text:
A Black Pearl of the Deep: Juraj Herz's The Cremator
Valérie Hazette
A Festival of Two Halves: the 2016 Cannes Film Festival
Evaluating Ecocinema: Green Documentary: Environmental Documentary in the Twenty-First Century, by Helen Hughes
Riding, Jumping, Standing Still: Junior Bonner (Sam Peckinpah, 1972)
Cronenberg, David
Hurlevent: Jacques Rivette's Adaptation of Wuthering Heights
Hurlevent (1985) is Jacques Rivette's impressive rendition of Emily Brontë's 19th-century classic Wuthering Heights. This dark novel with its uncivilised lovers and stormy Yorkshire landscapes has its roots in the ancient balladic tradition and has never ceased to fascinate renowned 20th-century artists (writers, musicians, painters, dancers, filmmakers…). As translations into various European languages became more and more widespread, the Surrealists saluted Brontë's work as a literary masterpiece that was in total harmony with their Manifesto's tenets. For Luis Buñuel, the theme of l'amour fou was so powerfully developed in the novel that he felt compelled to adapt it. In the early 1930s, he wrote a script with his friend Pierre Unik: the movie, Abismos de passion (1954) would only be shot 20 years later, in Mexico, and not properly released until 1983, in New York! But, after all, getting the unconventional fiction published back in 1847 in Victorian England had also been, for its female author, a very difficult journey.
What about Rivette's experience of Wuthering Heights? Was it worth all the trouble and the anguish?
In our interview of last December, he recalled that he first read the novel in a French translation as a 19-year old. Three decades later, he directed his own Hurlevent, the 126-minute movie which shifts the action to the Cévennes, an area historically associated with a stern rural Protestantism and characterised by a wild, sun-drenched landscape where isolated farms can be several miles apart. This beautiful cinematographic transposition of the accursed book, however, was pretty tough to make and did not bring him much artistic or financial recognition – it went practically unnoticed at the time, the theatres were empty! Moreover, as underlined by co-writer Pascal Bonitzer, it took Rivette a while to fall back on his feet and shoot his next film, La bande des quatre (The Gang of Four, 1988) which was a success.
I wish it were different. I wish I could persuade you to see Hurlevent, which came out in a DVD collector pack last year, together with the more popular La belle noiseuse (1991) (starring Emmanuelle Béart) and Secret Défense (1998) (Sandrine Bonnaire). I wish it were different since Rivette's latest movie, Histoire de Marie et Julien (with Béart, again), will be released in November 2003 and has, according to the director, quite a lot in common structurally and thematically with Hurlevent.
Hurlevent was a challenge from the start: Rivette, Bonitzer and Schiffman had to condense a 34-chapter novel spanning three generations (1771–1802) and simplify the structure of a story which accumulates flash-backs and is told by several narrators. Rivette made no bones about adapting solely the first chapters and doing away with the successive story-tellers. He would put back the necessary distance between reader/spectator and protagonists by contrasting, in his mise en scène, the realism of the settings (the Provençal farm, the garrigue (1), the stylish castle) and the low-key theatricality (2) of the performances: the young actors appear to be "representing" or "re-enacting" the tragic events of Brontë's novel, in another century and country, but with the very same result. As in the 1798 Lyrical Ballads of the Romantic poets Wordsworth and Coleridge, the aim is to reveal "the primary laws of our nature as they may be apprehended through human experience in a wild and isolated setting".
Rivette also introduced three dream sequences, the most impressive of which is interpolated in the middle of the movie and marks a turning point in the action, the three-year separation of Heathcliff/Roch from Catherine. The blurring of frontiers between conscious and unconscious perception which is made tangible in this central oneiric scene allows a poignant insight into Catherine's psyche without any need for words. Rivette understood perfectly well that simplicity in the dialogues, locations and costumes was necessary to avoid the trap of over-dramatisation – into which the first BBC television productions, not to mention the old period drama of 1939 (with Laurence Olivier and Merle Oberon) had fallen. The only concession to lyricism can be found in the magical accents of Le mystère des voix bulgares, a Bulgarian choir's album that Rivette discovered thanks to Willy Lubtchansky in the early 1980s. Their voices echo at some key, epiphanic moments – when, for instance, Roch and Catherine, in a state of utter happiness, dash across the garrigue, or when they are about to be reunited in spite of death, social barriers, and betrayal.
The credibility of the actors was of paramount importance in an adaptation that Rivette wanted faithful to the spirit of Brontë's classic. In her novel, the fierceness of Heathcliff and Catherine's impossible teenage love (which originates in their ever-growing childhood attachment) only makes sense if you remember how young and vulnerable they really are. Like the excellent Wuthering Heights made by Robert Fuest and Patrick Tilley back in 1969–70, Hurlevent uses young actors both in the main roles (Lucas Belvaux and Fabienne Babe in their first feature film) and the secondary parts (3). Rivette's accurate reading of Brontë's story led him to adjust the age of the servant, Nelly – she is only in her mid-20s when the heroes are in their late teens – and endow her with vivacity, kindness and physical beauty, all attributes which allowed a more touching and realistic depiction of Catherine's illness. Finally, this interpretation of Nelly's character – which resembles that of Fuest and Tilley – had the advantage of asserting quietly the parallel, if subdued, attraction between her and the elder brother, Guillaume/Hindley, which so cleverly balances the whole plot.
To me, it is a pity that Rivette did not feel like shooting the second half of the novel – and he still feels the exact same way today! But in Emily Brontë's fiction, the third generation of Earnshaws and Lintons (4) introduces such a difference in tone (with its fairy-tale, rather than fantastic, components) that most film adaptations – except for Kiju Yoshida's beautiful Onimaru (1987) and Peter Kosminsky's Wuthering Heights (1992) – have cautiously stayed away from it.
When I met Rivette last December, the only argument I was able to present for an eventual sequel to Hurlevent was the example of the Antoine Doinel cycle where François Truffaut partly solved the problem of dramatic continuity by using the same actor, Jean-Pierre Léaud, from the 1959 400 Blows to the 1979 Love on the Run. But a Heathcliff has very little in common with a Doinel…
On a crisp and sunny Monday, just before Christmas Eve last year, I met Jacques Rivette in Paris. I sat with my idol for an hour-and-a-half interview in a typical Parisian café, Le Café des Ateliers, situated near Boulevard de la Bastille (in the 12th district) and buzzing with the sound of animated conversations.
I was so determined to discuss his mid-'80s movie Hurlevent which inspired me to start my university project – "The Film and Television Adaptations of the Novel Wuthering Heights" – that I had begun to correspond with him two months earlier. Rivette remained terribly silent, although he did read my mail. As I learnt later, he is rather hesitant when it comes to responding in writing – and a less demanding electronic correspondence is simply out of the question: "I am too old."
Nevertheless, once I finally managed to take advantage of a golden opportunity to talk with him on the phone, being a nice guy (generous with his time and fairly open to new people) he acknowledged my two letters and instantly granted me the interview I was hoping for…and "instantly" means "instantly": I rang him at two pm and interviewed him shortly after three o'clock on the same day!
VH: The main topic I would like to explore with you concerns the episodes of the novel that are difficult to translate into images, and their oneiric equivalents in the first, middle and last scenes of Hurlevent. According to what Pascal Bonitzer said in a filmed interview [see the Rivette DVD collector pack released by ARTE in the Autumn 2002], the first scene was inspired by Bataille. While leafing through the critical publications for Emily Brontë's novel, he came across a book by Georges Bataille, The Tears of Eros…
JR: Well, it is not a book but an article, a very long article, which he collected later in a book called – I think – Literature and Evil (La Littérature et le Mal). Pascal knows Bataille far better than I do, since he was the subject of his PhD thesis. As for me, a long time ago, I merely skimmed through this article by Bataille. The truth is that I am not very familiar with it.
VH: So there was this article, but also an illustration, apparently a reproduction of a painting by Poussin…
JR: No, it was not exactly an illustration. It all started – and it has been stated in a number of interviews, so you must have heard about it – it all started when I had no plans to shoot an adaptation of Wuthering Heights, or anything else, for that matter. It was after…
VH: …the Balthus exhibition?
JR: It was after Love on the Ground (1984). I had just finished the editing – it was probably at the end of 1983 or at the start of 1984. I believe it was at the start of 1984 that the Balthus exhibition took place in Beaubourg.
So I went to this exhibition. Seeing as he's a bit of an eccentric and all that, I am very fond of Balthus. So I went to the exhibition which was actually superb. I already knew the drawings produced by Balthus for the book that the Gallimard editions had intended to publish at the beginning of the 1930s – around 1932 or 1933, I think. These drawings, by the way, were more or less contemporary with Buñuel's first desire to film the novel … I believe he had already written the screenplay…
VH: Which he only shot 20 years later …
JR: Yes, but still, his screenplay was written at the time in question. So it was in the air for this little group, and Buñuel, Balthus and so on knew each other. They used to gravitate around the Surrealists, while retaining their independence. And then, although I had already seen some reproductions of the drawings, the Balthus exhibition of Beaubourg featured a small, separate room – a kind of tablier, as one says in old French – where they actually displayed all the Balthus originals – the ink as well as the pencil ones, the final drawings as well as the sketches.
And I was struck by the fact that Balthus enormously simplified the costumes and stripped away the imagery trappings which are so much foregrounded in the Wyler movie. I wondered why nobody had ever made a movie in which Catherine and Heathcliff were the age they actually are in the novel. Because in the Wyler movie they are 30 and in the Buñuel movie 30 or 40.
Therefore they are adults, and it does not mean anything. Well, it does mean something, but something completely different. So I felt like making a movie with some very young actors. I started with this idea in mind and made the first adaptation – well, maybe not the first one because there are adaptations that I have never seen – in which they are their age.
It was a novel that I had read, like everyone else, when I was 18 or 19 in its classic French translation, the famous translation called Les Hauts de Hurle-Vent by Frédéric Delebecque – which is quite a good translation. It is a free translation, a kind of adaptation for the French language, which, as far as I know, is pretty faithful. The only criticism that I might pass, very quickly, on the translation of Monsieur Delebecque is that everybody uses the "vous" form while, theoretically, between Catherine and Heathcliff…
VH: Maybe because there is never any "thou" in the novel…
JR: Of course. Still, I don't know which Emily Brontë would have chosen. Because, on the one hand, when she writes the novel in 1840 or so, the "you" is very strong above all, maybe, in a Protestant environment. On the other hand, I really find that the "tu" form comes more naturally. In English, I am not sure…
The important thing is that it was quite a good translation. In fact, I had gone through it and tried to establish a few comparisons with the English text. And of course, when we prepared the movie, I bought the English text and compared. But then, I deliberately decided not to re-read it.
So I started with this idea in mind, and talked first to my producer, Martine Marignac, with whom I had already made North Bridge (1980) and Love on the Ground, and then to Pascal and Suzanne Schiffman, with whom I had worked on Love on the Ground too. (Love on the Ground was the first movie I had made with Pascal; Suzanne, I had known for years and years.)
But I had decided not to re-read it: I asked Pascal to summarise it for me. I only wanted to have the outline of the story and of the characters, that's all. And from the start, I told him: "Only the first part", because I knew about the second part. I had a very strong memory of the Wyler movie – because I hate it – and of the Buñuel movie because, as you know, I find it very beautiful. The characters are 40, but still, the movie remains very, very powerful.
VH: After Love on the Ground, which was shot in the suburbs of Paris, did you feel like heading southwards for Hurlevent?
JR: Indeed, I was tempted to make a film with a very stormy atmosphere, with the idea of "wilderness" which had been completely absent from all I had done before.
VH: Did you know this impressive stone building, this farm or mas, prior to the shooting?
JR: No, not at all. In fact, Suzanne and I spent a long time looking for it. In the end, we eventually found this place. It was mainly the farm that mattered: the farm – as you probably know – is in Ardèche whereas the mansion, which should be nearby, is actually located 100 kilometres below, between Nîmes and Montpellier, near Sommières. However, it became obvious at an early stage that we would not find the mansion in Ardèche, or the setting for the farm near Sommières. I personally like the farm a lot. The mansion was trickier. It was a very, very tough shoot; it was a terrible shoot.
VH: That is why I was unwilling to bring up the subject – I wonder if the novel can cast a bad spell. Why were there so many difficulties? You said that between the actors and the technicians …
JR: We experienced difficulties at every level. The first difficulty regarded the financing of the movie. We had been denied the avance sur recettes (advance on takings (5)) – which rarely happens – and that was it. The movie got eventually financed thanks to the intervention of Jack Lang [then Secretary of Culture], who organised a donation directly from the Ministry and also thanks to Claude Berri who entered into co-production. The latter told Martine "Well, since you have trouble finding the money, don't worry I'll co-produce the movie with you," and brought along the distributor, which was crucial. So that was the first difficulty. The second one was quite typical; it consisted of finding the young actors. In this respect, I was happy, it went well. The only problem was that, in the end, there were, as you know, these two actresses whom I hesitated between for Catherine's part. There were Fabienne, whom I finally chose – and Emmanuelle Béart. It is unlike me but, for that movie, I did quite a few video tests with a lot of young actresses and young actors. Funnily enough, the only one that we did not see at the time was Binoche, and who knows, if we had met her… She played in Rendez-vous (Andre Téchiné, 1986) almost immediately after our shoot ended. It was the same director of photography.
It was pretty clear to me that our Heathcliff would be Lucas, because he had this sort of "peasant" demeanour when he walked, when he talked, in fact, in his whole being. To me, he was a kind of emblematic Heathcliff, even if he did not possess at all the dark romanticism of Emily Brontë's Heathcliff. And if I eventually chose Fabienne rather than Emmanuelle – they were both smashing during the tests – it is only because I found that there were more affinities between the two …
VH: Between Lucas and Fabienne?
JR: Between Lucas and Fabienne, rather than between Lucas and Emmanuelle. First and foremost, the fact that Emmanuelle was a brunette whereas Lucas and Fabienne were both fair. That, I believe, tilted the balance in favour of Fabienne.
However, the shoot was very tough. Since the financing of the movie had taken so long, the crew was everything but homogeneous. The project did not start rolling till very late and the director of photography I wanted was not available. So, at that stage, we hired the people who happened to be free. And it did not go well with Berta: he is a very good director of photography but failed to breathe team spirit into the crew. And the young actors felt traumatised because they could sense that something was not working, that it was a shoot ridden with unnecessary crises.
