FERRY, MICHAEL AUGUSTUS (1872-1943), pioneer racing commentator, was born on 24 November 1872 at Albury, New South Wales, second son of Irish parents Bryan Ferry, servant and later grazier, and his wife Bridget, née Ferry.
By 1894 he was a grazier at Bullenbong, near Hanging Rock; defeated by the long drought, he was working as a labourer in Sydney in 1898-1900. About 1900 he went to Perth and in May next year his appointment as a racecourse detective, at a guinea ($2.10) a meeting, was confirmed by the West Australian Turf Club. In 1904 he was employed as a wool-classer. He later claimed to have been a steward and handicapper in the West and the Riverina. He was associated with A. E. Cochran, owner of the Belmont Park racecourse, who in 1905 sent him to France, Britain and the United States of America looking for bloodstock.
By 1908 Mick Ferry had set up as a horse-dealer at Wagga Wagga, New South Wales, and bought and sold horses for the Indian market. In 1911 he gathered together a team of rough-riders and buck-jumpers which he took to England, probably for the Festival of Empire. About 1923 Ferry left Wagga and moved to Randwick, Sydney where he worked as a labourer. At his own suggestion, in 1925 he began early morning broadcasts of the training gallops for radio station 2FC (then a private company). They proved so popular that he was asked to do race commentaries—his first big race broadcast was the Australian Jockey Club Easter meeting in 1925.
At first commentators were not allowed on racecourses. At Canterbury Ferry broadcast from a fowlyard, often feeding the birds to keep them quiet, and at Moorefield his stand was outside the course at the top of the straight—in the final drive to the winning post he could see only the horses' rumps, which made it difficult to pick the places, especially in big fields. By October 1926 2FC had a private stand at Randwick. Ferry spoke in 'clear incisive tones' and allowed 'a little of the excitement … to creep into his voice'. He often called a horse during the race as '100 to 1 on' to win, and was never nonplussed if it failed. From 1932 he continued his broadcasts for the Australian Broadcasting Commission.
In addition to actual race broadcasts, Ferry clocked the training gallops and reported back on form over 2FC long before the newspapers appeared. He attended and reported on the annual yearling sales, took part in ball-to-ball descriptions of Test matches and was racing correspondent for several Queensland newspapers. Until his last illness he supplied the A.B.C. with acceptances and results as well as assisting with race commentaries.
Ferry died from cancer at the Sacred Heart Hospice, Darlinghurst, on 5 April 1943 and was buried in the Catholic section of Botany cemetery. He was survived by his wife Julia née Condon, whom he had married in Sydney on 25 October 1927; she celebrated her hundredth birthday in 1972 and died on 6 November 1975.
I think it is more likely to be an electronic scrapbook rather than a blog.
As far as I can tell Mick Ferry was the first broadcast race caller in the world. There weren't even course announcers in 1925. The first race course PA was installed in the USA in 1927. And 4 years before pioneer US caller Clem McCarthy called the Kentucky Derby on radio in 1929, Mick Ferry was broadcasting Fujisan's win in the Doncaster perched on the balcony of his flat with a magnificent set of binoculars - on the wireless.
The wireless was one of those many new fangled contraptions of the 1920's and its potential as a public entertainment was still being explored. Mick fancied that describing horses at gallop could be entertaining. He broadcast trackwork from his balcony - and he was right. It was popular, and if they liked listening to trackwork they were going to love listening to the races. To the folks of the 1920's it was just like being there.
If you close your eyes, it still is.
Is it just the hat, but does Mr Ferry above look a tad like the current Collingwood coach ?
The recent changes to the Hall of Fame got me thinking.
If the Australian racing industry will not provide an online resource that does justice to the champions of the Australian Turf then I may as well do it myself !
All I want is just a decent picture of each horse, the vital statistics of its race career, a pedigree and a brief telling of the horse's tale would do me.
The ARHOF is attached to the Australian Racing Museum and they have all the information at their finger tips, researchers and funding but their web site only marginally improved from appalling to ordinairy in 10 years and finding out the basic information of the horses the HOF is supposed to memorialize is still a bloody internet treasure hunt.
... it's turning into an encyclopedia !
PP7 Has done an excellent job. Not to many of the main protagonists are missing.
That thread is exactly what rekindled my interest in The Project. I have taken those records, reformatted them, put in a picture and pedigree chart, tossed in a few links and written a little bio for each neddie. And that is a profile page.
...but you get the drift.
The objective of the project is to provide an online resource of information and links pertaining to the history of the Australian turf, with particular emphasis on profiling its champion racehorses.
The project is open ended, and as all the pages in it are editable online, more information can be added as it comes to hand, more horses can be profiled, and the project can expand in various different directions. The collection builds over time.
I had intended on using this blog as host for the project, but I have changed my mind because the HTML functionality here is a little limited.
I have decided instead to host it as blog on Blogger. Blogger has full HTML is free, fast and secure. It will do.
Instead of hosting the project on this thread I intend on using this thread for planning - a kind of scratchbox for the blog. It wont be very interesting but it will be useful for my purposes.
As it is to be a collection of profiles I need an Index.
There are several lists of the Hall of Fame horses, each with different table of information. One details the horses breeding, another their vital statistics, so that the horses can be easily compared.
I also have an unfinished collection of profiles of the Horses of the Year since 1969. These profiles are slightly different as instead of detailing their complete race record the focus is on detailing the form of their winning season. A link is provided to their complete career records and pedigree information.
Phar Lap's stats include his US start but Shannonn's don't. Shannon won approx $234,000 in the US.
Nice proof reading. I will fix that. That sort of correction is invaluable to me. I have only included Shannon's Australian record - and his achievements in the US should be noted.
Further down the list (but cropped off the page) I have done a similar thing to Tobin Bronze. I have combined his Australian and US prizemoney - and that's not quite right either.
This looks like a job for an asterisk.
Another - you haven't credited Amounis with his 3rds.
and there should 8 of them. Fixed.
Getting back to Shannon, in Australia he had 14 wins and 7 seconds and no thirds, however he had one unplaced run at two, and three at three which makes 4 unplaced. Add that to the 14 wins and 7 seconds gives him 25 starts in Australia, not 24.
Do you have a source ? Does it detail his race record ?
You say above 25 Aust starts but your "Hall of Fame" shows 24, that was my point just a maths issue I think.
I have a listing of his Aust runs but not of his US runs.
Yeah, I understand. Maths issue. That's why I repeated the sum, and need to correct the page.
But tell me more about Shannons's Australian record.
Can you add anything to that ?
Many thanks. That should be sufficient to complete at least the Australian leg of his racing record. I am pretty sure I have read online a very full description of his US campaign. I should be able to complete his record from there.
My records (from original newspaper accounts) for the latter part of the champion Shannon's career are as follows.
It was then announced on Thursday October 9 that Shannon was to be sent to America in a week or two to race there in the colours of W J Smith. His trainer Frank Dalton was not free to go to the US but Barney O'Brien would be given a chance to continue his association with the horse but turned it down to remain with his family in Sydney. No announcement was made as to whether Darby Munro would ride Shannon in the States. Smith said, " Shannon will reach US in plenty of time to acclimatise and be ready for the new season which begins in January and is in full swing a few months later." Smith had been waiting on boat accommodation and this was offered a few days ago.
Shannon's record in Australia was 24 starts for 14 wins, 6 seconds and only 4 unplaced races. His total prize-money was £18,987/10/-.
He raced more as a 2yo than at any other time. That was the only season he ran in the autumn.
From now on the Shannon story became one of travelling to the Sates and of acclimitisation in his new surroundings, with a new training regime and new jockeys with their different styles and tactics. Although he did not prove to be an out-and-our champion under these new condidtions, Shannon accquited himsel well. There were a problem over the registration of Shannon in the American Stud Book. The problem arose form three English mares who came to Hobart in 1826, the mares were Spaewife, Cutty Sark and Fortune Teller. Fortune Teller died on the journey out from England, After the arrival of the living mares and the dead mare there was confusion for a number of years as to who was whom. A foaling of Spaewife was attributed to the dead Fortune Teller. Shannon descended from Spaewife and this foal. The confusion was eventually cleaned up for the Australian and New Zealand Stud books but had not in 1947 been accepted by the English or US Stud books.. So of his 4096 ancestors, back 12 generations, there was doubt about two of them in that 12th generation! This problem was eventually overcome at the NYJC meeting of February 12. In mid-Januray a Neil McCarthy, a lawyer from Los Angeles purchased Shannon intending to race him for an indefinite period and then retire him to the stud.
Shannon commenced racing in California in mid February but at first failed to live up to expectations. Given more time to settle in to his surroundings, he resumed in May at the Bay Medows meeting and won there over 9.5f. Later that month Shannon won over 8.5f at Hollywood Park. After a couple of subsequent failures, Sahnnon took out the prestigious 10f Hollywood Gold Cup on July 17. In this race Shannon carved out the distance in 2 1.3 (at that time the Australian record for the distance was 2.1.75). The prize-money won by Shannon was £21,125. This took his American winnings to £34,525, with 3 victories. His lifetime winnings were now £53,512/10/-. Shannon carried 8.4 in a field of 9. He won by 2 lengths from On Trust, with Othaverry, 1.5 lengths away third. Shannon was ridden by John Adams. The horse broke fourth, galloped easily without the whip for the first six furlongs, moved up on On Trust at the home stretch, took the lead a furlong from the post and, under the whip, came away for a clear win. McCarthy was not present to see his horse win; he was on his way to the Olympics in London. George Moore watched the race. He commented "Shannon looked in much better condition today than when I was here before. It was a marvellous performance by the jockey and the horse." Trainer Willie Molter said "I think the track today would have suited Shannon." The press comment was unanimous in its praise of Shannon. A wek later Shannon ran third over 13f. Shannon had then won £33,500 at the Hollywood Park meeting and was the leading prize-winner.
1948-49. Now racing in the United States, Shannon had three starts this season before being retired to the stud. Again the champion displayed his quality. In late September at the Golden Gate meeting he carved out a brilliant victory over 9f in world record time of 1.47.6. Shannon got away slowly and was not called until the back straight. His stable-mate On Trust led early in the race. Shannon spurted ahead in the straight.
On Monday October 23 the SMH reported an even greater win by Shannon in the US. He had equalled the world record time in winning the £23,437 Golden Gate H'cp of 10 furlongs. He ran the time in 1 59.8, breaking the US record of 2 minutes flat. It was quite a few years before that mark was broken in Australia. Jack Westrope again rode Shannon. He won by 2 lengths from See-Tee-See with Stepfather 3rd. His stablemate On Trust finished 4th, Shannon's winnings of £19,062 took his American earnings to £60,409 and his total earnings to £77,396. Thus win made Shannon Australia's then greatest stake-winner, surpassing Phar Lap's £66,738.
Newspaper headlines about Shannon were "powerful Australian cannonball" and "7yo bullet from Down Under". Owner McCarthy said 'I only need say that his victory a week back and this latest miraculous win is a complete justification of Shannon. I hope all his critics are at last satisfied." Shannon broke well, was in the clear on the outside all the way. He was fifth or sixth going down the back, moved up to be third at the 3/4 mile mark and there was "just breezing". His jockey said "He could have gone to the front at any time. When I did ask him really to move he responded immediately and we came around the leaders on the outside. When he was straightened up for home and in the clear, I took him on to the rails and he just galloped on in."
Shannon now had 5 wins in 17 US starts. There was one more start for the Australian champion. In early November he finished third, a neck behind the winner Please Me, at Taniform, San Francisco in the Marchbank H'cp. The race was won by Please Me form Tropical Sun. Shannon finished a neck behind the winner. He led after the turn but was run down.
There was talk of a showdown between Shannon and the young American three-year-old champion Citation in the Taniform Handicap but Shannon was handicapped to give 4lb to Citation and his connection thought this was not to Shannon's advantage. McCarthy believed the horse had been given too much weight. Shannon was now retired and sent to a stud in Kentucky. The champion was sold to a syndicate: 30 shares, each worth £3,125. McCarthy certainly had made a killing on Shannon.
A nation-wide US poll rated Shannon the outstanding horse of the year in the four-year-old and over class.
Much appreciated Brian I will be able to use all of that.
I think I remember where I read the account of Shannon's US career. It was very likely yours.
We seem to have a point of contention over how many Australian starts he had. I'll leave it as an open question until I have done some more research of my own.
The reluctance to accept Shannon into the American studbook is ironic given the prevalence of the so called 'Jersey Law' by the Jockey Club in the UK. Lord Jersey was a steward of the Jockey Club who recommended a prohibition of any further entries to the General Stud Book unless the horse's pedigree originated entirely within the GSB, Therefore, all the descendants of the great American sire Lexington for example were excluded from the GSB from 1913 onwards as back five generations in Lexington's pedigree the inaugural English Derby winner Diomed was put over an unidentified American mare. The fact that Lexington appears in the pedigree of most American thoroughbreds was of no consequence - they were excluded from the GSB as 'half bred'. The same 'law' also excluded any Australian horse whose entire pedigree was not contained within the GSB.
As I said earlier it is my intention to use this thread as the sandbox for my project to profile the champions of the Australian Racing Hall of Fame. To that end I think I need a log of my progress.
11 June 2011 : I uploaded a detailed list of the 37 inductees on the HALL OF FAME page and a test profile of THE BARB on its own page. I linked the name of The Barb on the Hall of Fame list to his profile page and included an Index link so that I could click and return to the Hall of Fame list that also serves as the Index.
16 June 2011 : Empty pages for all 37 inductees are created and linked to the Index. The structure of the site is now complete but it is essentially a bunch of named but empty pages. Mainly this week I have been testing about the capabilities of the Blogger and have been very satisfied that it is the quickest, easiest and least expensive means of hosting the site. Now the structure is in place and fully functional I can begin to upload information and graphics to those named pages.
18 June 2011 : Profile picture uploads continue. I decide to complete one profile - The Barb - before proceeding with further uploads of material for the other profiles. Not entirely happy with the default Index the Blogger provides. Considering a stand alone web page as the 'hub' of the site, with links to the Blogger profiles from the hub.
19 June 2011 : The Barb profile is more or less complete (requires proofing & linking especially in the credits area. URL first released for folks who like looking at construction sites Ver 0.01. Essentially it is an Index and one profile at present. The links from the Index lead to the empty profile pages of the remaining 36 champions - a electronic filing cabinet. In some pages there are pictures filed away.
I couldn't track down his full record anywhere, so only his wins are shown - the 2nds are courtesy of the AJC records..
Had the same problem with Better Loosen Up.


