set_name: RedPajamaStackExchange


text:
import os
import sys

import setproctitle

def set_procname(name: str = os.path.basename(sys.argv[0])):
    """Attempts to set the current process-name to the given name."""
    setproctitle.setproctitle(name)

redpajama_set_name: RedPajamaGithub


UV Stash Jars welcomes wholesale enquiries and we are able to offer great discounts on larger orders. If you would like to sell our products please fill in our Contact Form with your website or shop address and we will get back to you with your wholesale account information and our wholesale price list. You will then be able to shop in UV Stash Jars at a much reduced price. Please do not hesitate to contact us should you have any questions at all.


Katy had a very rare talent that of good original design and the skill of a couture fashion house. She communicates well and is committed to her bride providing unique gowns to a clients particular requirements. Her styling is awesome based on elegance, balance and a magic of grace. As an individual she has a real eye for detail, and a skill rarely seen in bespoke fashion which is hand made dresses of beauty. A great personality she managed life with a real can do attitude. I'd recommend Katy.


text:
9 Iconic Movie Roles And Their Original Actor Picks
Don't you just hate it when you were in the running for the perfect job, but you were kind of playing hard to get so you wouldn't come off too desperate and some kid that's less qualified than you grabs the job, so you spend the rest of your life growing more and more bitter, drinking from 8 AM until whenever it is you pass out, cursing that kid with every breath you take? That can happen if you're an actor too!
Showbiz is a rough ride, and it's even rougher if you turn down a role that later turns out to be the lead in the movie of the year. Perhaps your rival could even get an Oscar for it. You'd actually be surprised how much this happens. Most iconic roles we now associate with a certain actor, were written for other actors at first. Either there were scheduling conflicts or financial disagreements, but one thing is for certain: for some reason, these people didn't accept the role that would later turn out to be quite the success for the other guy. Or gal.
Let's take a look at some iconic roles and the actors that were first cast and ended up getting the part.
Neo (The Matrix) – Will Smith
Yup. Imagine turning that one down. Will Smith was actually first considered for the iconic role of Neo, later performed by Keanu Reeves. Granted, the Matrix script probably looked very bonkers at the time so Will probably didn't want to risk it. Fun sidefact: Will Smith was also first considered for the role of Django in Django Unchained, which he turned down to do After Earth with his son. I'll let you guys guess which movie was a box office hit and which movie flopped. Small hint: Will made the wrong call again!
Forrest Gump – John Travolta
While it's hard to imagine anyone but Tom Hanks playing the "what he lacks in intelligence he makes up for in kindness" character that is Forrest Gump, they initially had John Travolta in mind. Not saying John is a bad actor, but I can't honestly see him pull off Forrest like Tom Hanks did.
Jack (Titanic) – Matthew McConaughey
Back in a time when neither Leonardo DiCaprio nor Matthew McConaughey were the stars they are today, both of them were connected for the lead part in the Titanic movie. I'd be more than willing to watch a remake with Matthew as the male lead, I wonder how that would turn out.
Aragorn (Lord of the Rings) – Russel Crowe
Yup. I can see that happening. Not saying Viggo didn't do a good job, just saying I'm pretty sure Russel would do an equally good one. This guy really shines in his medieval/fantasy roles, and he loves playing them too (well, at least I'd hope so, considering how many he's done).
Ren (Footloose) – Tom Cruise
First of all: starring in a movie that rhymes with your name – that's a definite "yes" from me. Second of all: Tom Cruise is good at everything he does. Third of all: he can't be worse than the guy they cast for the remake.
Johnny Castle (Dirty Dancing) – Val Kilmer
Yeah, sorry Val. No beating Patrick Swayze in this. Thank God Val didn't get cast.
John McClane (Die Hard) – Richard Gere
Noooooope. Pass on this one. John McClane is essentially Bruce Willis doing what Bruce Willis does best, and I can't imagine Richard Gere playing in a violent action movie.
Ferris Bueller's Day Off – Johnny Depp
Aww jeez, now I want to see this movie with a young Johnny Depp. Probably would've been better. Weirder though, but better.
Batman – Bill Murray
What? No, heavens no. Why would you cast Bill Murray as Batman, the superhero that couldn't tell a joke to save his life?
Vince De Zutter