On top of that, the thing which, of course, weighed considerably on the shoot, was that Suzanne – me too, but even more so Suzanne, since she was closer to him – knew that François Truffaut was dying. And he died a few days after the shoot ended. So, for the whole length of the shoot, every single day, we were expecting to receive the phone call that would tell us "François has died…" it was a truly harrowing situation.
Therefore, everything conspired to make it a difficult shoot. And there were scenes that were not shot because Monsieur Berta, who is a great director of photography, also needs loads of time. So we either simplified or deleted. In my opinion, some important scenes are missing towards the end, in particular when it comes to Catherine's long illness, which is really too elliptical – and it is so powerful in the novel. That is why I believe that we did a better job of the scenes which were shot on the farm than of those which were shot in the mansion where things went even worse with Monsieur Berta and the heat of the spotlights.
I was personally exhausted and, towards the end, as if it were not enough, a cold epidemic broke out, which means that we were all half-sick. Fabienne was very sick, so sick that it could well have helped her to play the dying Catherine…
VH: But how long did the shoot take? How much time did you have?
JR: I forget. It was probably no more than a six-to seven-week shoot. We had so little money, so little!
VH: And who was your distributor?
JR: It was the distributor who, at the time, depended on Claude Berri, that is to say the AMLF. So the distribution came with Claude Berri. But the film was not a success and, after the editing – it was painstakingly edited – we also faced serious difficulties with the sound mixing. The sound mixing was a nightmare. As it is the sound after mixing was pretty bad – it was already average on shooting. Well, it did not compare with what I usually got from the other sound engineers. But the worst came on mixing: we mixed in a bad auditorium and what we heard did not synchronise at all with what we had on the film. We then had to digitalise and reinforce the direct sound… Well, for me, it is too late now to give it another try! I'd better get on with it…
Therefore, it was really a problematic movie. Actually, I don't know what to think of it. I haven't seen it since and would be very much afraid of seeing it now. I believe there are things that I truly like and others that are definitely not so good. But then I hope that we did capture the force of the subject and of the novel, since we remained faithful to it and also since the actors were good. I really like the actor [Olivier Cruveiller] who plays the older brother and with whom, incidentally, I worked again in Jeanne.
VH: How did you choose Olivier and Isabelle, since there is an opposition between the fair hair of the Séveniers (Catherine, Heathcliff) and the dark hair of the Lindons (Olivier, Isabelle)?
JR: I must confess I did not pay attention to that…
VH: Those actors are also very, very young.
JR: Yes indeed, since we had met Olivier by chance, during a casting for Heathcliff. But I told him from the start that he must play the elder brother…
VH: Hindley …
JR: Well yes, but he had to be given a French name. I called him "Guillaume", if I remember correctly. He is an actor whom I like a lot and chose again for Jeanne. Also, the actress who played the maid-servant [Sandra Montaigu] had a small role in Love on the Ground. And I really like the actress who played Isabelle, too [Alice de Poncheville]: she was only fifteen when we made the movie. She had never done anything. And I think she had the potential, but it just did not happen. Later on, she made one or two movies in which she was good too, but she did not persevere. She lacked the vocation. It was fun for her but she lacked the vocation.
VH: And the costumes were quite remarkable, weren't they?
JR: Yes, I agree. But this had a lot to do with Lydie Mahias, our script-girl, who, in actual fact, did far more than one job. I had decided pretty soon that it would take place in the 1930s – maybe because of Balthus. And then, from her family house, she dug out lots of original women's clothes from the 1930s, and she put them to good use…
VH: In particular, the shoes. All along, there is a contrast between white and black shoes.
JR: It is possible, but on this topic you know better than me.
VH: So the scenes you are unhappy with are mostly in the part that takes place in the mansion…
JR: Yes, because then Monsieur Berta took even longer than we had reckoned for the lighting of each scene. So we were under tremendous pressure, especially on the last days when it became essential to shoot all what we could. But again, I haven't seen the movie since. And if I saw it now, I really don't know what I would think of it.
VH: This movie is extremely powerful. It is shorter than your other movies, and also has a lot of "punch".
JR: Since it was necessary to condense quite a lot, by force of circumstance, I believe that it is indeed the most elliptical of all my movies. Otherwise I might have made a three or three-and-a-half hour movie, like I usually do. But there, we were obliged to simplify, to keep to the essentials. It might have given a more vigorous and energetic feel to it …
VH: Regarding the end, it looks like all the adaptations of Wuthering Heights have suffered from great production constraints: Wyler wished the end had not been imposed on him, Tilley was thoroughly disgusted by the way the editing was done.
JR: In contrast, Buñuel's end is superb.
VH: In the tomb …
JR: Completely invented. It is extraordinary… It is beautiful, but different, since the two main actors are definitely 40. Besides, amongst all the versions I know, Buñuel's is the "shortest": he uses the most compressed time line. Not only does he stick to the first part, but he also starts when the adult Heathcliff comes back, and finishes with Catherine's death, which represents a quarter of the novel.
VH: After all, Brontë's novel had to be divided into two parts, two volumes, to be saleable.
JR: Still, it does not count. The second part of the novel is equally beautiful, superb …
VH: Truffaut kept the same actor, Jean-Pierre Léaud, in The 400 Blows and Love on the Run, the last movie of the Antoine Doinel cycle, with an interval of 20 years between the two films. If you had had the same opportunity with Lucas and Fabienne, would you have been tempted to make the second part of Hurlevent, a generation later?
JR: Not with Fabienne since Catherine is dead. So another actress would be needed. But with Lucas, it could have been interesting. But I won't do it. Anyway, now, it is too…well no, it has been eighteen years since 1984.
VH: And when was the movie released in the theatres?
JR: If I remember correctly, it was released in Autumn 1985, in September or October 1985. So, at the time, I thought to myself that it was a strange idea to choose and release it in September, when there were already loads of other movies being released concurrently.
VH: Who decides the release date?
JR: Not me, the distributor does. Besides, the distributor was linked to Berri, so they decided… But it is not their fault if the movie was a flop. This movie belongs to a category of movies that people like or do not like. There are movies that, more or less, appeal to many people for many different reasons, like Va savoir (2001). On the contrary, there are movies that some people like a lot while, to others, they mean absolutely nothing. For example, Up, Down, Fragile (1995) belongs to this category. It is a movie that people either like a lot, or, they cannot even conceive why we thought of making it in the first place. And it is going to be the same story with Marie and Julien. This I know in advance – whether it is good or not, some people will love it and others will hate it.
VH: Do you think that this has to with their "reading", or interpretation, of the movie?
JR: It has to do with the topic, though I could not say exactly why. That's the way it is, there are some movies that really divide people. Those who are interested are even more interested; however, those who are not cannot even start to imagine what triggered the idea. It was fairly noticeable with Up, Down, Fragile and will certainly be with Marie and Julien. Hurlevent worked much the same way but, on top of that, people have pre-conceived ideas about Wuthering Heights which has merged in their minds with the Wyler movie. But, for me, Wyler's movie is vaguely faithful to the novel, in the letter, but makes no sense whatsoever with all those ball scenes sprinkled everywhere. In fact, they transformed it into an "Emily Brontë and Jane Austen" production. Actually, Wuthering Heights is Wyler's movie, after a novel by Jane Austen!
VH: But do you really think that the Wyler movie is being so vividly remembered by today's true cinephiles?
JR: No, but the only interesting thing is that Gregg Toland did the photography. Therefore, thanks to him, there were moments that were visually powerful… Laurence Olivier, of course, is a fabulous actor: had he done it ten years earlier, he would have been fantastic.
VH: Adapting Emily Brontë's novel is not a walk in the park and, nowadays, in 2000, there are more adaptations of Jane Austen's novels than of Wuthering Heights. So why this desire to make a film based on Brontë's novel since most of these ventures fail one way or another – commercially, mainly? During the shoot, there is always something that does not happen or does not happen according to plan. Or else, it is very difficult to find the right actors.
JR: There have been some successful film adaptations of Jane Austen's novels, though?
VH: Yes, Jane Austen, but…
JR: I don't know her novels so well but there is this adaptation with Emma Thompson in it …
VH: Sense and Sensibility (Ang Lee, 1995)?
JR: It wasn't too bad, was it? It is not a great movie because it is treated in a very impersonal manner …
VH: With Jane Austen, it seems to be easier.
JR: Well yes, because first of all, the dialogues are already completely written: they just need shooting. Jane Austen was a true genius when it came to writing dialogues.
VH: Whenever a good version of Wuthering Heights emerges, the filmmaker takes a particular stance, emphasises a certain angle, a personal vision – especially for the character of Nelly, the servant. Therefore, the fact that you did not re-read the novel makes sense to me.
JR: I don't know. I felt it was necessary not to re-read it straight away. I re-read it later on, though. In fact, I started to re-read bit by bit, when we had decided on everything, when we already had our scenario. Then, I re-read it completely. And afterwards, I was able to say: "What about using the sentence she uttered at that moment – or this sentence, or that one". Besides, on re-reading it, I could not help thinking that it was a superb piece, the work of a genius.
VH: And did you try to re-read it in English too?
JR: No, I did not. I was just curious to see how it was translated. I cannot read well enough in English. I can read newspaper articles in English, but cannot read English fluently – in particular, when it is a text as well-written as Emily Brontë's. I did try with another Anglo-Saxon author – not an English one – who is very badly translated into French, James. It is indeed very difficult to translate him. Half to three-quarters of the translations of James are awful in French. It so happens that I have compared the translation and James' original text a couple of times. In the French translation of The Wings of the Dove, there are some passages that do not mean anything… On following the English text, I realised that the translator had translated word for word because she did not fully understand. Therefore it was a translation that did not mean anything in French. Conversely, there were things she had over-simplified, like the first sentence: "She waited, Kate Croy," which is so beautiful but ended up being completely flattened out. She simply wrote : "Kate Croy attendait son père". In short, all the syntactic effect had been totally destroyed…
VH: All the visual quality of the interpolated clause…
JR: Yes, the particular syntax and, also, the polysemy…
VH: Similarly, in your movie, one thing can have several meanings and this leaves a lot of room for interpretation. But who got the idea of the central scene – the oneiric scene?
JR: I cannot remember… It was meant to represent a division… It felt obvious, necessary for this oneiric scene to be in the middle and materialise the passage of the three years during which Heathcliff is absent. I simply felt like having this scene which, indeed, is a creative add-on.
VH: And what about the powerful idea of the blood that appears progressively, like some stigmata …
JR: I forget what we did. I just know that we came up with the idea in an attempt to represent the passage between the two parts, since the first and second parts are about the same length. We knew we needed a visual equivalent, so we felt we could have an oneiric scene – like we had at the beginning and…
VH: At the end…
JR: This is a principle that I have applied again to Marie and Julien. In fact, I realise now that Marie and Julien has been very much influenced by our adaptation of Wuthering Heights since the project was born two years later.
VH: Do you wish to talk about The Story of Marie and Julien?
JR: No, not particularly. I only wanted to mention that it had been structured around dreams like our adaptation of Wuthering Heights. There is a dream at the beginning, one in the middle and one at the end. It does not end with the dream, even though the audience will no longer know when it is a dream and when it is reality.
VH: In Hurlevent, I didn't realise that the first scene was a dream. To me, the time just seemed to be suspended. It is thanks to Pascal's interview, which is present on the DVD collector pack released by ARTE, that I learnt about it. However, it is the dream scene located in the middle of the movie that makes everybody want to see the film.
JR: As far as I can remember, I was quite happy about it.
VH: How did you come up with the creative idea? Did it simply occur to you?
JR: Well, I don't know. I think that we talked about it (the three of us), that we sat down and had a discussion… Personally, I like working that way: we write very little. It is Pascal who writes, afterwards. But apart from that, when we see each other, we talk, we talk, we talk and then, sometimes, the good ideas come. Suddenly, you say something that triggers a reply. And that's why I quite like working in a trio. Because when three people have a discussion, they hand over the baton frequently whereas two people often go round and round with their opposite views. In a trio, the third person takes sides for one or the other. Additionally, clearer arguments have to be given. That's how you move forward. It has worked the same way for Marie and Julien with Christine and Pascal. We also had loads of problems – for instance, finding the end that did not exist in the text I had dug out – and tackled them by discussion.
VH: Regarding the release of Hurlevent, there were apparently a couple of hitches. I have the feeling that its screen life was cut short in the theatres.
JR: No, it could not be different because the audience was not there. So, when there are only a few spectators, the movies cannot be shown in empty theatres for long. That's why I am happy about the DVD. Now, there are a lot of people who will see it who were not even aware that the film existed. They may well buy the DVD for La Belle Noiseuse or The Gang of Four which are more popular… But then, they will feel like watching the other movies.
The garrigue is a particular type of scrubland in Provence and Corsica.
See Marc Chevrie, "La main du fantôme", Cahiers du cinéma 376, October 1985.
Sandra Montaigu as Nelly, the servant; Olivier Cruveiller as Guillaume/Hindley; Alice de Poncheville as Isabelle; and Olivier Torres as Olivier/Edgar.
Respectively, "Sévenier" and "Lindon" in Hurlevent.
The avance sur recettes or "advance on takings" corresponds to a grant given by the CNC (Centre National de la Cinématographie) to film makers in France. Back in 1985 , half of the French film production benefited from this grant which is attributed after examination of the film project (synopsis and scenario, duration, format, location etc…) by a commission de sélection or "jury". However, the prestige of the director and personalities of the actors, technicians and screenwriters involved in the project usually play a part into the selection process. See Herve Le Roux, "Un pas en arrière, deux pas en avance", published in Cahiers du Cinéma 371–372, May 1985.
Night Surfing: On Telephilia
Valérie Hazette graduated from the University of Reims, Champagne in 1998 with a MA in English Literature. Her desire to discover Ireland's true spirit led her to leave France and settle amidst the lively multi-cultural crowd of Cork. After a brief spell in the Macintosh IT industry, she has again dedicated herself to her passion for cinema, television and literature and has resumed her academic career at the Centre for Film Studies (University College, Dublin). She also works enthusiastically for the Kino Art House Cinema in Cork City.
Engaging Medusa: Competing Myths and Fairytales in In the Cut
Sue Gillett
Pop Provocation: A tour of the outer limits of the New Hollywood
Nicholas Godfrey


