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Graduated students reminisce about favorite Westwood food spots
By Alyssa Dorn
Arts, Lifestyle
Stan's Corner Doughnut Shop has been a Westwood staple for over 50 years. Fourth-year communication studies student Lexi Mossler continued her family's tradition of going to Stan's for late-night doughnuts. (Alyssa Dorn/Daily Bruin staff)
Seniors are moving on to the next stage of their lives, which in many cases, means moving away from Westwood and its variety of dining choices. Here are some of the top Westwood restaurants graduated students will miss once they leave the area.
Stan's Donuts
Location: 10948 Weyburn Avenue
Stan's Donuts has been in Westwood for over 50 years and in 2001, Forbes featured it on their list of America's Best as America's best doughnuts. For some UCLA students, however, eating Stan's is more than a delicious snack; it is a tradition with a rich history. For Lexi Mossler, that tradition spans generations.
The 2017 alumna's father and uncle grew up near Westwood and often rode their bikes to Stan's for doughnuts, especially late at night when Stan's sold large bags of doughnuts at a discounted price. In college, Mossler was able to walk to Stan's and continue the family tradition.
"The history of it's so cool and so rich, and is really the epitome of Westwood," she said. "I think it's just really amazing to hear those stories and be able to connect that to my time here. Also the chocolate peanut butter doughnut is amazing – you can't go wrong!"
Enzo's Pizzeria
Enzo's Pizzeria is a popular late-night dinner spot for students, and it is also the restaurant Danny Chamaa will miss the most once he graduates. While many students order pizza from Enzo's for delivery, the 2017 alumnus said he enjoyed dining in the pizzeria because of its atmosphere.
"It's nice sitting down there," he said. "It's kind of enclosed from Westwood so it's a little break from reality."
Chamaa will miss the cheesy balls the most, especially at their discounted 3 a.m. prices. He added that while Enzo's is a little pricier than other Westwood pizza spots, the cheesy balls still place it above 800 Degrees Pizza as his favorite pizza spot.
Enzo's Pizzeria is fourth-year neuroscience student Danny Chamaa's favorite pizza spot in Westwood. (Alyssa Dorn/Daily Bruin staff)
Koala T Café
Koala T Café was Candy Iniguez's introduction to boba. The 2017 alumna grew up in Orange County, where she said there aren't many boba places. When she came to UCLA, she went to Koala T to try something new, and now it's one of her favorite Westwood restaurants despite almost injuring herself the first time she tried the drink.
"The first time I had it, I'd never tried the boba ever in my life, so I almost choked on one of the little bobas," she said.
Koala T Café serves boba drinks and an assortment of snacks. Fourth-year psychology student Candy Iniguez nearly choked on the boba the first time she tried it. (Alyssa Dorn/Daily Bruin staff)
Barney's Beanery
Location: 1037 Broxton Avenue
Barney's Beanery is a traditional Westwood eatery, said 2017 alumnus student Franc Escobedo. He said he goes to the restaurant with his friends to hang out in the relaxed atmosphere. Last week, he and his friends went to Barney's after their club's formal and listened to karaoke for hours.
"We were just there hanging out, listening to everyone doing karaoke and it was a really good time," he said. "It's very iconic to Westwood. It's always there for you, you know?"
Escobedo said he enjoys the karaoke nights and, while he's never been to a trivia night, would like to experience it before graduating.
Fourth-year global studies student Franc Escobedo ended up at Barney's Beanery after attending a formal and listened to karaoke for hours. (Alyssa Dorn/Daily Bruin staff)
Alyssa Dorn


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Academy Eases Covid Rules, As All Cheer
The Authors Nozo Nemoto and Emily Brenden, Staff Writers
Cue the trumpets: Ta-DUM! Covid restrictions at Exeter Summer have been lifted!
Partially.
But what a difference!
Consider where we began.
On July 5th, as Phillips Exeter Academy's Summer Session of 2021 began, the atmosphere was electric with excitement. Covid-19 had ravaged the United States and stalked its way to nations the world over. Students around the globe were made to follow varying degrees of restrictions, and the promise of an actual in-person Summer Session was enticing for students and employees.