text:
Datadog Announces Deep Database Monitoring
Press Releases Cloud, Datadog, Security, Software, Technology
Datadog extends database visibility to surface slow performing queries and optimize application performance NEW YORK, AUGUST 17, 2021 – Datadog, Inc. (NASDAQ: DDOG), the monitoring and security platform for cloud applications, today announced the general availability of Database Monitoring (DBM). With insights into query performance and explain plans, as well as automatic correlation of query […]
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Companies like IBM and Sonos are achieving success from anywhere with Slack-First Customer 360, a single platform for connecting employees, customers, partners with the apps and workflows they need to get work done SAN FRANCISCO — August 17, 2021 — Salesforce (NYSE: CRM), the global leader in CRM, today announced new innovations that combine the […]
SAP Acquires SwoopTalent Intellectual Property to Boost Talent Data Intelligence
Press Releases ERP, HR, SAP, Software, Technology
WALLDORF August 16, 2021 — SAP SE (NYSE: SAP) today announced that it has acquired intellectual property of SwoopTalent, a leader in talent data intelligence, in an asset acquisition. Embedding SwoopTalent's data and machine learning technology across SAP SuccessFactors solutions will further SAP's vision of human experience management (HXM), which prioritizes individualized employee experiences and dynamic opportunities that boost […]
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Salesforce+ content will inspire and motivate everyone — for every role, industry or line of business — to succeed in the digital-first, work anywhere world Salesforce+ will bring the magic of Dreamforce to viewers across the globe with luminary speakers, Trailblazer success stories, and groundbreaking innovations SAN FRANCISCO — August 10, 2021 — Salesforce (NYSE: CRM), […]
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redpajama_set_name: RedPajamaCommonCrawl