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Larson Hosts Residents of Hartford's North End in Effort to Stem Urban Gun Violence
Washington – In July, Rep. John B. Larson (CT-01) held a forum with residents of Hartford's North End to hear their thoughts and concerns about the spike in violent crime over the year. Now, Steve Harris, Sam Saylor, Andrew Woods, and a number of community leaders are joining Rep. Larson in Washington for meetings with key federal agencies to learn more about efforts aimed at reducing violence and increasing opportunities for education and employment.
"I am honored to bring Steve Harris, Andrew Woods, Sam Saylor, and the delegation they organized to Washington," said Larson. "Mr. Harris was instrumental in illustrating the challenges facing the 06120 zip code—one of the poorest zip codes in the First Congressional District. This delegation knows the issues in their community firsthand, and they deserve the chance to share their vision and experiences."
"From my point of view, this is a great opportunity to talk about the challenges that we face in the 06120 zip code," said Steve Harris. "The folks we have met with through Congressman Larson's office, such as the Departments of Justice, Labor, and the White House among others, have certainly allowed us to explain the unique challenges we face in the North End of Hartford. I think they now have a better idea of what those challenges are. I want to thank congressman Larson for setting these meetings up for us, and I want to thank everyone who joined us in Washington."
"As the Director of Hartford's My Brother's Keeper initiative, I am very proud of our coalition's advocacy here in Washington as we seek to secure federal support for the 06120 to enhance opportunities for boys and young men of color," said Andrew Woods.
Over the course of their trip, the North End delegation and Rep. Larson will meet with the following agencies:
Office of Community Planning and Development in the U.S. Department of Housing and Urban Development
Employment and Training Administration in the U.S. Department of Labor
Substance Abuse and Mental Health Services Administration in the U.S. Department of Health and Human Services.
Office of Juvenile Justice and Delinquency Prevention in the U.S. Department of Justice
Office of Minority Health in the U.S. Department of Health and Human Services
The trip will culminate with a meeting between Rep. Larson, the North End leaders, and Michael Smith, Special Assistant to the President and Director of My Brother's Keeper (MBK). MBK aims to increase the opportunities for boys and men of color by ensuring they have ample resources from the private, public, and philanthropic to succeed in school, college, and the workforce. More information on the program can be found at: https://www.mbkhartford.org.
Jobs and the Economy, Promise Zone