Last year, Exeter Summer was restricted to fully online, unable to risk navigating an in-person summer during a pandemic peak. This year, during the first week of the Summer Session, Phillips Exeter Academy was asking all students, employees, and campus residents to keep their masks on when they were on campus unless they were exercising, drinking, eating, were alone or were in their dorm rooms. Also, students and employees had to eat food either outside or in their dorms.
Fortunately, the first week of Covid tests all came back negative, and Phillips Exeter Academy is now permitting students to go off campus, eat inside the dining hall, and take off their masks outside.
Rafaela Pires from Rio de Janeiro, Brazil, said "I'm so excited to eat food inside the dining hall."
Mackenzie Tuttle from Las Vegas, Nevada, was also happy about this new protocol. "All the tables in the dining hall were taken today when I went to lunch," she said.
On the other hand, everyone still must follow the regulations since we are still in the pandemic. Students must also keep a 6-foot distance from others as much as possible. Those who are not fully vaccinated must be tested twice a week, and if a student gets a positive result on their test, he or she must leave the campus within 48 hours.
Furthermore, the number of students on campus is limited this summer — about half the usual roster of nearly 800. Students can enter buildings only using their Lion Cards, and boarding students cannot access the dormitories of their friends and are only allowed into their own rooms.
Even though students can only go off-campus by foot, Rafaela is still happy about this since if Exeter allows students to use any vehicles, she thinks it will be hard to do contact tracing. Also, she argues that it might increase the chances of contracting coronavirus disease.
Avery Winder of Boston commented on the current restrictions. "I think they're reasonable." She elaborated, replying to whether the restrictions should be loosened even more as the session goes on. She thinks they should be, "maybe because there was a mandate in Massachusetts that students and teachers don't need to wear masks if they're vaccinated."
Lizbeidy Franco was glad to go mask-less outside, observing that "I was out of breath."
Kayla Johnson remarked that "I can only think positively about the restrictions," although she added that she was concerned about the lack of mask-wearing she saw in downtown Exeter.
The new Covid-19 protocols have allowed the Exeter Summer community to breathe a sigh of relief, and students are waiting to see more new changes on campus as these policies are put into place. Student opinions seem to be siding with the easing of Covid restrictions on campus, and past assemblies have brought reminders of future updates to protocols. Still, it is impossible to ignore the impact of the pandemic.
We must be patient and Covid-19 is the issue that the world is facing, not only us. "We are done with the virus, but the virus is not done with us," as Jeff Ward, Exeter Summer director, has repeated during assemblies.

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CARRIAGEWORKS KEIR PUBLIC PROGRAM
9 - 14 March | CARRIAGEWORKS
The Keir Choreographic Award Public Program is presented in both Sydney and Melbourne and expands the profile, debate and audience engagement with choreographic practice in Australia. The program includes projects such as performed lectures, workshops and masterclasses and connects important international practitioners and theorists with Australian artists and industry members.
Carriageworks have invited choreographer and dancer Brooke Stamp and artist Sarah Rodigari to be Guest Curators for the public program in Sydney.
NOTE FROM GUEST CURATORS
The program aims to create opportunities for Sydney-based artists and audiences to gain access and insight to the international scope of discourse presented by the jurors. We're interested to create proximity to physical practice and critical discourse, and explore embodied knowledges, global pedagogical lineages and changing curatorial relationships with dance and choreography.
Our interest is to develop and support opportunities for a particularly 'Sydney'-based ecology of dancers and non-dancers, queer and first nations artists, writers, thinkers and performance-makers through a series of workshops, panel discussions, lectures and morning classes.
SARAH RODIGARI AND BROOKE STAMP
Sarah Rodigari is an artist, writer and curator whose practice addresses the social and political potential of art. Her method is site responsive; employing, durational live action, improvisation, and dialogical methodologies to produce text-based performance and installations. As a result, her works encompass a variety of shifting forms and modes, embracing the complexity, ambiguity and slippages of both performance and language in an aesthetic style that is often minor in scale and poetic in address. Her work also takes the material form of printed matter, scripts, posters, publications and digital website interventions. Rodigari has worked with and within various contexts and institutions. These include the Museum of Contemporary Art (Sydney), the 20th Biennale of Sydney, MUMA, Melbourne International Arts Festival, ACCA, The Poetry Project (NYC), Cemeti Arts House (Indonesia), PACT Zollverein (Germany) and SOMA (Mexico City). She holds a PhD in Creative Arts from the University of Wollongong and is member of the collective Field Theory. Most recently Sarah co curated and published Timely Readings: A Study Guide to Live Art in Australia for the Live Art Development Agency, London.