Not the best week. It's a sign it's time for a cutback week, I'd say.
First off, I hate taking Mondays as rest days. I had to as we had made some dinner plans, which then fell through. I was already tired and had mentally planned on not running, so I didn't make a last minute change to get miles in. Instead we went to see Ant-Man and the Wasp, which was funny.
Tuesday I had to go over to see about my mom's cats again, and decided to start my run from her house, rather than drive somewhere else. I ran around my old junior high (now called a middle school, so weird), then into an area of the city I've never been (at least, that I was aware of – maybe I went to some friend's house when I was like 5 and they lived in that neighborhood). St. Louis Park is not that big, so it's kind of strange I didn't know anyone living over there well enough to have visited, but I guess there are other pockets of the city I don't know and need to explore. I turned around and headed back toward my mom's house once I reached a natural turnaround point (I reached a major road), but realized I wasn't going to make even 6 miles that way, so I ran past my old elementary school (now housing a Montessori school and a French immersion school) and over the highway, before swinging back around toward home underneath the highway.
Wednesday I did bridge repeats with dead legs. I hated the workout but it had to be done. I felt a little bit crummy and I guess that carried over into Thursday, because I felt like total garbage at work Thursday afternoon (well, also I ate 2 ice cream sandwiches) and left early. I ended up feeling better only a few hours later so I guess I just had indigestion. I ran on the treadmill as a precaution. Friday I had no interest in running but did it anyway. Hooray, I guess? It was a dull 5 miles meandering through my neighborhood, trying to remember which streets went through and which dead-ended. I wasn't super successful at that, but it helped tacked on the miles.
Saturday I planned to do some recon for Surf the Murph at Murphy-Hanrehan Park. I'm considering running the 50 miler this fall. I'm still undecided, partially because I'm going to use my result at Moose Mountain Marathon to extrapolate whether or not I can make the cutoffs, and partially because I didn't love my run there on Saturday. There was a lot of grass, which I hate. I despise the feeling of grass on my legs – so itchy! And of course I am paranoid about ticks. (I found none on me. That must mean they are all in places I can't see.) If they mow the course, I'm still in. If they don't, I'm out.
I planned to run 15 miles, and through 8 or so I was cruising. I was like "Wow, yeah, I can do this! I can totally race a 50 miler here!" Then I bonked. I guess I didn't eat my first gel soon enough, although I wasn't really hungry. But I also was experiencing a non-food-related bonk, if that's a thing: a bug bonk. Some deer flies were following me, probably only a couple, but they were dive-bombing me over and over again and I was flailing my arms in vain, trying to get rid of them. I think I killed one or two but ugh. So annoying. I hate flies. I got turned around quite a bit on the trails and wasn't sure how far I would have to go to get back to the parking lot, and I was running out of water. I reached the parking lot at 12.7 miles, and I had been walking for probably 2 miles. Even through the runnable sports. I gave up. I actually started to walk out another 1.2 miles so that I could do an out & back to get the 15 miles I had originally planned for, but after a quarter mile I actually said out loud "This is stupid" and returned to the parking lot. Ugh.
I decided to add the remaining 2 miles to my run on Sunday. Determined not to bonk again, I ate more food before leaving, and I opted not to do any marathon pace miles. I parked at Hidden Falls Park (up above on Mississippi River Blvd, not down near the picnic shelter) and ran 5 miles downriver, turned around, ran back, and then did another mile upriver and back to get to 12. It sounds slick and easy but it wasn't. It was another miserable run. It rained for about 2 minutes right before I started running, so the sun was back out AND it was extra humid. The air was so hot, even though it was only like 80-82 F, since the humidity was so high. Most of my run was pretty slow once the heat caught up with me, and even after the clouds returned an hour and a half into the run, I was already sapped and couldn't really recover. I was thirsty even though I had plenty of water (probably because my mouth was getting dry – I should have had a candy or something) and my stomach was a little too full of water so I felt uncomfortable a lot. It wasn't as miserable a slog as it was on Saturday, but it wasn't great. If the clouds hadn't come through and provided shade for most of the run, I am pretty sure I'd have quit early.
So, this upcoming week's a cutback week! I've had 6 weeks of increasing mileage and my body is starting to say nope. I'll be in Duluth this coming weekend anyway and won't have time for 4-5 hour runs. I also need to give my poor back a rest – no, not my muscles, my skin. My sports bra has totally shredded the middle of my back since I wore my pack 2 days in a row (and it was pretty bad after the first day, woof), and I need a chance for it to heal!
Posted on 30 July 2018 29 July 2018 by RWD	This entry was posted in Training and tagged marathon training, running, slow runners, slow running, trail running, training log, Twin Cities Marathon, ultrarunning. Bookmark the permalink.