redpajama_set_name: RedPajamaCommonCrawl


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Expert Excerpts: Andrew Kim on Lean Six Sigma in Public Utilities
Home » Blog » Thought Leadership » Expert Excerpts: Andrew Kim on Lean Six Sigma in Public Utilities
Whether you're just starting your Lean Six Sigma journey, or you're in the middle of improving a process, guidance from Experts can help make your efforts easier – and more successful! In this Expert Excerpt, we interview Andrew Kim who shares key insights to being successful with Lean Six Sigma in Public Utilities.
Andrew Kim is the Process and Business Analysis Manager in the Incident Support and Analysis department at Southern California Gas. He earned his Lean Six Sigma Green Belt in 2012 from IIE through USC, and earned his Black Belt from ProgressivEdge in 2016.
What advice do you have for someone who is getting started with applying Lean Six Sigma in public utilities?
My first piece of advice for our new Yellow Belts / Green Belts is always to start small and not bite off more than you can chew. There's a natural tendency to want to dive in and fix every problem available, or the biggest problem you can find. In theory, that would be an amazing way to kick off your Lean Six Sigma program, but more often it leads to projects stalling out, waiting on approvals, or getting sidetracked and unfinished.
Instead, pick a smaller project that you have full control over, for which you can easily gather buy-in. Complete that first project, use it as a proof of concept of Lean Six Sigma truly working, and utilize that momentum to take on a bigger project moving forward.
What are some common mistakes you see people making when applying Lean Six Sigma in public utilities?
It's tempting to want to jump straight into the Improve Phase of a project, because we immediately believe we know everything there is to know about the process. However, taking the time upfront to gather full knowledge of the process in the Define Phase and performing a full root cause analysis in the Analyze Phase can reveal things you didn't realize, and will potentially save you a lot of headache down the road.
Do you have any pet peeves related to applying Lean Six Sigma in public utilities?
The pet peeve that sticks out the most to me is when people are overly resistant to the idea that processes need to evolve and change. Large organizations, such as utilities, often have many well-established processes but also need to constantly adapt to the current environment or technology around them.
Granted, it's expected that most people will be hesitant to see things change from what they're already comfortable with – but it becomes incredibly difficult when your stakeholders become overly defensive of keeping everything the way it is.
Is there anyone who has significantly influenced you over the years?
Now recently retired, my old Director, Ed Fong, was the head of our Performance Management & Organization Strategy department when I first joined SoCalGas in 2010. He built the department from scratch, always putting an emphasis on hiring the best and brightest minds, in order to solve the most complicated and sophisticated business problems in the company. That forward-looking mindset always stood out to me as being very unique and admirable within the utility industry, which inspired me to strive to achieve the greatest results possible.
Why do you do what you do? (What motivates you?)
I've always had a passion for developing strategies and looking to maximize the effectiveness of whatever I'm focused on, so Lean Six Sigma was a perfect way to roll that mindset in with a proven methodology.
At SoCalGas, I'm motivated by the fact that we're viewed as an industry leader in so many areas, and that Lean Six Sigma can impact every one of those leading areas, whether it's operational processes, supporting processes, or anything in between. There's always a new challenge waiting, and no two processes are ever exactly alike.
What's something exciting that you're currently working on?
Today, I'm a part of the newly formed Incident Support and Analysis department, aiming to help prepare the company for any potential future major incidents. While this department doesn't focus on process improvement specifically, it does borrow from Lean Six Sigma principles in order to figure out what questions we need to ask for incident preparedness, and what actions to take accordingly. Forming a new department with brand new responsibilities is simultaneously an incredible challenge, but also an exciting opportunity for our whole group.
What's your favorite application of Lean Six Sigma in your personal life (away from work)?
I like to cook as much as I can at home, so I try to apply Lean Six Sigma to help cut down on my cooking time, by doing as many steps in parallel as possible, or by reducing my setup time by as much as possible.
The best meal is served with all of the different dishes finishing at just the right time, so it's imperative to minimize downtime and not have dishes waiting on one another before moving on to the dinner table!
Have a question for Andrew? Please feel free to ask in the comments below.
Andrew KimExpert Excerptspublic utilities
Andrew Kim


Large Single-Crystal Graphene is Possible!
Boasting the conductivity, strength and flexibility we wished for, graphene was proposed as one of the most likely substitutes for silicon and other materials. Its launch into the market however is still slow. What is curbing graphene from industrial applications? One factor is that top quality single-crystal graphene produced so far is just a couple of millimeters or maximum centimeters in size. Recently, a team led by Prof. Feng Ding and Prof. Rodney Ruoff at the Center for Multidimensional Carbon Materials within the Institute for Basic Science (IBS), Prof. Kaihui Liu at Peking University, and their collaborators reported the synthesis of a large sheet of monolayer single-crystal graphene. This result allows a leap forward in graphene production: advancing from a technique that synthesizes a few cm2 sheet of single-crystal graphene in a couple of hours, to an optimized method that allows the creation of an almost-perfect (> 99.9 % aligned) 5 × 50 cm2 single-crystal graphene in just 20 minutes. Moreover, the low production costs, comparable to commercially available lower quality polycrystalline graphene films, could expand its usability. Detailed in Science Bulletin, the method is expected to stimulate further fundamental work on graphene and related materials, including large scale folding of graphene sheets, similar to paper, creating origami-like or kirigami-like shapes, which could be applied to future flexible circuits.
▲ Figure 1: 5 x 50 cm2 copper foils partially and fully covered with almost perfect single-crystal graphene. Three iPhones are placed nearby as a reference.
A honeycomb-shaped monolayer of carbon atoms, uniform throughout the whole material, offers its exceptional properties to single-crystal graphene. On the other hand, polycrystalline graphene is formed by randomly oriented graphene islands, which decrease its quality. Currently, scientists are able to grow meter-sized polycrystalline graphene and smaller single-crystal graphene, ranging from 0.01 mm2 to a few cm2. The synthesis of large single-crystal graphene at a low cost has been considered a critical goal of graphene synthesis.
In this study, graphene is grown on the surface of a 5 × 50 cm2 copper foil, which was transformed into a single-crystal copper foil by heating to ~ 1,030℃. A temperature slope from hot to cold moved the so-called grain boundary onwards, creating a perfect single-crystal. In the heating and cooling treatment, copper atoms migrate inside the material, arranging into an ordered structure with fewer defects. "The secret to obtain single-crystal graphene of very large size, is to have a perfect single crystal copper as a base to start with. Large single-crystal copper foil is not available in the market, so labs must build it with their own means," explains Feng Ding, group leader at the Center for Multidimensional Carbon Materials.
Then, with another technique called chemical vapor deposition, millions of parallel graphene islands are formed on the copper foil surface. As more carbon atoms deposit on the foil, the islands keep on growing until they coalesce and form a very-close-to-perfect single-crystal graphene layer that covering the entire available surface.
▲ Figure 2: Evolution of the copper foil and graphene crystallization (a). Using a new technique scientists obtained a single-crystal copper Cu(111) nucleus at the tapered end of the foil which gradually expanded to the full length of the foil in several minutes (b). This single-crystal copper foil was used as a substrate to grow graphene on its surface. The process of graphene crystallization started with small hexagonal islands of graphene crystals, which grew to cover the entire surface (c, from left to right). The dashed purple lines (c) show that the hexagonal graphene islands are parallel to each other: a key aspect for the success of the crystallization process.
In order to optimize the technique, the team had to consider four technical challenges: (i) preparation of single-crystal copper foil in a very large area, (ii) obtaining a high degree of alignment of the graphene islands following their nucleation and growth, (iii) seamlessly stitching the graphene islands into a single crystal through further growth and (iv) the fast growth of single-crystal graphene. Although previous reports have addressed some of the above challenges, this study overcame all of them and made the synthesis of meter-sized single-crystal graphene possible. The degree of the misaligned graphene islands is less than 0.1%, thus great reduced defects and grain boundaries in the products.
The current result was limited only by the size of the copper foil and, in principle, both the size of the copper foil and graphene film could perhaps be unlimited. In addition, considering the very short time of graphene synthesis (20 minutes) and the relatively low-cost experimental setup, the price of a single-crystal (or nearly single-crystal) graphene could be close to that of current polycrystalline graphene films.
"The dream of many scientists is to make it the material of the future, to replace silicon," enthuses Ding. "Now we are exploring which is the best material to grow graphene on top and how to use copper as a substrate for other interesting 2D materials."
X. Xu, Z. Zhang, J. Dong, D. Yi, L. Lin, J. Niu, M. Wu, R. Yin, M. Li, J. Zhou, S. Wang, J. Sun, X. Duan, P. Gao, Y. Jiang, X. Wu, H. Peng, R. S. Ruoff, Z. Liu, D. Yu, E. Wang, F. Ding, K. Liu. Ultrafast epitaxial growth of metre-sized single-crystal graphene on industrial Cu foil. Science Bulletin, July 11, 2017. DOI: 10.1016/j.scib.2017.07.005.
For further information or to request media assistance, please contact: Mr. Shi Bo Shim, Head of Department of Communications, Institute for Basic Science (+82-42-878-8189, sibo@ibs.re.kr); Mr. Jung Gyu Kim, Global Officer, Department of Communications, Institute for Basic Science (+82-42-878-8172, jungkki1@ibs.re.kr); or Dr. Letizia Diamante, Science Writer and Visual Producer (+82-42-878-8260, letizia@ibs.re.kr).
[ChemEurope] Large single-crystal graphene is possible!
[EurekAlert!] Large single-crystal graphene is possible!
[AlphaGalileo] Large Single-Crystal Graphene is Possible!
[ScienceNewsline] Large Single-crystal Graphene Is Possible!