BROOKE STAMP
Brooke Stamp is a Sydney-based artist and choreographer, working at the intersection of dance and visual arts. Since 2009, Stamp has pursued a practice working at the experimental edge of dance, sound and visual art. Her key works include: Limits of Expression, with Anna McMahon, Campbelltown Arts Centre (2018); Pulling down from the Ephemeral, MFA project, Bombo Headland Geological Site, NSW (2017); A satellite, a letter, a rock, a score, a commission for Barco Dance Collection, Sweden with Critical Path, Sydney (2017); 1992, Spring 1883 Art Fair, QT Hotel, Sydney (2015); Tearaway Part One: The Crater of Motor Power, inaugural Keir Choreographic Award (2014); And All Things Return to Nature, Balletlab's inaugural Choreographic Commission (2013); Time will perfect: Magnetic flip for damned air, commissioned in 2013 for Action/Response, curated by Hannah Mathews for Dance Massive; Venus Devotional, MCG Stadium, Next Wave Festival (2010); and Orbit Score for Yoko, a commission for Pieces for Small Spaces, Lucy Guerin Inc (2009).
Alongside, Stamp has pursued strong interests in cross-disciplinary collaboration; developing a significant, body of work with visual artists: Agatha Gothe-Snape, Sally Smart, Anna McMahon; sound artists: Tom Smith, Shota Matsumura, Abel Korinsky, Kevin Lo, Brian Ritchie, Garth Paine; and most recently with Berlin/New York perfumiers, Folie ÀPlusieurs.
In 2016 she was awarded an Australia Council Fellowship for Dance, and in 2017 completed her Master of Fine Arts, UNSW Art & Design.
TOUCH OF THE OTHER WORKSHOP AND PRESENTATION WITH TAKAO KAWAGUCHI
Takao will conduct a three-day workshop entitled Touch of the Other, for a group of up to 10 people of any genders and sexualities, and of any discipline and skill level. The workshop, which will conclude with a public presentation on the third day will use the manuscripts of Dr. Laud Humphreys, the US sociologist who researched M2M sex in public toilets during the late 1960s, of who's data is now collected at the ONE National Gay and Lesbian Archives in Los Angeles. Participants will explore the manuscripts and re-enact some scenes of toilet cruising along with personal experiences and fantasies, to examine how human relationships are explored, shared and/or witnessed.
DATE: 9-11 MARCH 2020
TIME: 2-5PM
PLACE: TRACK 3
TAKAO KAWAGUCHI
Takao Kawaguchi) was a member of the famous Japanese multimedia performance company Dumb Type from 1996 to 2008, during which time he also worked independently with sound and visual artists to produce video works such as: DiQueNoVes (Say You Don't See), 2003, D.D.D.- How Many Times Will My Heart Beat Before It Stops?2004, Good Luck 2008 and TABLEMIND 2011. From 2008, he began the solo performance series a perfect life which still continues. His piece About Kazuo Ohno ― Reliving the Butoh Diva's Masterpieces 2013 has been performed 70 times at over 30 cities around the world including Berlin, Melbourne, Los Angeles and Paris. Latest works include: TOUCH OF THE OTHER , Los Angeles 2015; Tokyo 2016, which was based on the archive materials of sociological studies of male-to male impersonal sex in public places from ONE National Gay and Lesbian Archives in LA; and solo BLACKOUT 2018, Tokyo.
PENELOPE SLEEPS: AN OPERA BY METTE EDVARDSEN & MATTEO FARGION
An opera in essay form, Penelope Sleeps deconstructs the myth of the Odyssey by reconsidering the long years separating Penelope from the return of Ulysses. Acclaimed Norwegian choreographer Mette Edvardsen working with composer and performer Matteo Fargion, approach opera as a departure point, without incorporating any of its traditional narrative devices and grand gestures. Dangling on a border somewhere between opera and dreams, Penelope Sleeps makes and unmakes the configurations expected between women, others and the world.