text:
Ceroid | definition of ceroid by Medical dictionary
https://medical-dictionary.thefreedictionary.com/ceroid
ceroid
Also found in: Encyclopedia.
ce·roid
(sē'royd),
A waxlike, golden, or yellow-brown pigment first found in fibrotic livers of choline-deficient rats, and also known to be present in some cirrhotic livers (and certain other tissues) of human beings. Ceroid is acid fast, insoluble in fat solvents, and probably a type of lipofuscin although differing from true lipofuscins by failing to stain with Schmorl ferric-ferricyanide reduction stain; it also exhibits autofluorescence. Accumulates in Hermansky-Pudlak syndrome.
[L. cera, wax, + G. eidos, appearance]
A complex of alcohol-insoluble, oxidised polyunsaturated lipid pigment(s) resulting from the peroxidation of unsaturated lipids, which are similar or identical to lipofuscin. Ceroid accumulates in macrophages of the heart, liver, gastrointestinal tract and brain in the elderly, and is thus termed a "wear and tear" pigment; it has been inculpated in age-related organ dysfunction hypovitaminosis E, cathartic colon, and hereditary conditions (e.g., Batten's disease and sea-blue histiocytosis).
A complex of alcohol-insoluble, oxidized polyunsaturated lipid pigment(s) resulting from the peroxidation of unsaturated lipids that are similar or identical to lipofuscin; ceroid accumulates in macrophages of the heart, liver, GI tract, and brain in the elderly and is thus termed 'wear and tear' pigment; it has been inculpated in age-related organ dysfunction–see 'garbage can' hypothesis, hypovitaminosis E, cathartic colon, and hereditary conditions–eg, Batten's disease, sea-blue histiocytosis.
adult amaurotic familial idiocy
adult onset cerebroretinal degeneration
adult-type cerebral sphingolipidosis
amaurotic
amaurotic familial idiocy
Batten disease
caseous degeneration
cerebral sphingolipidosis
ceroid lipofuscinosis
ceroid lipofuscinosis, neuronal, type 2
ceroid storage disease
chromolipid
CLN3
colloid degeneration
cystic degeneration
###CLN6###Neuronal Ceroid Lipofuscinosis-6###PYCR2###Hypomyelinating Leukodystrophy, 10
CLINICO-RADIOLOGICAL FINDINGS AND GENETIC ANALYSIS OF CHILDREN WITH HEREDITARY NEUROLOGICAL DISORDERS
The company said that RGX-181 is a one-time treatment candidate for late-infantile neuronal ceroid lipofuscinosis type 2 (CLN2) disease, one of the most common forms of Batten disease caused by mutations in the tripeptidyl peptidase 1 (TPP1) gene.
REGENXBIO wins US FDA's Rare Pediatric Disease Designation for RGX-181 Gene Therapy for the CLN2 Batten Disease
The panel was prepared using a NimbleGen SeqCap EZ Choice kit (Roche, Basel, Switzerland), which included 927 disease-causative genes of the neurogenetic disease, containing progressive myoclonic epilepsy, hereditary ataxia, mitochondrial diseases, neuronal ceroid lipofuscinosis and other neurogenetic diseases.
Identification of a Novel Homozygous Splice-Site Mutation in SCARB2 that Causes Progressive Myoclonus Epilepsy with or without Renal Failure
Infantile neuronal ceroid lipofuscinosis (INCL) is a severe lysosomal disease caused by mutations in the CLN1 gene, which encodes the soluble lysosomal enzyme Palmitoyl- Protein-Thioesterase-1 (PPT1) and result in osmiophilic granules accumulating in lysosomes and leading to neuroinflammation, neurodegeneration and death.
ABEON'S ABO-202 RECEIVES FDA ODD DESIGNATION
Interestingly, there was one patient who was diagnosed with neuronal ceroid lipofuscinosis (NCL), which is generally refractory to other AEDs; this patient showed significant improvement in seizure frequency as described below.
Effectiveness and Adverse Effect of Intravenous Lacosamide in Nonconvulsive Status Epilepticus and Acute Repetitive Seizures in Children
Periodic acid-Schiff (PAS) stain with diastase pretreatment drew attention to the ceroid pigment-laden Kupffer cells indicative of the significant hepatocyte death that must have preceded this biopsy (Figure 2(c)).
Resolution of Crizotinib-Associated Fulminant Hepatitis following Cessation of Treatment
Batten disease is commonly used to make reference to all forms of  Neuronal Ceroid Lipofuscinoses (NCL).
What Is Batten Disease? 3 Children Die In 3 Days Of Rare Condition
Originally described by Hermansky and Pudlak in 1959, (77) Hermansky-Pudlak Syndrome (HPS) is caused by a related group of autosomal recessive disorders that are characterized by the triad of oculocutaneous albinism, bleeding diathesis due to a platelet storage pool deficiency, and lysosomal accumulation of ceroid lipofuscin.
Diagnostic Approach to Advanced Fibrotic Interstitial Lung Disease: Bringing Together Clinical, Radiologic, and Histologic Clues
Brineura is the first FDA-approved treatment to slow loss of walking ability in symptomatic pediatric patients 3 years of age and older with late infantile neuronal ceroid lipofuscinosis type 2 (CLN2), also known as tripeptidyl peptidase-1 (TPP1) deficiency.
Novartis gains Rydapt approval for AML: BioMarin's Brineura wins FDA approval for Batten disease
TPP1 deficiency results in classic late infantile (type 2) neuronal ceroid lipofuscinosis (LINCL, also called Jansky-Bielschowsky disease) (9).
Multiplex Tandem Mass Spectrometry Enzymatic Activity Assay for Newborn Screening of the Mucopolysaccharidoses and Type 2 Neuronal Ceroid Lipofuscinosis
Serum antibodies to oxidized, low-density lipoprotein and ceroid in chronic periaortitis.
Fibrose retroperitoneal: revue de litterature
Kwon, "Classification and natural history of the neuronal ceroid lipofuscinoses," Journal of Child Neurology, vol.
The Bioinformatic Analysis of the Dysregulated Genes and MicroRNAs in Entorhinal Cortex, Hippocampus, and Blood for Alzheimer's Disease
cerebrovascular accident
cerebrovascular congestion
Cerebyx
cerecloth
Ceredase
Cerenkov radiation
Cerenkov, Pavel A.
Cerepax
Ceresine
Ceretec
cereulide
Cerezyme
Cerithidea
cerivastatin
cero-
ceroma
ceroplasty
cerotinic acid
cERPF
CertAvMed
CertGenAvMed
CertHSM
Certificate in Public Health
certificate of equivalent experience
Certificate of Higher Autopsy Training
Certificate of Higher Cervical Cytology Training
certificate of prescribed experience
Certification of Completion of Training
certification of insanity
Cernuda, Luis
Cernunnous
Cernunnus
Cernunos
cernuous
cernuously
Cernuschi, Henri
CERO2
Ceroc
Ceroc Enterprises Ltd
Cerograph
Cerographic
cerographical
Cerographist
Cerography
CEROI
Ceroid lipofuscinois, neuronal
Ceroid Lipofuscinosis Neuronal 1
Ceroid Lipofuscinosis, Neuronal 1, Infantile
Ceroid Lipofuscinosis, Neuronal 3
ceroid lipofuscinosis, neuronal, 2
Ceroid-Lipofuscinosis Neuronal 5
ceroid-lipofuscinosis neuronal protein 6
ceroid-lipofuscinosis, neuronal 2, late infantile
ceroid-lipofuscinosis, neuronal 3
ceroid-lipofuscinosis, neuronal 6, late infantile, variant
ceroid-palmitoyl-palmitoyl-protein thioesterase 1
Cerolite
Ceromancy
ceromas
ceromata