It's not always easy to add Web analytics to a Web site after it's live. Sure it's possible,but why spend the extra time, energy and effort when planning for Web analytics as part of the initial project can avoid future costs? And while we're on our soapbox about planning ahead, we'd also like to add a pitch for integrating both highly usable customer experience principles and search engine marketing into the project design before any coding starts.
So let's take a lesson from the movie industry's playbook. When creating a epic movie or short documentary, savvy directors with a successful track record expend much effort in the pre-production stage – storyboards, mock-ups, screen tests, extra skills training for their actors.
Just as anyone can pick up a video camera and shoot a movie, anyone can build a Web site. But just as a savvy director increases his or her chances of success through careful pre-production, so should you if you want to deploy a Web site that meets your organization's goals and delights your Web visitors.
Will your customers be using search engines to find your Web site, your message, your offer? What metrics truly indicate successful SEM? Consider both organic search engine optimization and paid search marketing.
Typically measured by task success, content relevance, usability and accessibility, do remember to find out if there are any relevant considerations for look and feel. Measure how your site's aesthetics are contributing to a strong customer experience. Use personas to describe objectively the high quality visit you want your customer to experience.
Web analytics. You've defined the metrics you need for demonstrating success. Make sure your Web site is designed to deliver those metrics, work with the tool you have selected and support the analytics process to get you the metrics you need.
Why are these three dimensions important to consider as a whole before building?
These three dimensions require balancing. Overemphasizing one of the three in isolation can impede the other two, leading to Web site that's sub-optimized overall, falling short of its intended goals.
Shortcuts now create problems later.
Attempting to shoehorn these dimensions into the project either mid-way or post launch is typically expensive, and often impossible, due to budgetary or technical limitations. You might have to wait until the next Web site re-launch. Your design team should discuss these three dimensions and build them into the requirements specifications that are sent to the Web site or application builders.
To discuss further how to optimize these pre-production dimensions for your Web site, contact us.


text:
Nyt Hospital Nordsjælland
Mere om English
Nyt Hospital Nordsjælland›English›Facts
Welcome to New North Zealand Hospital
The new hospital will gather all functions of a hospital in one organic building, shaped like a clover leaf. The hospital will take the form of a pavilion in the middle of a forest south of Hillerød, North Zealand and will be both inviting and carefully planned down to every logistical and clinical function
The scale of the architecture is downplayed to an expression – aesthetically and functionally. In addition, the hospital
will be the main statement of a new urban development area with a new infrastructure and new railway station.
New North Zealand Hospital – designed by Herzog & de Meuron and Vilhelm Lauritzen Architects – will set new standards in healthcare design and healthcare delivery. The hospital is based on social, economic and environmental sustainability. The goal is higher quality, coherence, equality, safety, and a faster diagnosis and treatment for all patients.
With a modest four floors at its highest point, the hospital is designed on a very human scale despite its large size. The building is designed to be overwhelming - but closely integrated in the landscape.
The innovative, organic form of a four-leaf clover connects the many components of the hospital and ensures a feeling of safety as well as efficient flows. The architecture of the hospital thus supports the healing of each patient.
Healing architecture
Nature and daylight will be fully integrated into the building and reflect the healing atmosphere of the scenic surroundings. Conceptually, the landscape is conceived as a forest and the hospital as a pavilion. The landscape design takes its point of departure from the site's moraine formations. To support the healing of each patient the wards at the top levels will have a view over the surrounding landscape.
Keeping the patient in mind
The ability to adapt to the patients of the future is essential. Everyone should receive proper and efficient treatment. The hospital aims to meet the needs of patients and their relatives in order to ensure a positive experience in a difficult situation. Before, during and after a hospital experience.
National reform plan
Denmark is over a 10 year period investing more than 40 billion Danish Kroner (approx 7.4 billion. USD) in the renewal of hospital facilities all over the country. The investment covers 16 projects whereof New North Zealand Hospital is one out of 4 new hospitals. Learn more.
Her vises nedarvet indhold
jhan1104@regionh.top.local
Nordsjællands Hospital - Dyrehavevej 29 - 3400 Hillerød -
Telefon: 48 29 48 29 - E-mail: regionh@regionh.dk