DATE: 10-11 MARCH
PLACE: BAY 17
METTE EDVARDSEN
The work of Mette Edvardsen is situated within the performing arts field as a choreographer and performer. Although some of her works explore other media or other formats, such as video, books and writing, her interest is always in their relationship to the performing arts as a practice and a situation. She has worked for several years as a dancer and performer for a number of companies and projects, and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box theatre in Oslo in 2015, and the focus program Idiorritmias at MACBA in Barcelona in 2018. Her project Time has fallen alseep in the afternoon sunshine is ongoing since 2010, and has its base now at the headquarters of osloBIENNALEN FIRST EDITION 2019 - 2024 in Oslo. Mette Edvardsen is structurally supported by Norsk Kulturråd (2017 - 2020), BUDA Arts Centre Kortrijk (2017 - 2020) and apap-Performing Europe 2020 – a project co-funded by Creative Europe Programme of the European Union. She is associated artist at centre chorégraphique national de Caen en Normandie (France) for the period 2019 - 2021. She is currently a research fellow at Oslo National Academy of the Arts.
MATTEO FARGION
Matteo Fargion studied composition with composers Kevin Volans and Howard Skempton. He has been a close collaborator of Jonathan Burrows for 28 years, sharing equally the conception, creation and performance of their work, including 11 duets and several larger scale works. He has also collaborated extensively with other choreographers, most notably his long association with Siobhan Davies, and his recent collaborations with Mette Edvardsen (Oslo, Penelope Sleeps) Andrea Spreafico (Vive la Phrance, We Have To Dress Gorgeously) and Claire Croize (Flowers). Fargion has also developed a composition workshop for dancers, which continues to be invited widely internationally.
CHOREOGRAPHY AS WRITING A WORKSHOP WITH METTE EDVARDSEN
Many of Mette Edvardsen's recent works have been developed using language as material, looking into the relationship between writing and speaking, between language and voice. Mette Edvardsen is working on the verge of the visible, considering choreography as writing. This workshop will explore some of her methodologies and scores.
DATE: THU 12 MARCH 2020
The work of Mette Edvardsen is situated within the performing arts field as a choreographer and performer. Although some of her works explore other media or other formats, such as video, books and writing, her interest is always in their relationship to the performing arts as a practice and a situation. She has worked for several years as a dancer and performer for several companies and projects and develops her own work since 2002. She presents her works internationally and continues to develop projects with other artists, both as a collaborator and as a performer. A retrospective of her work was presented at Black Box theatre in Oslo in 2015, and the focus program Idiorritmias at MACBA in Barcelona in 2018. Her project Time has fallen alseep in the afternoon sunshine is ongoing since 2010 and has its base now at the headquarters of osloBIENNALEN FIRST EDITION 2019 - 2024 in Oslo. Mette Edvardsen is structurally supported by Norsk Kulturråd (2017 - 2020), BUDA Arts Centre Kortrijk (2017 - 2020) and apap-Performing Europe 2020 – a project co-funded by Creative Europe Programme of the European Union. She is associated artist at centre chorégraphique national de Caen en Normandie (France) for the period 2019 - 2021. She is currently a research fellow at Oslo National Academy of the Arts.
TIME HAS FALLEN ASLEEP IN AFTERNOON SUNSHINE BOOK LAUNCH
Lizzie Thomson Sydney based choreographer and performer will host an in conversation with Mette Edvardsen to launch her publication of Time has fallen asleep in the afternoon sunshine. A book on reading, writing, memory and forgetting in a library of living books.
Mette Edvardsen, Kristien Van den Brande, Johan Sonnenschein, Bruno De Wachter, Lizzie Thomson
Sébastien Hendrickx, Victoria Pérez Royo, Jon Refsdal Moe, Bojana Cvejić, Melanie Fieldseth, Jeroen Peeters
Lara Khalidi, Emiliano Battista, Thomas Bîrzan, Susanne Christensen, Olivia Fairweather, Laurence Rassel
Edited by Mette Edvardsen, Kristien Van den Brande, Victoria Pérez Royo, Runa Borch Skolseg
Published by Mousse Publishing & osloBIENNALEN
TIME: 6-7.45PM
LIZZIE THOMPSON
Lizzie Thomson is a choreographer, performer and researcher living and working on Gadigal and Wangal lands of the Eora Nation. Over the past 20 years, she has performed throughout Australia and Europe with artists including Rosalind Crisp, Agatha Gothe-Snape, Mette Edvardsen, Jane McKernan and Marina Abramovic. Her choreographic work is driven by interests in affinities between dance and language, as well as in the political potency of practices of attention. Lizzie is undertaking a PhD in dance theory at the University of NSW. Her writing on dance has been published in books, journals and exhibition catalogues. Lizzie has performed as a book in Mette Edvardsen's ongoing project Time has fallen asleep in the afternoon sunshine in the Sydney Biennale (2016) and the Oslo Biennale (2019). She has written a text about her experience performing this work in Edvardsen's new book Time has fallen asleep in the afternoon sunshine: A book on reading, writing, memory and forgetting in a library of living books.