text:
Masrah Arab takes stage
Ben Beitler 12:00 am, Apr 17, 2007
Sunday was a rough day for the unfair sex. In "Adila" by Nehad Gad, a reading at the Arab Theatre Festival, the materialistic Adila (Emily Hoffman '10) discovers her husband is dead only after nagging his corpse for 20 minutes. In "The Last Walk" by Alfred Farag, the audience learns that the husband is dead only after a jail guard asks the main character (Marie Ostby '07) why she killed him.
The readings were the second part of Masrah Arab, or the Arab Theatre Festival, a three-part series produced by the Arab Students' Association, the Theater Studies Department and other sponsors. Both were short, one-woman shows by Egyptian writers, and both dealt with women's roles in modern Egyptian society. Performed in the Theater Studies ballroom in front of a small audience, the readings were followed by a question and answer session with the actors, directors and Dr. Farouk Mustafa, a professor from the University of Chicago who acted as a mentor for the festival. The productions remained casual in order to encourage audience involvement and interaction, said Eyad Houssami '07, the former president of the Arab Students' Association and coordinator of Masrah Arab.
[ydn-legacy-photo-inline id="13906″ ]
"There is no precedent for an Arab theater festival at Yale," said Houssami. "We want to open up the stage to new names and new voices. This is an invitation. The idea is to make the works accessible to both actors and audience."
Accessibility can be an issue when interpreting and presenting foreign works for the first time, Ostby said, especially when those works were created in the context of a different culture with different beliefs and values. "The Last Walk," directed by Meg Fitzpatrick '10, depicted a rural woman grateful for the "tenderness" of her husband's beatings. Ostby said it was a difficult role to assume.
"It was hard being earnest in that role," Ostby said after the performance. "I had to try not to be sarcastic about what I was saying. I had to try to believe in that value system."
Mustafa assisted the actors and directors in making the works more accessible, giving them advice on how to perform the scripts they were working with.
"I exchanged long e-mails with the directors," he said. "I suggested they read my book, 'Modern Egyptian Drama.' I suggested they employ a more theatrical interpretation of the works."
The directors said they appreciated Mustafa's advice as it gave them a greater degree of confidence than they would have otherwise had in their interpretations of the unfamiliar works.
"I was drawn to directing the reading out of the curiosity of utter ignorance in regards to Egyptian drama," said Alex Borinsky '08, director of "Adila." "At first I wasn't quite comfortable with the script. We felt very reverential toward it. Talking with Farouk Mustafa helped us out of that, and helped us to really get into the guts of the play."
The readings were presented together because of their similar approaches to the subject of womanhood in Egypt. While "The Last Walk" deals with the life of a rural woman, "Adila" portrays the wife of a petty bourgeois lawyer in Cairo. Most of Masrah Arab's readings deal with women, war, or both, as in the festival's next and final reading, "Women of War," which will take place Sunday at noon.
"It's a total coincidence that all of these plays are about women and war," Houssami said. "Really, we just wanted to present the best contemporary Arabic playwriting, and it just so happened that all of our selections were about those two themes."
Houssami said his studies of Levantine theater inspired him to create the festival. It is the first of its kind at Yale.
"If we don't present these plays at Yale, who will present them?" Houssami said.
The plays were warmly received, but some members of the audience, including Omar Christidis SOM '07, said they were unsure that actors raised in Western cultures would be able to identify with the women they portrayed.
No plans have been made for another Arab Theatre Festival next year.


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Here are my draft day predictions for tomorrow's first round. I'm hoping to see some other posters predictions.
1. QB's go picks 1, 2, and 3......In order, Darnold, Rosen, Mayfield.
2. 4 QB's are drafted in the top 10.
3. Dolphins FO sit tight at number 11 and let the player fall to them.
4. 6 QB's are drafted in the first round.
5. Buffalo trades into the top 10 picks after the QB run at picks 1, 2, and 3, and draft QB Josh Allen.
This is how I see it playing out tomorrow night. I would love to see some other predictions and we can see who guessed what correctly tomorrow night. Just for fun, why not throw it out there?
4) More guards are drafted in the first round than tackles for the first time since????
I predict the Commissioner will be booed.
HAHA... Pats aren't trading up. They lost waaaaay to much in the off season and have too many holes to fill. CB, OT, WR and LB. They have proven they can take a 2nd day guy and make him a HOF.
BTW... Bleacher Report just put up a story that Browns have narrowed #1 overall to Allen or Mayfield. Mayfield makes a ton of sense for the Browns from a leadership perspective. Losing Joe Thomas in that locker room you will need a new face of leadership and that is where Baker excels. He's a pretty damn good player as well.
My worry for the Dolphins is they "settle" at #11. Hoping one of the two LB's are there. If not, Maybe they can swing a trade and move back to late teens/early 20's and still get Evans/Vanderesch and pick up another Day 2 pick in the process.
I put absolutely no stock in any media reports right now. I will be shocked if the Browns draft anyone other than Darnold at #1.
Probably the most accurate prediction of all time, Nostradamas LOL!!!
3. More Cs will be drafted in the 1st round than WRs.
4. The best QB in the class, Josh Rosen, is picked by a non-AFC East team, much to my delight.
5. Fins will draft one of Fitzpatrick/Ward/James, as both Smith and Edmunds will go top 10.
6. Positional breakdown in top 10 will be 4 QBs, 1 RB, 1 OG, 1 DE, 2 LBs, and 1 DB.
Some awesome predictions so far. I'm digging it.
Everyone that hits on a prediction should come back and boast about it before round 2.
1. Cleveland picks Saquon #1 and take their pick of the 2 other QBs available at 4.
2. 6 QBs picked in the 1st round. Rudolph gets picked ahead of Jackson.
3. First WR goes at #19. Only two of them picked in 1st round.
4. Roquan Smith, Tremaine Edmunds, Rashaan Evans and Leighton Vander Esche all go before pick 15.
Breaking news!!! QB Josh Allen has just been outed for having tweeted racially offensive comments while he was in high school.......on the eve of the draft.
QB Josh Allen will be available at pick 11 and Dolphins trade down or draft him at 11.
3 out of 5 ain't bad!!!!
1. Correct players, but switch Mayfield/Darnold.
3. Incorrect. There were 2 of both.
5. Correct with the pick, but incorrect that Edmunds was off the board.
6. Incorrect, but only off by 1 guy. McGlinchey was swapped in for Edmunds.


text:
const config = require('config');
const nodemailer = require('nodemailer');
const path = require('path');
const fs = require('fs');
const templatePath = path.join(__dirname, 'emailTemplates');
const templateNames = fs.readdirSync(templatePath);

const templates = {};
templateNames.map(fileName => {
  templates[fileName] = fs.readFileSync(
    path.join(templatePath, fileName),
    'utf8'
  );
});

// create reusable transporter object using the default SMTP transport
let transporter = nodemailer.createTransport({
  service: 'Gmail',
  auth: {
    user: config.get('googleAuth.email'),
    pass: config.get('googleAuth.password')
  }
});

/* Replace all data in the template */
const renderTemplate = (template, data) => {
  for (let d in data) {
    template = template.replace(new RegExp(`{{${d}}}`, 'g'), data[d]);
  }

  // Fill in links to the proper url depending on environment
  template = template.replace(new RegExp(`{{url}}`, 'g'), config.get('url'));

  return template;
};

module.exports = (to, subject, template, data) => {
  if (!(template + '.html' in templates))
    throw new Error(`Email template '${template}' not found.`);

  // Render template
  const html = renderTemplate(templates[template + '.html'], data);

  transporter.sendMail(
    {
      from: `Kids Tales <${config.get('googleAuth.email')}>`,
      to,
      subject,
      html
    },
    (error, info) => {
      if (error) {
        console.log(error);
        return error;
      }
      console.log('Message %s sent: %s', info.messageId, info.response);
      return info;
    }
  );
};

redpajama_set_name: RedPajamaGithub


The Scrum methodology gets its name from the rugged sport of rugby. A rugby scrum involves a team collaborating to efficiently move the ball toward the goal. The Scrum environment applies similar principles to a development environment. Scrum gives a development team the skills they need to produce consistently good products in a specified time frame – regardless of external changes or new factors.
The Scrum method helps teams to manage product development from start to finish. A large or complex project is broken down into "sprints", and teams regularly touch base to review, reevaluate, and reprioritize.
Winnow Management is now offering a series of Scrum certification classes in Dallas, Texas, and professionals from all industries are invited to attend. Our Scrum certification classes cover the methodologies, techniques and values of a Scrum environment, and provide participants with the skills they need to hit the ground running with Scrum.
In our Scrum certification classes, we cover the basics of working with Scrum, as well as the roles of the ScrumMaster, Product Owner, and each member of the Scrum team. At the end of our Scrum certification course, participants will be fully prepared to take their Scrum exam.
If you're interested in participating in one of our Scrum certification classes in Dallas, Texas, please get in touch at info@winnowmanagement.com. You can also view the full listing of scheduled dates and venues on our events page.