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Enslaved – "In Times" [Album Review]
By Simon Douglass 04/10/2015 2 Mins Read
When thinking about progressive black metal you don't really need to look much further than Enslaved. Since their formation back in the early nineties, the band have been pushing boundaries and experimenting with the genre, perhaps more than anyone, and you can't argue that it hasn't worked for them. Thirteen albums in and they are still producing new, original, and most of all intriguing albums, the latest of which is In Times.
Opening track "Thurisaz Dreaming" kicks off in a more traditional black metal way but it doesn't take long for those progressive elements, for which Enslaved are known, to appear. With the shortest track "Nauthir Bleeding" still clocking in at over eight minutes, In Times doesn't always make for an easy listen, but to me that's a good thing. An Enslaved album should be something that you really have to listen to in order to fully understand and appreciate, and this one certainly ticks those boxes.
In Times isn't a huge leap forward style-wise for Enslaved, but it doesn't need to be. It's the small details and little intricacies that make this one of Enslaved's finest works to date.
01. Thurisaz Dreaming
02. Building With Fire
03. One Thousand Years Of Rain
04. Nauthir Bleeding
05. In Times
06. Daylight
Release Date: March 9, 2015
Check out the song "One Thousand Years Of Rain" here.
albumalbum reviewenslavedextreme metalIn Timesmetalreview
Author Simon Douglass
Codas – "Follow the Blind" [SoundCloud Song Stream]
Enter Shikari, Stray from the Path, A Lot Like Birds – The Mod Club, Toronto– April 8, 2015


PHUKET: The Phuket Gazette and the Phuket Bulletin, operators of mega-station Blue Wave 90.5 FM, have entered into a partnership to carry Gazette content throughout the Andaman region, with Phuket, Krabi and Phang-nga at its epicenter.
The new wave starts rolling on Monday morning (October 24).
Blue Wave was established in 2006 and is the Andaman's largest English-language broadcaster. All programming is in stereo and the station has become well known for its particular genre of music – cool, easy and sophisticated.
It is this, according to station manager and program director Oscar Chitamitre, that has enabled the station to penetrate through and well beyond the 'expat community', and into the larger and faster-growing world of 'international Thais'.
"One of the reasons we've partnered with the Gazette is that we share the same view of the market. Phuket is in fact a market of many communities and we try to appeal to a general audience – not to any particular or exclusive group. This gives us a much broader base of listeners.
Oranee ('Ann') Hildebrand, managing director of the Gazette, agrees.
"I am myself what many foreigners speak of as an 'international Thai'. I love foreign travel, worked in New Zealand in my twenties, and enjoy mingling with people from all over the world. My husband is Swiss and my kids are luk kreung. And, yes – Blue Wave has long been my favorite radio station," she says.
Among Phuket's 'Big Eight', mainstream radio stations, Blue Wave 90.5 FM is the only one broadcasting in English.
The island also has about 30 smaller stations registered with 'community' licenses, of which two or three broadcast in English.
Will the tie-up with the Gazette mean a lot more talk on Blue Wave?
For the Gazette, founded in 1993, the radio partnership means an important new vehicle for community information and enhanced options for advertisers.
"The only thing we've not had until now was access to big radio, says Gazette General Manager Natthira ('Anna') Susangrat.
"Advertising values are all about 'reach'. We have that with the newspaper, by far Phuket's largest with a national circulation of 35,000 copies through our partner The Nation.
We have the only Phuket newspaper 'reach' on airlines, having been aboard Dragonair from Hong Kong for close to a decade now, to which we added earlier this year all flights of all ten major airlines flying into Thailand (Bangkok and Phuket) from overseas.
"We also have Phuket's biggest reach in television where our partnership with Nation Broadcasting has favored PGTV with six prime-time, half-hour shows every week on UBC/True Visions. Those shows start with Phuket Lifestyle on November 5 and Phuket Talk on November 6," Ms Nathira says.
"And we have it on the Web where Google gives us the highest page popularity ranking accorded any site in or about Phuket.
"Finally, now, we've rounded it all out with radio by giving advertisers the biggest reach in the Andaman, and listeners a well balanced offering of music and information," she concludes.


Why do teeth get cracks in them?
A cracked tooth can be caused by grinding, clenching, tooth decay or from a large filling in a tooth. 'Cracked Tooth/Cusp Syndrome' (CCS) relates to a range of signs and symptoms caused by cracked teeth. Early diagnosis is needed to improve the chances of saving a cracked tooth.
Sharp and erratic pain upon chewing or after release of biting pressure. However, not all cracks will cause pain.
Difficulty in pinpointing which tooth actually hurts, either upper or lower.
If you suspect that you may have a cracked tooth, you should discuss this with your dentist.
Wisdom teeth are the last teeth to erupt into your mouth. Usually they erupt between the ages of 18-25. Occasionally they can erupt later in life and some may not erupt or be present at all. Our jaws are much smaller than our cave man ancestors because we have a very different diet, although we do have the same number of teeth. As wisdom teeth are the last teeth to erupt into the mouth, often there is not enough room for them. They can cause pain and may lead to infection.
Periodontal Disease is caused by the bacteria found in plaque. If this plaque is not removed regularly, it will calcify into a rough, porous like substance called calculus or tartar. It is much like the scale that forms inside your electric kettle. By products of bacterial metabolism irritate the gums, making them red, tender, swollen and more prone to bleeding. Eventually, the supporting periodontal structures begin to breakdown. The result of this slow process is tissue loss, bone loss and eventual tooth loss.
What's the best way to prevent gum disease?
Regular removal of of plaque by flossing, brushing and regular professional cleanings will minimise the risk of gum disease. However, there are other factors that can affect the health of your gums, such as stress, diabetes, genetics and pregnancy. The hygienists at Gentle Dental offer a very professional service and can help keep gum disease at bay.
What does periodontal treatment involve?
In the early stages of gum disease (mild to moderate periodontitis), most treatment involves scaling and root planing. The procedure aims at removing plaque and calculus from the surface of the tooth adjacent to gum tissue. In the majority of early gum disease cases, treatment involves improved home care techniques, scaling and root planing.
What happens if I don't get my teeth cleaned?
As the plaque and calculus accumulate, the periodontal disease continues. Supporting tissues around the teeth (gums, periodontal ligaments, bone) are lost. Periodontal pockets form which trap additional plaque. Bad breath often accompanies this condition. Once the bone that supports the teeth is lost, it will not regrow without surgical intervention. All this can be prevented by early intervention with one of our friendly hygienists at Gentle Dental.
I have broken a tooth, what should I do?
If you are not in any pain you should ring your dentist as soon as possible to make an appointment. Try and keep the tooth as clean as possible and avoid biting too hard on that tooth. If you have pain, you will need to contact your dentist ASAP for emergency treatment.
Radiographs or X-rays provide your dentist with an important diagnostic tool that shows the condition of your teeth, their roots, jaw placement and the overall composition of your facial bones. X-rays can help with the diagnosis of periodontal disease, and with the detection of cavities in teeth. X-rays can also help detect abscesses, and abnormal growths such as cysts and tumours. X-rays can also show the exact position of impacted teeth.
The ideal time is approximately 6 months after the eruption of their primary teeth (about 2 ½ years). Dental Therapists at primary schools can see children for free until they reach high school. From high school until the age of 18 the majority of treatment for adolescents is free.
I have bad breath despite cleaning my teeth?
Bacteria that produce odorous sulphur containing compounds are responsible for bad breath. Daily brushing and flossing does help remove these bacteria, however these bacteria not only inhabit the teeth and gums, but all surfaces of the mouth. The tongue has many deep furrows and grooves that contain lots of these bacteria. It is important to clean the upper side of the tongue. Many tooth brushes now come with a tongue scraper. You can also get dedicated tongue scrapers. There are also certain mouthwashes that help with bad breath. It is also important to see the Dental Hygienist regularly for the removal of those deposits in your mouth which you cannot remove yourself.