What a wonderful and heart felt tribute to that amazing voice, and that amazing man.
Thank you, Ms Vetere, for this marvelous tribute. It was Pavarotti's magnificent voice that, for me, opened the door to opera. In 1996 I heard him sing on public television. Up until that time, I thought I didn't like opera. His voice moved me so, I decided to do a major study of opera. During this process, I discovered Aprile Millo. I was a goner. Now the joy of opera brightens my every day. Thank you, Luciano. May you rest in peace.


Start your morning off with a couple of the yummy French Puffs.
A couple of days ago I took a trip to my local public library. I wanted to see if I could find something inspirational for writing some rousing post for my blog.
It seems the last couple of weeks since I started my blog my mind has been consumed with thoughts of my blog, what recipes I should add next, how I can get people to become followers of my blog… I wake up at night thinking about this. Oh well, I am sure as time goes on my mind will slow down and hopefully people will start viewing my blog, more than just my family.
Well enough about that. Let's return to my trip to the library. I headed straight for the section that houses the recipe books. I found several shelves filled with all kind of recipe books, but one caught my eye right away.
The title of the book was More Minnesota Mornings and Beyond. A Cookbook & Travel Guide from the Minnesota Bed & Breakfast Association.
It featured recipes from Bed and Breakfast Inns from all around the state of Minnesota. Most of the recipes were for breakfast foods. I decided to make one of the more simpler recipes; I would like to share it with you on my blog now.
While muffins are baking, mix sugar and cinnamon in a shallow bowl. Melt butter.
Preheat oven to 350 degrees. In a medium mixing bowl, combine flour, sugar, salt, baking powder, and nutmeg. Make a well in the center of dry mixture.
In another medium mixing bowl, lightly beat egg. Add buttermilk and melted butter. Place wet mixture in the well of dry mixture; combine only until moistened. Do not over mix.
Fill muffin cups 2/3 full and bake for 20-25 minutes. The top should be golden brown.
When baked muffins are cool enough to handle, dip tops in melted butter and then in cinnamon/sugar mixture.
Don't worry if you don't have buttermilk. I did not have any buttermilk so I substituted the buttermilk with milk and vinegar. (I took about 2/3 of a teaspoon of milk out and replaced with the vinegar. Let this mixture set for 5 minutes before adding it to the other ingredients.) I had learned of this substitute for buttermilk several years ago and it works well.
I used baking cups for the muffin tins, this made it easy to remove the French Puffs from the tins.
My muffin tins are a little smaller so I think that filling the tins 2/3 of cups was a little bit too much. If you have smaller tins fill only 1/2 of the cup.
Overall I think the French Puffs turned out well. My family enjoyed them and I think that I will make them again.