text:
Jay Speaks With Will Poulter About The Revenant and Almost Playing Pennywise in IT
Posted on January 6, 2016 by Jay - indierevolver Standard
by: Jay Carlson: Editor-in-chief
I recently sat down with Will Poulter to discuss his time making Alejandro González Iñárritu's The Revenant alongside Leonardo DiCaprio and Tom Hardy. Most know Poulter from his comedic turn as Kenny in We're the Millers but make no mistake, there's much more to this actor than his boyish looks.
Poulter opens up and discusses his experience in making The Revenant as well as his brush with almost playing Pennywise in Cary Fukunaga's planned version of Stephen King's IT.
Below is a roundtable interview that took place on December third in Boston:
I saw your movie last night.
Will Poulter: What did you think?
It was brutal.
WP: It's an intense watch, for sure. The running time is like two hours thirty-seven (minutes). Did it feel that long?
It felt long in a good way.
WP: Right.
Some films are two and a half hours and they feel like they just fly by. This one, paced the way it was felt really good at that length.
WP: Great.
It fit the scale of the film and the story that we were watching.
WP: That's cool.
How did this part come to you?
WP: I read the script about five months prior to the shooting the movie, or at least the start of the rehersal. There was a lot of excitement around it for obvious reasons with Leo and Tom attached and Alejandro set to direct. As far as I know the script had been around for several years but hadn't been made because it was such a big undertaking and the task of making it was so difficult. Few people who were talented and crazy enough to attempt it. So it had been around for a while, but I didn't know that at the time that I'd read it. What I was struck by immediately was how emotionally engaging it was, just on the page. Even just from reading it I found the kind of intensity you were talking about. It was visceral on paper and I think there were no doubts in my mind that I wanted to be involved. I thought with someone like Alejandro involved and this cast, it could only get better from here. I certainly wanted to be involved so I sent in a tape. My tape was ok, I wasn't necessarily that happy with it but I was lucky enough to get a meeting with Alejandro in London. We kind of just met up for a chat and I was struck by how intelligent, compassionate and interesting a man that he is. I immediately wanted to work with him. When I was offered the role a few days later, I couldn't believe it. I was, of course, very excited and couldn't wait to get started.
What was it like filming in such remote, inhospitable places?
WP: I think we were actually lucky to shoot it in such a way, in such inhospitable conditions, because it reduced the acting challenge in a way. There was less to act because on most occasions we really are cold, we really are tired, the terrain really is tough, all that gear really is heavy. All of that helped us, I think, with the performance side of things. It was also really cool to have the environment be so natural and not fabricated. I didn't have to interact with any CGI ever. I'm trying to think… Other than pointing out that there were cubs, post bear attack I didn't interact with any CGI whatsoever. That's a really rare opportunity, I think, these days. It was like being a part of a filmmaking process of a bygone era. The film stylings of old where you shoot in all one location with all natural light and all real weather elements. I think that was totally necessary because I don't think you have the intense experience we're talking about if we'd been in a studio with a green screen and a wind blower. It just wouldn't have been the same.
You mentioned shooting with natural light what is that process like compared to shooting with lights? Was there more time between shots? How was the time passed?
WP: It really does redefine the filmmaking process for everyone. Rather than using electricity to light each individual frame and separate and compartmentalize a scene as these different moments which you could provide attention to and do over and over again and make adjustments, we were operating in a small window of time when we would actually be shooting so it meant rehearsing all day long up until this point where we perform, almost like a live piece of theater. Every single movement from what way you're standing in the scene to the angle of your head turn, the timing of you picking up a prop, the intonation of your voice while saying a certain line… Every single thing has to be meticulously planned because there was no, "We'll get that from another angle" or "We're going to cut that together with another bit" or "We can adjust the light so you can stand there." The light was the sun or the moon. So there was no adjusting that. WE had to adjust to nature in that respect. And shooting on a 14 millimeter lens, which we were shooting on most of the time, is so unforgiving. It just sees so much. You had to allow the camera to become part of your process you had to make the camera an extension of you and everything you did had to coordinate and sync up with what the camera was doing. That can make you very conscientious and can remove you from the emotional parameters of the scene. It can have you feeling like you're on the outside of the main objective. So it was about carefully choreographing everything and making sure you had all the physical and technical elements down and then sort of trying to forget that the camera was there and slightly working backwards in a way for the sake of being emotionally engaged in the scene. It was a very, very interesting challenge, the hardest thing about shooting this film, I think.
Did you guys shoot the film chronologically?
WP: For the most part, yes. While the weather participated with us, yes. And then the weather started to play a few tricks and it became harder to do that. Yes, for the most part we did.
Do you think you'd want to act in other movies where you're in these remote locations? Did you enjoy doing that or was it just really hard?
WP: No, I did. I did. I found it a really great experience. Don't get me wrong, after eight months it's tough and it takes its toll. But I did, for the simple reason that it makes the process easier in a way. From an acting perspective, as much as the approach is difficult initially, at least from an emotional perspective… it feels real and there's less to invent. It's such a great opportunity, it's a treat to be able to work in those kind of real environments. At times when the camera was wider, you're in these huge, expansive areas of wilderness and you can't even see the camera, but you're just free to act. That's awesome. That's so cool. For as many times as it (the camera) was this close, it was miles away. It was great.
Was there any kind of preparation for you guys before you went out there?
WP: There was some kind of initial weight loss stuff and that kind of developed throughout filming. Me and Tom (Hardy) in particular, because of the length we were out there, we had to lose quite a lot of weight. There was some boot camping and trapper camp where they familiarized us with weapons and some of the tools we would use as basic survival. That was fun. Really the best preparation was in the rehearsals we did with the camera, which came months before we started shooting.
Did the way that the film was shot add more pressure to the actors? Because, using natural lighting you might have to shoot at a certain time of day and if people kept messing up their lines or their timing you might have to wait until another day for the lighting to be right again.
WP: Yeah, absolutely. Yeah, it did add a certain amount of pressure. I think we did come up against a couple of scenarios where we had such a limited window of time. You're on take two or three and you've probably only got one or two more and if we don't get it we're coming back tomorrow or shit, we're coming back on Monday after the weekend. Those pressures were there. For the most part, I think there was only one day that we had to come back and finish something off. Maybe that's me being really forgetful. There's one really big scene that sticks out for that reason. But it did add a certain amount of pressure, but it gave us a focus. It gave us a kind of fuel and a target to aim at. Even if the target was small.
Did Alejandro win his Oscar for Birdman while you guys were shooting?
WP: Yes.
What was that like when he got back on set?
WP: It didn't change anything. It didn't change anything in him. Or at least publicly or in anything that he expressed. It really just meant a long weekend for us and that was pretty much it. He came back to work an Oscar winner, but we already knew how talented he was and how great Birdman was. It was really great to see him achieve and get what he deserved. He was still entirely focused in The Revenant. Alejandro has worked SO hard over the last few years between Birdman and this, and the two overlapping. The promotion for that film and shooting this and now the promotion of this and I don't know but he's probably got his next project being penned away as well. So he's a force of nature. Pun intednded.
How did working with Alejandro differ with your past experiences with other directors?
WP: I suppose, aside from his unique way of shooting and new technical challenges that came from working with Alejandro… I learned something quite valuable from him. He taught me to accept what feels instinctively natural a little more than I did. I guess I'm quite instinctive as an actor, I rely on instinct more than anything else. I'd vomit out all these thoughts I had and he would tell me to relax and accept them all. Bridger at times had a lot going on emotionally and a lot of psychological complexes developing. There's so much going on but Alejandro kind of taught me to just accept that and play that confusion, play that turmoil and not overanalyze.
Did you do any historical research of the time period to prepare for it? We forget how brutal and dirty and violent that time period was.
WP: Yeah, we did. We were lucky we had some great historical experts and advisors on set who really knew their stuff from that period and what it was to be a trapper. Obviously to work with them was great. It was nice to return to an old-school form of research, like rather than watching YouTube and listening to recordings, it was like reading books and having conversations. The research was fairly old-school. That was cool, it was refreshing.
What was it like portraying a story and character that was inspired by true events? How much research did you do for this story and the character you played?
WP: I think it's an interesting challenge when what you're portraying is rooted in fact and you are representing real guys. You want to do justice to the story. But I also had huge faith in (screenwriter) Mark Smith's adaptation and what Alejandro had done with the script in conjunction with that. I think they really elevated what's in the book, with all due respect. They created a very, very interesting story from that. I think you have to trust the adaptation to an extent. I read the book after the shooting of the film and I'm glad I did because occasionally when you have two sources like that and they have things that conflict, you can confuse yourself. Even subconsciously you can begin to develop a level of uncertainty about who your character is. For example, in the book one of the last things Bridger does when he leaves Glass is that he takes his knife. So in the book, Bridger's last act towards Glass is to take his last form of protection away. In the film, the last thing that Bridger does is give him his canteen or water which is a symbol of life. It couldn't be more of a paradox. That, to me, really does epitomize how different Bridger's relationship with Glass is in the book to how it is in the film. In the film Bridger is kind of an understudy/unofficial son. At least in Bridger's eyes, Glass is sort of a father figure and a role model. I wouldn't want to change that. I'm glad that's the way the script directed that dynamic.
You seem to be making an effort to choose different kinds of roles, which is interesting to see someone going moving so easily between comedy and drama.
WP: Cool, thanks.
What is that like for you, moving from one type of role to a very different one that requires a different discipline?
WP: I think… Thank you, I appreciate that. I guess that's why I do it. Because I hope it's interesting to people. I assume it gets kind of boring or not as interesting to see someone play it close to home all the time, meaning to not stretch themselves or not choose roles that make you less recognizable from the previous role. Personally, that's what keeps the challenge interesting to me. I hope it's what challenges audiences and keeps them engaged. Role to role I don't care whether it's comedy, drama, gigantic film, tiny film, so long as the scripts are the same quality and it's believable and I can contribute to that performance then I'm down.
How big a disappointment was it to have Cary Fukunaga's IT fall apart?
WP: Huge, man. It's a huge disappointment. I was very excited to work with Cary and work with New Line again.
A lot of people, myself included, were excited to see that and to see what you'd do with the role of Pennywise.
WP: Yeah. Yeah. And I actually really have a lot of respect for Cary and New Line taking a (chance) on me, because I don't think I was the obvious choice and I think it was kind of brave of them to cast someone young in that role. Apart from the fact I have size 13 feet, I was probably not the obvious choice. Who knows what's going to happen with that, but I just hope I get to work with Cary, and New Line again. Whether it's in the form of Pennywise, I'm not sure.
How daunting was the prospect of taking on a role that another actor made iconic? People automatically have Tim Curry's portrayal in their minds because of how good he was in the role.
WP: Big shoes to fill. Yeah. I suppose it is daunting. I hadn't thought about it like that initially. Obviously when someone makes a character so much their own, you're quite nervous. Also when it comes to playing evil clowns Jack Nicholson did a pretty good job. Heath Ledger did the best job anyone has ever done playing a villain. I know Jared Leto plays the Joker in Suicide Squad. So all of that added a sense of pressure. I would still like to do it, I just feel like that since Cary is no longer involved it's just a different project at this stage.
I would have loved to see what you would have done with the role.
WP: Thank you, man. Thank you. I would have loved to have done it.
Thanks for the time.
The Revenant is open in select cities and will open wide on Friday 1/8.
This entry was posted in Film, Interview and tagged Alejandro G. Iñárritu, Alejandro González Iñárritu, The Revenant, Will Poulter. Bookmark the permalink.
Quentin Tarantino Wants to Make a Really Scary Movie
Christina Hendricks to Meet Billy Bob Thornton Under the Mistletoe for Bad Santa 2