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Monomoy Field Hockey Runs Past Southwick Behind DiGiovanni's Six Goals 10 November 2021
By: Brad Joyal
Topics: School Sports , Field Hockey
Monomoy junior Helen DiGiovanni possesses the ball during Saturday's playoff game against Southwick. BRAD JOYAL PHOTO
HARWICH – Although the Monomoy field hockey team was unfamiliar with Southwick, the Sharks had reason to believe they would be tested by the Rams when the teams met Saturday afternoon in a Division 4 state tournament Round of 32 game at Monomoy Regional High School.
No. 33 Southwick advanced to the Round of the 32 following a 4-1 victory over No. 32 Sturgis West, an outcome that led the Monomoy players to expect Saturday's tilt to be a close outcome.
In the end, though, the top-seeded Sharks were too much for the visiting Rams. Led by senior Caroline DiGiovanni's six goals, Monomoy ran past Southwick and earned a 7-1 victory to punch its ticket to the Round of 16.
"I was surprised with the score because we compared it to how they played against Sturgis and it wasn't that big of a difference as when we played them, so we were like, 'Oh, it's going to be a great game,'" DiGiovanni said. "But I'm just glad that we were able to come out this intense in our first game of the playoffs."
Saturday was more than just a playoff game for the Sharks, however; the team also celebrated its five seniors – DiGiovanni, Isabella McMahon, Madeline Sylvester, Caroline Upson and Evelyn Sheeran – with a pregame senior day ceremony.
As pleased as first-year coach Kathryn Andreoli was to see the Sharks win, it was extra special to have her first playoff victory come after the program celebrated its seniors.
"It's awesome. I'm so glad the kids got to do this on their senior night," Andreoli said. "As a first-year coach, just seeing the passion and the energy, I'm so excited for this team. I told them to fight to the end — no matter what, from start to finish, we had to give everything we've got. And they did that. I'm really excited to keep going and see what's next."
DiGiovanni picked up where she left off during the regular season when she netted 33 goals. The Harwich resident scored the first six goals of the game Saturday, helping Monomoy (13-3-2) establish control over Southwick (9-8-3) early.
"She's awesome," Andreoli said. "Just seeing her coming out on fire and scoring all of those goals — she's unbelievable. Her athleticism was on full display today, and her passion. She gets done what she wants to get done."
Freshman Emily Layton also scored for the Sharks, who advanced to the Round of 16 against No. 17 South Hadley back at MRHS at 5 p.m. Wednesday (after The Chronicle's deadline). Senior Devan Fox scored the Rams' lone goal, the only blemish for Upson and Sheeran, who split goaltending duties in the win.
DiGiovanni said that as much as she and her teammates were motivated to play well on senior night, the team has really been fueled by the belief that this year's team can compete for a state title.
"I think senior night kind of affected it, but this year it really does seem like we have a chance of making it all the way," she said. "And I feel like having that possibility and believing in ourselves really brought out the intensity. We want to win."
It won't get any easier Wednesday against a South Hadley team that upset No. 16 Tyngsborough for a 2-1 win in the Round of 32. Andreoli said she's cautioned her players to not pay much attention to the tournament's seedings and to instead focus on what they can control: their effort and intensity.
"I keep telling them, 'Don't look at the seedings, don't look at the rankings,'" Andreoli said. "We just need to focus on ourselves. I know that sounds easier said than done, but I try to just stress the basics. If we play hard and focus on the skill work that we have, the rest will come."
Even though the Sharks are the No. 1 seed and posted a dominant victory in their first postseason game, their rookie coach knows they can't rest on their laurels.
"We have to constantly prove ourselves," Andreoli said. "We're not guaranteed anything. If we can keep doing that, I think we can make it all the way. But we have to just take it one game at a time."
Email Brad Joyal at brad@capecodchronicle.com. Twitter: @BradJoyal
Mary Anderson was presented a donation check for the Family Pantry by Steve MacLean, manager of the East Harwich Stop & Shop, Feb. 2010. FILE PHOTO
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The Brave New World of Visa Inc.
Visa US recently purchased Visa EU, and the consequences have sent merchants scrambling on both sides of the Atlantic, particularly when it comes to managing fraud and chargebacks. While antiquated programs for managing fraud were due for some updates in the age of online commerce, it isn't without some serious growing pains. With a sticker price of $23.4 Billion (with a 'B'), the Visa acquisition is bound to drastically change the processing landscape.
Historic expenditures in today's dollars.
Suffice it to say that if most countries of the world tried to charge a purchase of that size, they would get declined.
Visa is cracking down on chargebacks now harder than ever under the VCMP. Not only that, high risk merchants are now far more exposed to fees and assessments under the new Visa Fraud Monitoring Program (VFMP). Visa Inc has significantly slashed their previous fraud and chargeback thresholds in half across the board, and have tightened the requirements for merchants to avoid fees. As a result, our embattled family of high-risk merchants has grown exponentially.
The most sweeping aspect of Visa's new posture on fraud is how it applies equally to merchants in both the US and the EU, without any exceptions for transaction volume. Previously, Visa US and Visa EU enjoyed separate fraud thresholds. Now, under the new Visa Inc., they've merged their ratios into a single monolithic policy that determines the risk profile for everyone. As a result, a lot more merchants will suddenly find themselves flagged as high risk and at-risk for increased chargebacks. This could create a vicious cycle for merchants where chargebacks are a fact of life.
ChargebackHelp knows high-risk verticals. We provide merchants with the most cost-effective solutions to keep their merchant accounts healthy. Our managed services monitor fraud alerts 24/7 from both "friendly" fraud and "true" fraud. Our managed services resolve merchant disputes and reduce chargebacks up to 30%.
When chargebacks can't be avoided, we then provide representment. We can guarantee successful outcomes for 40% of all representment cases, but depending on the ticket item, we have seen great results up to 75%.
Our client roster ranges from luxury retailers, gift cards, B2B, health and beauty, online games, digital goods, dating and the adult industry. We leverage the significant transaction volume of our client base to achieve advantageous outcomes that our merchants could not achieve on their own. We know which disputes are winnable and act promptly on them.
See what we can do for your business in these changing times. Contact us today for your free chargeback analysis.


Founded in 2003, Wordpress is an open-source and free content management system and is very popular with individuals and corporations all over the world. As it offers a low-cost internet hosting service, currently this system is used as a base for 75 million websites and countless blogs.
The system is easy to set up and offers countless widgets, plug-in, apps, and themes. In addition, the company continues to add new features at regular intervals. Although it is easy to operate, we offer you 7 easy tips so that you can get further benefits and increase the sales of your products and services.
Wordpress is powerful and can get overwhelming. Follow these instructions on 000webhost to install WordPress and below tips will help you get going.
Normally, all of us are afraid to open the hall closet because all stuff that we have stored invariably come tumbling out, this is the same case with Wordpress sidebars.
For example, these sidebars contain duplicate material such as your social media icons, ads, links you visited recently, photos of your Facebook fans and somewhere there is a link that is really useful for you and you would like your guests to use it. However, it is of no use if your visitors cannot find it. What is the solution? Just pare it down to the things you use.
After you click Appearance & Widgets, you can remove everything you do not use normally. For example, if a widget does not take any action you like, remove it.
When you own a book library, you prefer to house it under one roof and organize them by category or section as it makes it easy to find a particular book when required. To avoid difficulties related to easy access, you need to organize your media library with same principles.
The next step after you create fantastic content for your website is to make it easy for search engines such as Bing or Google to find it. You can accomplish this task by using short "road signs" that enables anyone to find it easily. All you need to do is to take some time to learn the basic information related to SEO copywriting. One quick tip here is to use the built-in Wordpress permalink located at the top of the editing page for revising the links before publishing.
All you should do is to use common keywords intelligently in the description and eliminate excess words. For example, the URL link: yoursite.com/7-ways-to-choose-the-best-tires-for-your-vehicle Can be revised as yoursite.com/choosing-tires-tips.
Further, this URL link: yoursite.com/the-copywriters-guide-to-getting-more-clients-than-you-can-handle can become yoursite.com/getting-copywriting-clients. The main intention here is to create a short permalink that enables the search engine to recognize the topic of your post instantly and increases the ranking through the relevant keyword.
While writing and posting your pages and posts on different social media, you need to give more importance to the page title and description as it is picked by various search engines with the URL links. Most of the people, who select your article to read, do so after reading both the page title and description.
As this determines the flow of the visitors, the page title and description remain the most significant text on the page. To control what appears on the search page, you need to use SEO software such as Scribe for editing both the page title and description. You can also increase the readers by making the headlines enticing and attractive.
Images not only add interest and beauty to your pages but also serve to increase visitors through SEO. Whenever you add an image to your site, all you need to do is to add a keyword in the image title as well as the alternate text field.
It is due to the fact that whenever anyone hovers their mouse over your image, the title tag generates the helpful text or if the image is unavailable due to some reason, it would display the alternative title tag.
To get the full benefit, the description needs to make sense. For example, if the image is about tires, you need to use the relevant keywords such as "the best tire brand for bad roads".
You also need to ensure that the image and the description are accurate as this is another way to market your products and services.
Would you like to convert the web traffic, then all you need to do is to remove distractions by creating a landing page. There are many premium themes that offer an in-built landing page template that produces a blank page with no navigation menu.
It enables the visitor to focus on the form and fill it up for further action such as click the Add to Cart Button. If it is unavailable in your theme, you can use the premise landing page software for Wordpress.
This software also offers copywriting advice as well as has an extensive library of pictures you can use. Further, it also offers versatile landing pages and enables you to have control over content and style without the knowledge related to coding.
While uploading content, the people most often neglect footer in the Wordpress. You can include many things that would boost your web traffic such as a copyright message, information about website owners, and a link to an important web page.
When you select premium themes, you can use this area as a content section where you can include links to popular pages or posts, an opt-in to the email list, and a short bio. Always remember, that people like to know about the website owner and by offering this information you can continue to engage them and encourage them to take further action.
Hope you find these tips handy in your toolbox. Learn more about wordpress by picking a recommended book listed here.


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Het 33e Europees kampioenschap basketbal vrouwen vond plaats van 18 juni tot 3 juli 2011 in Polen. Zestien nationale teams speelden in drie steden om de Europese titel.

Voorronde
De zestien deelnemende landen zijn onderverdeeld in vier poules van vier landen. De top drie van elke poule plaatsten zich voor de hoofdronde, de nummers 4 zijn uitgeschakeld.

Groep A
De wedstrijden in deze groep vonden plaats in Bydgoszcz.

Groep B
De wedstrijden in deze groep vonden plaats in Bydgoszcz.

Groep C
De wedstrijden in deze groep vonden plaats in Katowice.

Groep D
De wedstrijden in deze groep vonden plaats in Katowice.