There are various places to choose from when skiing or snowboarding in Chamonix, from easy/beginner slopes to more challenging runs and world-famous off-piste areas.
The La Verte black run in Les Houches, a downhill event on the FIS Skiing World Cup calendar.
The Grands Montets and the Point de Vue with its majestic glacier run.
The Col de Balme and Tour area which drops down to the neighbouring valley of Vallorcine.
The natural half-pipe at the Tour.
The FreeStyle park at the Grands Montets.
The Vallée Blanche: Starts at the top of the Aiguille du Midi cable car (3842m, Europe's highest) and snakes for 20km all the way down to Chamonix (2800m vertical descent).
The Pas de Chèvre: A majestic run from the Grands Montets down under the Drus, with a finish in Chamonix.
Crochue-Berrard: Starts at the Flégère cable-car (5 minute drive from the chalets), climbs up to the Crochues Pass and then descends the magnificent secluded and uninhabited Bérard valley. Take the train from Vallorcine back to the chalets.
We can pre-book and deliver your ski passes for you, or book you a ski instructor or experienced guide to help you improve your skills on the pistes.


text:
Jim Brunner
2019 Seattle City Council Elections
The Overcast politics podcast
Leaders of 3 advocacy groups say Urquhart bullied ex-deputies who accused him of sexual assault
Originally published November 1, 2017 at 6:35 pm
King County Sheriff John Urquhart. (Susan Walsh/AP)
The King County sheriff, who is seeking re-election, has adamantly denied the accusations by the two former deputies.
Lewis Kamb
Leaders of three political-advocacy groups blasted King County Sheriff John Urquhart Wednesday for what they described as his egregious mistreatment of two people who have accused him of sexual assault, and they called on public officials who have supported his re-election bid to rescind their endorsements.
"The mishandling of sexual-assault charges against Sheriff Urquhart is appalling and absolutely unacceptable," said Alexis Turla, diversity chairwoman of the National Women's Political Caucus of Washington.
During a morning news conference, the groups contended that Urquhart and his chief of staff, Chris Barringer, have abused their authority by actively trying to discredit and silence people who have accused the sheriff of sexual assault through bullying tactics.
"It is so dangerous to see an elected official, a leader of King County's law enforcement, respond to accusations of sexual assault by intimidating and attempting to silence their accusers," said Tiffany Hankins, executive director of NARAL Pro-Choice Washington.
Urquhart has adamantly denied accusations by two former deputies that he assaulted them while they worked for the Sheriff's Office and also denied improperly releasing their personal information. Barringer also claimed Wednesday that Monisha Harrell, one of the news conference's primary participants, is working on behalf of Urquhart's political opponent.
"It's as simple as that," Barringer said in an email.
Harrell, board president of the LGBTQ advocacy group, Equal Rights Washington (ERW), denied she's working with the campaign of Urquhart opponent Mitizi Johanknecht.
"If Urquhart was running unopposed, we would've had the same press conference today," she said.
Earlier Wednesday, Harrell explained during the news conference that her group's decision to endorse Johanknecht came after Barringer offered to provide her with medical records to discredit a former deputy who last year alleged Urquhart raped her years earlier.
"People have also asked if providing those files is legal, and respectfully, I do not know," Harrell said. " … I don't care if it's legal, but I can tell you, it isn't moral, and it is not ethical."
Barringer has denied offering Harrell the woman's medical records.
In April, Seattle police "administratively cleared" Urquhart of the woman's claims of sexual assault, finding the statute of limitations on any crime had expired, and the alleged sex appeared consensual.
On Monday, the sheriff's female accuser, who has asked The Seattle Times not to identify her, obtained a temporary sexual-assault protection order against Urquhart for allegedly publicly sharing her medical information. A hearing on the order is set for Tuesday.
Brian Barnes, another former deputy, recently has alleged the sheriff inappropriately touched him in 2014 and contends the county paid him a settlement to resign and keep quiet about that incident and other efforts to expose alleged wrongdoing within the department. Renton police are now criminally investigating Urquhart based on Barnes' allegations.
During the news conference, Harrell read aloud from a letter she received from Urquhart's lawyers earlier Wednesday that she took as "an attempt to silence this press conference." Among other things, the letter stated "we will be watching you carefully" and added that Harrell should share the letter with her lawyer or to retain an attorney if she didn't already have one.
Harrell characterized the letter as bullying.
"And I'm telling you right now, I will not be bullied, and I will stand with the victims who come forward to speak," she said.
Harrell also produced screen shots of texts Barringer sent her in May to set up a phone call, disputing statements Barringer made to The Seattle Times on Tuesday that Harrell called "quite candidly … just lies."
Barringer previously contended he hadn't called Harrell about an endorsement, saying "the only communications seeking ERW's endorsement were done by email, and only after ERW specifically contacted the campaign first."
On Wednesday, Barringer said the texts and subsequent phone call to Harrell were a personal "communication with Monisha, herself," and had nothing to do with an endorsement. He also reiterated his denial of offering the woman's medical file, saying those records don't exist within the Sheriff's Office.
Hankins said a letter from NARAL would be sent later Wednesday to the county executive and council members "on behalf of our thousands of King County members" to request officials rescind endorsements of Urquhart.
By Wednesday afternoon, King County Councilman Rod Dembowski, Seattle City Councilmember M. Lorena González and state representatives Morgan Irwin, R-Enumclaw, and Noel Frame, D-Seattle, were among those to confirm they'd withdrawn endorsements of Urquhart.
In a statement Wednesday, González said "recent revelations involving his conduct during this campaign — particularly the reported offers to release opposition, accuser and detractor medical and personnel records — are very concerning, especially when it comes from our county's top law enforcement officer."
Wednesday's news conference was held in a conference room in the same downtown office building that houses the office of Johanknecht's political consultant, Cathy Allen. Allen said Wednesday she didn't coordinate the news conference, but she acknowledged she is a member of all three groups and offered the conference room for the event.
Lewis Kamb: lkamb@seattletimes.com or (206) 464-2932. Twitter @lewiskamb. Information from Seattle Times archives is included in this story.