We all know that cheese and wine have a lot in common. Many Manchego producers are also dedicated winemakers, and most wine aficionados are keen cheese lovers too. The two passions go often hand in hand!
It's no surprise then to see that cheese tasting resembles wine tasting so much.
According to Pedro Condés, Communication's Director at the Manchego Cheese PDO Council, a good cheese tasting should be conducted in three steps: "we normally commence by tasting the milk type, then look at the rind and texture, to finally appreciate the full flavor of the cheese". If you think about wine, that would be identifying the varietal (milk), looking at the wine body (rind and texture), sniffing and savoring (flavors). Very similar, isn't it?
So, let's start by tasting the milk type. If with wine all begins with the varietal, in the case of dairy, there wouldn't be any cheese without the milk.
Manchego is made with sheep's milk. Furthermore, true Manchego cheese is made only from whole milk of the Manchega sheep raised in the La Mancha region. This is one of the reasons that make it so special.
The Manchega sheep's milk is recognizable in the nutty, sweet and tangy notes of the cheese. As it's impossible to buy Machega sheep's milk in the US, Manchego cheese is your only chance to enjoy this particular taste.
So, do you have a piece of Manchego at hand? Take a bite, now close your eyes and savor it. Can you taste the Manchega sheep's milk?


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modern millie | Oui Blog
Teen's destiny is interior design in the theatre
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Angelica Maria McKenzie, 19, has just started her sophomore year at the NJIT. Angelica is continuing her excellence in academics with honors and as an award winning theatre set designer, she has great dreams with regards to the Great White Way. Angelica, who performed recently in NJIT's Thoroughly Modern Millie production during her spring semester, said that the she loved theatre, singing and music. She added that she was blown away by the set's design, which had revolving doors and amazing light. The Theatre Department also impressed her and she feels confident that she in the right place for growing her interests and to learn the skills in interior design.
Angelica said she had not yet received any technical training, and she felt like interior design and acquiring a Masters in Architecture was a way for maneuvering herself in the field of theatre where she would get a secure job. She added that she wanted to create big sets that would move and ones that would win awards. Angelica has seen a continuation of the family history: her mother, whose name is also Angelica, was involved music and the theatre and her sister, crystal, was also a Jersey City School District's VPA student. Angelica's smartness in the arts is thus a tradition in the family.
For her success, Angelica could rely on the positive encouragement of her mother. She said that parents have to support their teens through encouragement adding that they need to tell them that they can succeed. Angelica also said that being a teenager, she knows that she can help the community by making a difference. She added that regardless of how young she was, she is still capable of having a huge impact on other people.
One of the ways that Angelica lives the constant principles of service is in her responsibility as a counselor of Honor's Camp. Angelica says that honors students run the camps for the inbound freshman students in order to orient them to NJIT and the places where they can interact with the other students. She also adds that in addition to helping them to transition into the college, they also become friends with the new students, who can call them anytime for help in case they have a problem.
To her surprise, Angelica has discovered that college is much more like in High School. She said that the teachers actually care about the students and they want one to do well, just like in high school. She however cautions that in college, it is the students who must have the desire to excel otherwise success will elude them. Angelica also said that the only way you can accomplish or feel happy with one's self is at the only time you are doing your best. She adds that if one is just skating by, at no time will you be contented with one's self. She encouraged others to prove to themselves that they can make it, adding that the inspiration must come from within one's self.
Angelica is a positive testimonial about the impact of doing the best one can.