Hoofdronde
De wedstrijden in de hoofdronde werden gespeeld in twee poules van zes teams. Onderlinge resultaten uit de voorronde telden mee voor de hoofdronde. De beste vier landen uit elke poule zijn door naar de kwartfinales. De overige landen zijn uitgeschakeld.

Groep E
De wedstrijden in deze groep vonden plaats in Bydgoszcz.

Groep F
De wedstrijden in deze groep vonden plaats in Riga.

Eindronde

Eerste tm vierde plaats

Vijfde tm achtste plaats

Eindrangschikking

Europees kampioenschap basketbal
Basketbal in 2011
Basketbal in Polen
Basketbal

redpajama_set_name: RedPajamaWikipedia


Well done to the boys who represented the school so well at the Eir Junior Spiders Awards.
They did the school proud.
We enjoy experimenting with photo editing tools.
so that our own mothers would not recognize us.
Tired but happy on journey home.
who went to the Junior Spiders Awards.
They sure know how to throw a party.
We remember last year and the fun we had.
Here is a montage of pictures from that great day.
We won funny spot prizes too.
the Eircom Junior Spiders Awards.
You can read about our experience here on the Eircom Junior Spiders Blog.
but hope to enter a project in 2015.
We would recommend entering. It is good to have a goal to work towards.
how we could make it the best that it could be.
and a Pizza Party at school to celebrate afterwards.
The closing date for this year's entries is 7th February.
We would really recommend entering.


As a result of today's technology, enormous amounts of people are spending most of their working hours behind a desk in a miserable office chair. As a result of this deskbound lifestyle, more and more individuals are becoming overweight, out of shape, and developing other health problems. Mesh office chairs are lightweight and breathable chairs that can increase convenience in the office. They are growing in popularity nowadays for not only are they functional, they also make affordable and practical choices. You will find so many sellers and manufacturers of mesh chairs today that the buyer needs to be informed of his choices and fully conscious of his needs. When considering mesh chairs, a number of the things you will need to look at would be the adjustment capabilities, proportions, and ergonomics.
Although a sedentary lifestyle causes health issues in itself, an unpleasant office chair causes a new arena of problems. Hours upon hours in a miserable chair brings about back problems, neck pains, and just overall body aches from bad posture. Mesh office chairs may be equipped with all the current features found in your basic task chair, including casters, swivels, tilts, and so on. Not absolutely all available features may suit every user so the client must take consideration in going through options in the market.
Buying an office chair is comparable to purchasing a car. Would you get an automobile without test-driving it? Exactly the same relates to selecting your chair, you need to sit down and feel it out. Again, in the same way your car or truck, you need comfort; you'll spend numerous hours in your vehicle commuting, shopping and running errands. The same philosophy pertains to your workplace furniture. You is likely to be spending numerous hours for the reason that chair so choose wisely. Be warned however, that low-priced mesh chairs aren't designed for extended hours of use. They help you well if you're trying to find task chairs you will use for only three hours a day. But if you intend to utilize the chair for longer than that, there are sturdier mesh chairs available as well.
Back support Your chair should provide adequate back support. The back support of the chair must also be adjustable to match properly to your back. The trunk support of the chair should remain just like you move and recline in your chair. A great office chair with proper back support will improve your posture and therefore eliminate or reduce back pain and stiffness. Selecting a company chair without adequate back support can cause back problems that could stick with you your complete life. Ergonomics Watching ergonomics reduces work injuries. You should get a chair that's easy to adjust especially when it comes to height. For ideal results, select one that will go up to 16 inches. To make reclining possible, choose a chair that it is simple to progress and backward. Also, focus on the armrests. If at all possible, go for a chair whose armrests you can even adjust.
Seating. The padding and design of the seat ought to be considered. The front of the seat must have a rounded edge. A straight horizontal front will cut off circulation on the backside of the knees. A good tip is that you need to be in a position to slide your fingers between the inside of legs and the front edge of the seat. Comfort of the chair You must note that even if a chair has most of the ergonomic features it's comfortable to sit on. To make sure you're purchasing a unit you will undoubtedly be comfortable sitting on, test prior to making the purchase. This calls for you yourself to visit your furniture store and lay on the chair.
Width of the seat and armrests. You'll need to match to the chair. When you yourself have to squeeze in to the chair then it generally does not fit, regardless of how comfortable it could seem once you are seated. There ought to be room between the armrests and your body. Furthermore, the armrests need to talk with the desk. A great office chair could have adjustable armrests. What good are armrests if they're not useable or uncomfortable to use. Quality armrests can assistance with tasks like reading and writing, and taking pressure and tension off the neck and shoulders. Size of the chairOffices are of different sizes thus can accommodate chairs of different sizes. To be comfortable in your workplace you need to go for a chair of the proper size. When making the purchase, select one that's 15-17 inches from the back to the front edge. As it pertains to the width, the system should be wide enough. You ought to be able to suit easily without touching the armrest bases.
Height Adjustments. People aren't the same height; therefore, your working environment chair should have a height adjustment. The specifications to modify your working environment chair and to promote good posture are the following: thighs should really be horizontal to the floor while both feet are on the ground and wrists should be straight while typing. Base stability It's rare for individuals to think about the stability of any office chair which is really a big mistake. Chair stability is essential at ensuring that you are comfortable thus your output is high. To easily move from destination for a one other get a chair with wheels. For the chair to be stable, choose wheels produced from a strong material. The most effective units are those created from steel as they are more stable and durable.
If you cannot find an office chair height which allows both of the above mentioned, you might want to discover a way to alter the height of your keyboard so that you can have straight wrists while typing and your body is aligned properly with the chair and the floor. Fabric A lot of people only consider how a product looks in the office. While there's nothing wrong with choosing a product that matches your office décor, also consider the caliber of the material and if the material is straightforward to clean and breathable. You can find many types of fabrics you are able to go for. Vinyl and leather are the most frequent but they tend to trap heat and reduce air circulation. The cloth can also be a popular material that is cheap. Unfortunately, it's usually of poor quality.
Stability. Your chair must certanly be stable. Your chair tipping over if you are in it's not funny. Serious and permanent injury can occur. Locate a chair on wheels that swivels and a five-point base that'll not flip you over on your mind once you recline. ConclusionThey're a number of the factors you should think about when buying a company chair. To get a high-quality unit, buy from a trustworthy store.