text:
Doctors not looking after own mental health
By Natalie Bochenski
June 29, 2014 — 6.19pm
Junior doctors and medical students are most at risk of mental health problems, but experts say the entire profession is afflicted.
A Junior Doctor Conference held by the Australian Medical Association of Queensland in Brisbane over the weekend was told developing personal resilience along with changes to training practices, work hours and expectations were needed to improve doctors' mental wellbeing.
Head of Child and Youth Mental Health at the Mater Hospital and Beyond Blue director Brett McDermott, who addressed the conference, said the mental health of medicos in general was "really quite poor".
"About 30 per cent felt emotionally exhausted, there were quite high levels of cynicism, which is a measure of burn-out, and about 15 per cent didn't feel professionally effective."
"For a group of individuals who are supposed to be helping others, these statistics are unacceptable... this is a bit of a call to arms for the profession to do something about this."
Professor McDermott said Beyond Blue's 2013 national mental health survey of 11,000 doctors and 1700 medical students found 25 per cent of them had experienced some form of suicidal thought, with 10 per cent experiencing such a thought in the 12 months prior to the survey.
"This is of grave concern, because don't forget, doctors, of any group actually know to do it...they have the means and access to drugs," he said.
Professor McDermott said medical students, young, female and indigenous doctors and those working in rural or remote regions felt the burden more.
According to the survey, 13 per cent of medical students were taking anti-depressants.
"A lot of medical students still felt the medical profession discriminated against doctors who were anxious and depressed... and wouldn't get appointed to positions as readily as others," he said.
"There was still some degree of stigma."
Professor McDermott said positive steps were being taken, such as Beyond Blue's national strategy on creating mentally healthy workplaces, and the first roundtable on the issue co-hosted held on June 12.
"Doctors need to have a mentally healthy workplace as much as any other group, arguably more," he said.
"Obviously we're looking at work hours, but also...relationships between senior and junior medical staff, are we maximising mentoring of young practitioners, are we making sure our young practitioners have a life outside of medicine?"
Professor McDermott said the survey recognised doctors were generally good at seeking treatment and counselling, and that while stigma persisted, the landscape had changed.
"I think we are talking about things like we never have before, and I'm very hopeful this younger generation be much more comfortable talking about anxiety and depression than I ever was - and I'm a psychiatrist."