We just made it through our last series, "The Beatitudes", and now we are beginning an extension of that series, called "The Sermon". This particular series will helps us to journey back in time to the base of a mount, as we await the Rabbi יְהוֹשׁוּעַ (Yeh-ho-shoo'-ah) to rise and teach to us the word of God. Many of the people gathered around us are more than likely awaiting some sort of proclamation of kingship. Many were hoping that this יְהוֹשׁוּעַ, also known as Jesus, would proclaim himself to be the Messiah, the one sent from God to rule Israel and defeat and destroy all of Israel's enemies.
We, on the other hand, have hindsight as an advantage over and against those surrounding us. We know that, indeed, Jesus does proclaim to be the Messiah; however, Jesus was not proclaiming to be king of any ordinary, worldly kingdom, but the very Kingdom of God. We have this hindsight, because we are time travelers and we know the outcome of this sermon and, indeed, of Jesus' life. Yet, this hindsight, as we have gained from Sunday School, Church and/or the Bible, can also work as a hindrance to us in understanding the fullness of what Jesus was ACTUALLY teaching. Thus, we will take many weeks to journey back to the foot of the mount so that we can listen to our Lord's sermon within the context it was preached.
To introduce this series, let us look back to and recap our previous series on the Beatitudes. As the crowds were gathering around him, Jesus climbed up on the mountainside and sat down. As his disciples sat around him, he began to teach them what we have now come to know as the Beatitudes. What's more, he began what has gone down as the greatest, and most well-known, sermon of all times.
If you remember, Jesus taugh that the poor in spirit were blessed for the possessed the Kingdom of Heaven. While the impoverised are certainly among those who are "the blessed", Jesus is also referring to those who do not arrogantly think they are above God's blessing, as well as those who are not "needy" in the sense that everything is about them and what they need (aka the selfish). The New Living Translation puts it best by paraphrasing Jesus in this way, "Blessed are those who are poor and realize their need for God." Such people are the true people of God.
Jesus taught that those who mourn shall be comforted and that those who are humble shall inherit the whole earth. By "mourning", Jesus is referring to those who are lamenting over the world and it's current state. They shall be comforted on that day when God finally recreates the earth to be a place where God's justice, love, and peace reign supreme. Those who are humble (or meek), will be exalted and blessed. Those who are proud, arrogant, and selfish will be humbled.
Those who hunger, not only for food but for justice, will be satisfied on that day "when Christ comes in final victory and we feast at his heavenly banquet" (The United Methodist Hymnal, pg. 14). Those who are merciful will be shown mercy by God. Those who are pure in heart, meaning those whose heart is solely devoted to God and God's reign of peace, love, equality and justice, are the ones who see God. Those who work for peace are the children of God. Finally, those who are persecuted for doing what's right are blessed and in possession of the Kingdom of God. In fact, they should be filled with joy and where persecution like a badge of honor, because people have been persecuted for doing what's right throughout the ages.
This, I am sure, is not what many in the crowd were hoping to hear. They were probably wanting to hear Jesus call out the Romans for oppressing Israel. They were probably wanting Jesus to call out the Temple and its leadership, for the corruption that had become of God's holy house in Israel. They were probably hoping Jesus would call down God's heavenly army down on the opponents of Israel for the wicked evil they had perpetuated throughout the world, especially against God's people Israel.
Lord, humble me and prepare me for the things you have to teach me. Amen.
Part 6: Blind. Have you ever wondered what it must be like to not be able to see with your eyes? We rely on our eye sight so much. We rely on our eyes to show us the world around us, to spot danger, to view obstacles as we move from place to place. We utilize our eyes to enjoy the beauty of nature, to gaze at the beauty of the ones we love, to read the words of philosophers, novelists, poets and other authors. We use our eyes for just about every part of our lives. It is very hard, indeed, to imagine what life without our eyes must be like.
Yet, I think that, for those of us with our eyesight intact, we take that sense for granted. What's more, when we try to imagine our world without our eyes, we are totally inept at doing so. Even more than that, we often perceive that persons without their eye sight, or those who are lacking any of the senses we come to rely on, are in a worse place than we are. We view their lot in life as being one of hardship and burden, and we often thank God for keeping us from having such a lot. Yet, is that truly so when we look at our lives from God's perspective? Is our lot better? Are we truly able to see better than the blind?
Helen Keller was blind. She could not see and, what's more, she could not hear either; however, it was in her blindness and deafness that she came up with an entire school for the blind and deaf. In doing so, she enabled countless children like herself a chance at higher quality of life than her surrounding world, and the "able-bodied" people who pittied them, would ever afford them to have. I think also to Ludwig Van Beethoven who had progressive hearing loss and eventually ended up deaf. Yet, in his utter deafness, this maestro composed perhaps the greatest and most well-known symphony of all time, which was his 9th Symphony and most known for it's final movement, "An Ode to Joy". The man who was pittied for his deafness, gave the world something it would love to hear centuries following his death.
The truth is, we who have our sense often fail to use them. We may be able to physically see, we may be able to physically hear, yet we find ourselves deaf and blind to the direction God is calling us in. Perhaps we are the blind or, if not us, perhaps there are those around us who are unable to see the presence of God in their lives. Perhaps there are people we know (ourselves included) who can not see the vision of the Kingdom that God is laying before us. Wherever the blindness is, whether it be pyhsical, emotional, psychological, or spiritual, Christ's manifesto lays out the fact that our purpose is to eliminate blindness and to help restore sight to the blind.
This is no easy task, for sure. It is one that takes hope and faith. Do you have such faith? Do you believe that Christ came to restore sight to the blind? Do you believe that Christ has restored your sight to you? Do you believe that Christ has given you the power and the authority over the powers that take sight away from people? Do you believe that you are called to help make a difference in this world by giving sight back to a world that has gone blind by its hatred and its sinfulness? If so, then what are you waiting for? In the name of Jesus, carry on the restoration that Christ started all of those years ago.
Lord, open my eyes that I may see and believe that you have come to give sight to those blind to your Kingdom. Amen.
What does it mean to elite? The word, no doubt, has many different meanings for each of us. As a football fan, I think of elite in terms of superior skill and athleticism. I remember when NY Giants quarterback Eli Manning was being asked if he thought he were an "elite" quarterback. In that sense, the question was asking him if he thought his skills were at a level that was above most quarterbacks in the league. But being elite does not just refer to success; rather, it also means being among the extremely privileged. It means being a part of a select group of people who are superior in ability and/or qualities, such as success, status, skill, wealth, and other such things.
There is nothing wrong with being elite in the most basic sense of the word. There is nothing wrong with being the best at something, or being the most skilled, or giving the best performance, etc. There is nothing wrong with being gifted in a way that sets one apart from others; however, what tends to happen is that such "elite" people tend to get treated better than others because they are viewed as being elite. What's more, a system gets put in place by the elite in order for them to maintain the status they feel entitled to. Because the elite see themselves as being superior in one way or the other from those who are not considered elite, the elite begin to see themselves superior in all respects and they do whatever it takes to keep their status and their privilege in place.
It is in this system of power and status that we find the rise of elitism. When I went to India in 2010, there was plenty of elitism to see. Flying in to the airport in Bangalore, it was hard at first to even see the difference between that and Liberty International Airport. Bangalore is practically the tech capital of the world and some of the wealthiest people in India live there. Yet, stepping foot out of that airport and into the city streets, one could see the vast disparity between the haves and the have-nots. In fact, the further away from the cities one got in India, the more clear that disparity became. It would be easy for me to merely bring up India, and the still prevalent caste system, as an example; however, that would only serve to make us think that we are off of the proverbial hook, when in reality we are not.
Elitism exists in our Western society as well. It exists in our government, in Hollywood, in media, and in businesses. It exists in our educational system, where the elite in our society go to the best private schools, the semi-elite go to the better public schools, and the rest go to what's left over. It exists in our medical system, in our hospitals, in our doctor's offices, in our retirement communities, and other places. Those who have the money get the best and most quality care, while everyone else is relegated to clinics and/or whatever the government might provide. It exists in our towns and communities, where people in need are often told to "go elsewhere" so that those who have plenty can feel comfortable living in their communities and shopping at their local stores.
As the New Year commences, I want to challenge everyone who reads this devotional to reflect on the elitism that we are apart of and/or the elitism we have fallen victim to. Are we operating our lives, schools, businesses, health care facilities, communities, and governments in a way that is modeled on the "Economy of Heaven", as seen in our suggested Scripture readings today, or are we modeled after the "Economy of this World." I am not challening us in order to lay blame, point the finger, or stir the pot. I am writing this because I have been asking myself this question and know that God is calling us all to. The challenge for us is to assess how we, as children of God, can better live into God's call to usher in Heaven on Earth. What can we do to help God's vision of a new heaven and a new earth (Revelation 21:1-7) become a reality? How do we join God in making all things new again? Perhaps, like me, you have been wondering this too? Regardless, I hope that you accept the challenge and start working toward the personal and communal changes needed to make that happen.
Lord, help me to honestly assess myself so that I may make the changes necessary in order to live up to your Word of justice, mercy, compassion and equality. Holy God, may your Kingdom come and your will be done on earth as it is in heaven. Amen.
WORKS OF THE FLESH: Anger. There is a misconception among many Christians, and certainly the world, that Christians are supposed to be happy 100% of the time. Christians are supposed to smile, to laugh, to be filled with joy, to never be depressed, and to float around from place to place with their feet barely touching the ground. We are supposed to be reverent, saintly, quiet, and we (so far as I can tell from all of the paintings) evidently all wear golden rings around our heads that reflect sun-like rays outward for all to see.
The one thing that is for sure, so the myth goes, is that a Christian is NEVER, EVER angry. Christians who show any sort of emotion outside of that the beaming joy that is supposed to emanate from our faces, are evidently not good Christians. After all who has ever heard of an angry Christian? What kind of witness would an angry Christian be to the world? Isn't it true that Christians aren't supposed to display any sort of anger? The answer is, of course, no. Of course Christians can, do, and sometimes should get angry! When a Christian witnesses or experiences injustice, for instance, is a time when that Christian is and/or should be filled with righteous anger.
What Paul is talking about here is not righteous anger. Paul is not talking about seeing someone abused, or hurt, or disenfranchised, or rejected, or alone, or starving, or being killed in gang violence or in war, and being filled with anger at a world that continually oppresses and hurts people; rather, Paul is talking about anger that rises up out of selfishness, jealousy, bitterness, dissention, division, and hatred. When a Christian is angry at another person, another one of God's Creation, because he or she did not get what they wanted, or they don't like the way the other person carries themselves, or because the other person has something that they wish they had, or for any other frivolous and selfish reason, that sort of anger is not a fruit of the Spirit, but is most definitely a work of the flesh.
Christ is calling us to lay our unfettered, selfish anger aside. What good can anger do for you or for the church? How can your being angry with someone, to the point where you cannot even forgive them, ever bring glory to God? How can you be a whole person if your anger is constantly driving a wedge between your neighbor and you. When that happens, what is really happening is that your anger is driving a wedge between you and God. Remember that the commandment that fulfills all the law, according to Jesus and to Paul, is that you shall love your neighbor as yourself. If you are too angry to LOVE, how can you ever accept the LOVE God has for you? If you are too angry to LOVE, how can you ever find room LIVE into the fullness of life that God has to offer you? Be rid yourself of such unnecessary, unjustifiable anger. Let it go and let God begin to transform you from someone consumed by anger to someone who knows what it means to LOVE and BE LOVED.
Lord, quell the anger within me and allow me to be filled with your eternal love and joy. Amen.
Happy New Year everyone! Today is New Year's Eve and we are less than a day away (depending on where in the world you are) from the ball dropping and the partying stopping. Out with the old, in with the new. People will, no doubt, lament about how terrible this past year was and they will, no doubt, being cheering on the advent of 2015 with high hopes and expectations. Of course, they will do the same next year just like the did the same last year. Well, rather than raising a toast to triviality, I thought it would be good to look at Pope Francis' third of fifteen ailments of his curio. As I have stated, I think it is a prudent exercise to expand the ailments to the universal church, which I have taken the liberty of doing.
Ailment # 3: Becoming Spiritually and Mentally Hardened. The church is called to be the body of Christ. It is called to be the representatives of Christ and Christ's mission in the world. One of the key words that most, if not all, people would use to describe Jesus Christ, is compassion. In the Christian Scriptures, it refers to Jesus "having compassion" on people at least eight times depending on the translation (Matt. 9:36; 14:14; 15:32; 20:34; Mark 6:34; 8:2; Luke 7:13; 15:20 NRSV). With that said, there is evidence of Jesus' compassion even beyond the use of the word compassion. Jesus wept for his beloved Jerusalem (Matthew 23:37; Luke 19:41) and he also wept at the loss of his friend Lazarus and had compassion on Lazarus' sisters, friends and family (John 11:35). He had compassion on the sick, the dying, the demon possessed, the sinners, the differently abled, and even on those who opposed him. Yes, Jesus was compassionate.
With that said and out there, why does Christ's church fail to live into the compassion of their Lord? If we are the body of Christ, why aren't we filled with the compassion of Christ? Too many times I have witnessed, and sadly been a part of, an incompassionate church. The infighting, the politics, the gossip, the judgmentalism and the slander within churches bear witness to a corrupt and lost organization rather than a living and life-giving organism. Are we the body of Christ, or are we organized Christianity? Are we organic, able to adapt with change and circumstance. Able to feel emotion and be moved with compassion, or are we organizational and bound by unbending rules and regulations?
The church as a whole has become too much like the world. We have grown numb and have lost our ability to feel. We look at the poor with disdain. We look at "criminals" with eyes of judgment. We separate ourselves from "sinners" and treat them as unworthy of God's grace. We look at each other with contempt as we compete to be the best and the biggest and the most loved and the most followed. We position ourselves in ways that falsely elevate us to the right and left hand side of God, all the while turning a cold shoulder and a blind eye to the "least of these" our brothers and sisters.
Today's challenge is for us to regain our compassion. You are not great, you are not good, you are not more special than anyone else. In fact, apart from God, you are nothing. Each week, we Christians praise God for being our savior and for having compassion on us sinners. If we are to truly be grateful for God having compassion on us, should we not have compassion on others? Christ is calling us to warm up, to have heart, and to weep for those who are in need. In fact, don't just weep…but turn your tears into positive and constructive action. Pray for the church, yourself included, that we may begin to heal from this aliment of being Spiritually and Mentally hardened.
Lord, fill me with your love so that I may be moved to be a person of compassion. Amen.
I have been a life-long fan of the classic horror films. Lon Chaney, Sr.'s "The Phantom of the Opera," F.W. Murnau's "Faust", Lon Chaney, Jr.'s "The Wolfman", Henry Hull's "The Werewolf of London", Bela Legosi's "Dracula", Boris Karloff's "Frankenstein" and "The Mummy". My all-time favorite horror film from the Silent Film era, is F.W. Murnau's "Nosferatu: eine Symphonie des Grauens" (translated as "Nosferatu: A Symphony of Horror). The film is a German Expressionist film about a vampire coming to Germany to prey on its citizens and it was loosely based on Bram Stoker's "Dracula".
What makes me love this film is its use of lighting and shadow to pull off eerie special effects, the makeup work that was done to Max Schreck who plays the infamous "Count Orlok", as well as Schreck's amazing character acting. When watching the film, it is impossible to see Schreck's Orlok as a "human being." His rat-like features, pointy ears, sunken eyes, long tallon-like fingers, gaunt and lanky stature, and pale skin really make this character appear to be the monster that he is. Looking at him would make anyone's skin crawl. Murnau created a film that is timeless and never feels dated, even though it is in black & white and has no audio aside from the music that has been added to it.
Back in 2011, I embarked on a project to rescore "Nosferatu." There have been many attempts to rescore it, each trying to "update" the music in a way that makes it feel fresh and new; however, I have found every attempt (for the most part) to fall short of the film. None of the soundtracks seemed, in my opinion, to do justice to this film. So I figured I would rescore it, not trying to "update" the score with bells and whistles but, rather, trying to keep it simple and foreboding. I wanted a score that would give one the sense that evil was coming, and the urgency to rid the world of it.
As with all "great" ideas, it sounded much easier than it turned out to be. It is now July of 2014, and I have yet to finish the score. Life came in the way and I became preoccupied in other things. Inevitably, I let the rescoring of "Nosferatu" take a back seat to the "busy-ness" of life. Just recently, I decided to pick the project back up and to work on it whenever I have to the chance too. The more I work on it, the closer I get to completing it, the more and more fulfilled I feel. To be honest, whenever I start something without completing it, I feel incomplete.
While I have been using a "hobby" of mine as an illustration, how much more true is it that we feel incomplete when we don't finish what Christ has called us, the church, to do. We are all called to be agents of God's Kingdom of Heaven, of God's hope, healing and wholeness, and we are all called to do different tasks in order to continue to usher in that Kingdom, on earth as it is in heaven. Yet, often times we get "burned out", or the "busy-ness" of life gets in our way and we begin to fall away from the task that we've all been called to.
In the process, we find ourselves feeling incomplete. We often find ourselves lost, literally, in things that fill our time, but not our souls. Christ is calling us to reprioritize and to recommit our lives to the purpose that God has laid out for us. Let us not be a people that only starts projects, but never sees them through to completion; rather, let us be a people that completes that task at hand. Let us keep fighting the good fight and continuing on in the race. Let us remove the distractions of purposeless "busy-ness" and remember what it is that we've been called to do. Once we are realigned with our purpose, we shall feel fulfilled!
Lord, remind me of my purpose and spark a passion in me to see it through to completion. Amen.