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About Lin
Lin's Writing
Blessed Hope CC
Lin's site for women in ministry:
More Mealtime Moments
(By Linda A. Wurzbacher)
Follow Lin on Twitter
Lin's Sermons online
Lin's Friend's blogs
Suicide and the Wake behind (Posted awhile back on pastors.com)
Written by: Lin Wurzbacher
Pastors must go beyond simple platitudes when ministering in wake of a suicide
By Rheta Murry
It certainly was a difficult funeral service, but also an amazing opportunity to share the Gospel with people who were far from God and bring hope at that time.
Lin Wurzbacher, senior pastor ofBlessed Hope Community Churchin Webster, N.Y.
WEBSTER, N.Y. (PD) — The announcement and plea for advice looked a little chilling as Lin Wurzbacher asked for help from fellow pastors in the Pastors.com forum.
"I just found out tonight that someone in our church committed suicide," said Lin Wurzbacher, senior pastor of Blessed Hope Community Church in Webster, N.Y. "I just talked to him on Saturday. I asked him if he had any suicidal thoughts and he said absolutely not. ... I'm meeting with (his wife) tomorrow. I've never ministered in a situation like this and could use all the advice, wisdom and prayers I can get."
Wurzbacher sought help after realizing not only did she not know exactly how to minister in this situation, but she was dealing with her own negative emotions on the subject. Pastors on the forum responded with advice, support, and prayers. Some colleagues counseled her to avoid the platitudes and easy answers, to say little while praying a lot, and to allow family members to talk about their own feelings.
"If you are not familiar with the stages of grief, get familiar now," wrote one pastor in the forum. "In situations like this one, they are magnified immensely. For example, one stage is anger. In suicides the stage is probably the hardest for all of the survivors"
In counseling the family before, during, and after the funeral, Wurzbacher said she talked with them regarding the guilt they all feel. People feel like they should have done something to help, or they should have tried harder, they could have talked the person out of the act.
"The very first night I talked to [the wife], I told her this wasn't her fault," Wurzbacher said. "Even though I struggle with this because of the situation, no matter what she has done, she did not deserve this. It was his choice."
Wurzbacher said she had been counseling the couple for quite awhile. Five days before, he had told her he had suicidal thoughts. A day or two later, he said he was not suicidal. Within a few days, the man killed himself.
"It certainly was a difficult funeral service, but also an amazing opportunity to share the Gospel with people who were far from God and bring hope at that time," she said.
Grief, Wurzbacher said, hung over her congregation for quite some time. Wurzbacher preached strongly the message of God's grace in the funeral, imparting the love of God even while we are sinning. And she told everyone how deep and wide God's love is.
Since then, Wurzbacher said several others in her church have expressed suicidal thoughts. One man came to her very depressed, talking about suicide. When the man said he wanted the pain of depression to be over with, the pastor drew on previous experiences.
"I told him it is not over when you die, there is a part of you, your spirit, which would live on," she said. "I remind them there is a spiritual life. I felt lead by the Lord to speak that way. You have to use discernment in each case, to talk to someone who is suicidal. I knew at that moment I had grabbed his attention."
Dr. Dee Bissell, a therapist for many years, provided several suggestions to help pastors minister in this difficult situation. She struggled with guilt and anger when her son committed suicide.
"Pastors need to be prepared with suggested resources. It would help if a pastor had a resource list available, so the person didn't have to do his own research," she said. "Also, don't suggest regular grief groups, because they don't work for us when someone has taken their own life. It is a different dynamic."
Some of the resources Bissell found helpful included After Suicide by John H. Hewett; The Suicidal Mind by Edwin S. Shneidman; andDon't Waste Your Sorrows by Paul E. Billheimer. The American Association of Suicidology and American Foundation For Suicide Prevention
also can provide valuable information to a pastor, she said. Bissell and colleague Michael P. Creurer wrote a booklet called Good Grief.
Through journaling, reading whatever resource she could find on the topic, and writing poetry, Bissell worked through her own guilt and pain. For awhile, she even led a five-person support group for people who had lost loved ones to suicide.
Bissell said her pastor, Charles Schmitt of Emanuel Church, prayed with her and let her talk, without giving advice or asking a lot of questions when her son died. He asked how he could help. Schmitt also asked for permission to talk about Bissell's son from the pulpit, and asked what she would be comfortable with him sharing.
"I told him to be honest, that my son took his life," she said. "I think people need to know what he was suffering from. They wouldn't be able to minister appropriately if they didn't have all the information. You can also expect a shocked response sometimes because not everyone will understand."
Bissell's pastor also asked his wife and others to sit with Bissell through the funeral service and a subsequent memorial service. She says church members took her by the hand and lead her through her grief.
"A couple sat in church with me," Bissell said. "If I broke into crying, they walked out with me. If I needed to cry, I could cry."
Pastors and friends allowed her to work through her grief and other feelings in her own way. This, she said, was a great resource. Different people need different things, she said, and she needed to know why and needed to do her own research.
"I am a therapist, and I couldn't understand why I couldn't help," Bissell said of her son.
Bissell also recommended pastors refer anyone dealing with thoughts of suicide to a hospital.
"If that person won't go, they can always call police and say they are suicidal," she said.
Though they encountered suicide in different ways, both Wurzbacher and Bissell say they learned a lot from their experiences. And, they have both had to deal with their own grief.
When I was praying about my son, why he would take his own life, the Lord showed me that it was not about me, but about David. David had made some decisions and that God dealt with them. He was offered some help and he chose not to (take it).
Dr. Dee Bissell
"When I was praying about my son, why he would take his own life, the Lord showed me that it was not about me, but about David," Bissell said. "David had made some decisions and that God dealt with them. He was offered some help and he chose not to (take it)."
Wurzbacher, too, let her members know that the person who commits suicide is dealing with his own demons. She said each case is different. Some commit suicide to get away from the pain while others have lost their own identity through job losses or the loss of a relationship.
"They don't feel loved, or they feel that their life doesn't matter," she said. "In their darkest moments, they think the world would be better off without them."
While dealing with how to minister to the family, Wurzbacher received a lot of good advice from the forum and from other friends.
"A close friend just emailed these words of comfort to me," Wurzbacher wrote in the forum. "Remember that even the Holy Spirit could not override this man's free will. I say that to assuage any guilt you, his wife, or anyone else may have with the 'should have,' 'would have,' 'could have,' and 'if only.' God knows."
Words of comfort and support even months later can help the person dealing with the intentional death of a friend or family member. Platitudes such as, "he's in a better place," or "he's not hurting anymore," do little to help the situation, Wurzbacher added.
Another portion of the suicide death a family member struggles with is where that person will spend eternity. Some have been told that, because the person took his own life, he will spend the rest of his life away from God.
"I think more damage has been done from this than anything else," Wurzbacher said. "We have to put our focus on God. We can't judge. We can't understand how great he is. We encourage people to put their hope in God."
Location: Blogs That Woman Pastor
Re: Suicide and the Wake behind (Posted awhile back on pastors.com)
wow, I don't even remember writing this article. My father killed himself in the early 1980s, so I know it was hard to write.
Unfortunately, part of the story was obscured from the tags, categories, etc.
rheta murry
By rheta murry on 5/27/2011 5:30 PM
Copyright 2011 That Woman Pastor. All Rights Reserved.
: : Login
We rolex replica can clearly see replica rolex that the left side of the figure for the 40 mm of swiss replica watches the second generation DD, the right side of replica watches the traditional DD of 36 mm.


text:
Biografia
Figlia di Jojo Allado e Letty Guevara, Christine Allado è nata e cresciuta nelle Filippine. All'età di diciotto anni si è trasferita a Hong Kong per lavorare ad Hong Kong Disneyland; successivamente si è trasferita a Londra, dove ha studiato teatro musicale alla Royal Academy of Music. Dopo la fine degli studi ha cominciato a recitare nel panorama del teatro musicale londinese a partire dal musical di Tim Rice From Here to Eternity al Shaftesbury Theatre del West End.

Nel 2014 ha recitato nel musical Here Lies Love al National Theatre, mentre nel 2016 è entrata nel cast del musical Sweet Charity in scena a Manchester. Sempre nel 2016 ha interpretato Vanessa nel musical di Lin-Manuel Miranda In the Heights e ha cantato con Andrea Bocelli alla Mall of Asia Arena. Nel 2017 ha recitato nella prima londinese di un altro musical di Miranda, Hamilton, in cui interpretava il duplice ruolo di Maria Reynolds e Peggy Schuyler. Nel 2020 ha interpretato il ruolo di Tzipporah nell'adattamento teatrale de Il principe d'Egitto al Dominion Theatre di Londra; l'attrice ha inciso anche il ruolo su disco, ottenendo così una candidatura al Grammy Award al miglior album di un musical teatrale.

Teatro

 A Catered Affair, regia di Matt Ryan. Jack Lyons Theatre di Londra (2013)
 Here Lies Love, regia di Tamara Harvey. Shaftesbury Theatre di Londra (2013)
 Turandot, regia di Jonathan Man. Regent Theatre di Londra (2014)
 Here Lies Love, regia di Alex Timbers. National Theatre di Londra (2014)
 Beyond the Fence, regia di Luke Sheppard. Arts Theatre Sky Art di Londra (2015)
 Sweet Charity, regia di Derek Bond. Manchester Royal Exchange di Manchester (2016)
 In the Heights, regia di Luke Sheppard. Kings Cross Theatre di Londra (2016)
 Hamilton, regia di Thomas Kail. Victoria Palace Theatre di Londra (2017)
 The Prince of Egypt, regia di Scott Schwartz. Dominion Theatre di Londra (2020)

Note

Collegamenti esterni

Attori teatrali britannici
Cantanti da musical


What first turned you on to veganism?
Well, before going vegan, I was vegetarian for about 2 1/2yrs. During that time I began to read more articles, educating myself further about where my food came from, and the nutritional benefits of cutting out dairy. I slowly began to cut out a lot of dairy products, and for about a year I had cut out all dairy except cheese. Cheese…something I feel stops many from taking the plunge! Everytime I ate cheese I knew I didn't "need" it, I just "wanted" it, and began to feel guilty about continuing to eat it. At that point, I went out, bought, and read "The Kind Diet" by Alicia Silverstone, a book recommended to me by a friend. I began reading it as soon as I got home, and within the first 25 pages, decided that I was going to go vegan! Several days later I made the change, and have never looked back!
You're very into dancing and yoga, how does that tie in to your vegan lifestyle?
I've danced my whole life, literally – since I was 2, and staying healthy, fit and thin has been something I have always had to worry about. I am not a "tiny" person, so my weight has been something I've always struggled to keep down, especially during the 10yrs I was dancing professionally. I began practicing yoga (seriously) about 3 years ago, and currently practice 4-5 times a week at Yogaworks. I've always eaten healthy, and loved my fruits and veggies, but since I've adopted a vegan lifestyle my whole life has changed! My body has naturally found it's ideal weight, I've become more energized, and my performace as a dancer and yogi have elevated. Dancing and yoga really have you look within yourself, and be comfortable with who you are, and veganism has allowed me to finally be at peace with who I am. I feel happy about what I am putting into my body, and my body has rewarded me for doing such!
You're throwing a dinner party, what do you serve to wow the guests?
That's a hard one…I have many vegan and non-vegan friends so I would want to make something that I know would blow EVERYONE'S mind! I would begin with my Massaged Raw Kale Salad with a Lemon Garlic vinegarette (I could, and have, eaten a GIANT bowl of this in one sitting!!!). Main course would be Vegan Lasagne. I make a quasi traditional one, with homemade marinara and tofu ricotta, lots of veggies and of course slathered with ooey, gooey "cheese"!! Cocktails would be a homemade red sangria, and for dessert (because who doesn't want dessert?!?!), my favorite, snickerdoodle cupcakes!! No one ever leaves my house hungry, and I always send my guests home with leftovers!!
What is your favorite vegan restaurant and what do you order there?
DOOMIES!!!! (When I want to feed my inner fat-girl). I always order the same thing, because it's THAT good, Vegan Big Mac, light on the onions extra special sauce with Onion rings, ranch on the side, washed down with a Stella Artois.
Cafe Gratitude – For an Appetizer I get I AM PRESENT, which is a seasonal bruschetta, and it's always bomb. For Entree, I get I AM AWESOME, a cornmeal coated eggplant parm panini with too much amazing stuff on it to write, but be sure to add the hemp seed pesto; you won't regret it! For Dessert, I get I AM ADORING, which is THE BEST Tiramisu I have EVER had in my life. Seriously.
Sage Organic Vegan Bistro – I die for their Soft Pretzels, served with nacho cheese, habanero cream cheese and maple mustard dipping sauces. They also have an amazing selection of Organic Craft Beers. And I love beer!
What has been your biggest take-away from living a more health conscious/compassionate lifestyle?
It may sound corny, but it has made me a much more compassionate human being. I've always loved all animals, but I see them in a different light now. I strongly believe they have feelings, spirits and emotions, just as we humans do. Knowing that everyday I am contributing to saving animals, and spreading awareness gives me a sense of inner peace that I didn't have before. I also have a deep love for Mother Earth, and through veganism feel that I am doing all I can to keep her safe, healthy and thriving. Most importantly, it has allowed me to love myself, and to be proud of the choices I make daily. I go to sleep each night feeling at peace; mind, body and soul.
Did you hear about the vegan devil worshipper?
He sold his soul to seitan!
I just have one more question for you – when can I come over for dinner?!?! Thank you Holly for being part of Vegan Interrogated!