text:
Surveillance technology seen worsening U.S. eviction crisis
Updated on: 28 September 2021
Increased use of surveillance technologies by landlords across the United States could worsen a looming eviction crisis amid the coronavirus pandemic, researchers and renters warned on Monday.
Speaking on a webinar, tenants and tech experts detailed the use of cameras, facial-recognition scanners and license plate readers, which they said were routinely deployed without residents' consent or any explanation as to how their data is used.
Few laws govern the use of these systems, mandate disclosure of their deployment or offer tenants much legal recourse, said Erin McElroy, a postdoctoral researcher at New York University's AI Now Institute.
"We've seen these companies really take advantage of COVID to roll out these technologies," she told the Thomson Reuters Foundation, noting that a federal eviction ban in the context of the pandemic is set to expire at the end of the month.
"There's a lot of fear that over the next year, as moratoriums end and tenants experience new forms of rent debt, that (technology companies) will continue to exploit the situation to abet processes of eviction," she added.
Some facial-recognition systems for example can help catch tenants who are in violation on rent payments, said McElroy, who co-founded the Anti-Eviction Mapping Project.
Other tools allow for the automation of eviction notices, she added, making it harder for tenants to negotiate with landlords in case of hardship.
The National Multifamily Housing Council and the National Apartment Association, both of which represent large landlords, declined to comment.
Some residential surveillance systems are extending into the public.
Renter Terilyn Chen of Hercules, northern California, said that over the past year she has seen a proliferation of Flock Safety license plate readers using artificial intelligence deployed by homeowner associations in her town.
The decision was made during a closed meeting, and residents were told only four months after the cameras were deployed, Chen told the webinar organised by the Anti-Eviction Mapping Project, AI Now Institute and grassrots group People Power Media.
"This is a huge violation of privacy," Chen said. "At a time when eviction moratoriums are coming to an end, there is legitimate concern to worry about how neighbourhood surveillance like this could be used to monitor organizing efforts."
Flock Safety said that it works with law enforcement as a way to cut down on property crimes and that its systems capture only "objective evidence" of license plates and vehicle characteristics.
"We understand the concerns with technology capturing this type of public information, and we built the technology to protect people and equitably promote public safety," spokesman Joshua Miller said in emailed comments.
(Reporting by Carey L. Biron @clbtea, Editing by Zoe Tabary. The Thomson Reuters Foundation)


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