CREATIVE DIFFERENCES - WORKSHOP WITH CLAUDIA LA ROCC0
This is a writing workshop. It is open to anyone who wants to play with words, to see what they can do, and how. How does language live in time and space, whether on the stage, the page, in the body and the mind? Critical writing, creative writing, performance texts… are they really such different creatures? The four-hour session will include some combination of moving/writing warm up; exercises for people to do alone and in pairs; quiet time; and discussion around people's questions, concerns, experiences, and etcetera. No one need have movement training; everything we do will be adaptable to different abilities and comfort levels. Please wear clothing that you feel good moving and being still in, as well as something to write with and on that isn't a machine.
DATE: FRI 13 MARCH 2020
CLAUDIA LA ROCCO
Claudia La Rocco's work explores hybridity and improvisation, moving between criticism, poetry, fiction, and performance. Her books include the selected writings The Best Most Useless Dress (Badlands Unlimited) and the sf novel petit cadeau (published in print, performance, and digital editions by The Chocolate Factory theater). With musician/composer Phillip Greenlief she is animals & giraffes, an experiment in improvisation that performs with artists from different disciplines and has released the albums July (Edgetone Records) and Landlocked Beach (with Wobbly; Creative Sources). She edited I Don't Poem: An Anthology of Painters (Off the Park Press) and Dancers, Buildings and People in the Streets, the catalogue for Danspace Project's PLATFORM 2015, for which she was guest artist curator. La Rocco has received grants and residencies from such organizations as the Doris Duke Charitable Foundation, Creative Capital/Warhol Foundation, and Headlands Center for the Arts, and her work has been presented and anthologized widely. From 2001-2015 she was a critic and reporter for The New York Times, and she is Editorial Director of Open Space, the San Francisco Museum of Modern Art's live and online commissioning platform.
PUBLIC LECTURE AND EXPANDED CONVERSATION WITH SERGE LAURENT
Serge Laurent will give a short presentation on his history of curatorial practice within the performing arts at institutions such as the Centre Pompidou, Paris. Following this, a broader discussion about curatorial practices for dance and museums will take place with Dr Erin Brannigan, Senior Lecturer in Theatre and Performance Studies at the University of New South Wales, Hannah Mathews Senior Curator at Monash University Museum of Art, Choreographer and Dancer Shelley Lasica and Louise Lawson, Time-based Media Conservation Manager at Tate Modern.
DATE: SAT 14 MARCH 2020
TIME: 10AM-12PM
SERGE LAURENT
Serge Laurent studied Art History before beginning his career at the Artier Foundation as deputy curator. After four years of curating their exhibitions program, he was appointed curator of the performing arts program and initiated the famous Nomadic Evenings, which quickly became a staple in the experimental multi-disciplinary arts ecology in Paris and continue today. From 1997- 2002, he was the inaugural director of the Dijon Art Dance Festival, Nouvelles Scenes and in 1998, he curated the first performing arts program at the Printemps de Cahors Festival – a video and photographic art festival. He later became the Director of Performing Arts at the Centre Pompidou, Paris until April 2019, when he was appointed Director of Dance and
Arts Programs at the Maison Van Cleef et Arpels, Paris.
HANNAH MATHEWS
Hannah Mathews is a Melbourne-based curator with an interest in contemporary art and performance. She is currently Senior Curator at Monash University Museum of Art (MUMA), where key curatorial projects have included Shapes of Knowledge (2019), Alicia Frankovich & Lili Reynaud Dewar (2018) and The humours (2017). Prior curatorial positions include the Australian Centre for Contemporary Art (ACCA) (2008–16); Perth Institute of Contemporary Arts (2005–07); Next Wave Festival (2003–04); and Biennale of Sydney (2000–02). At ACCA, she curated presentations by Ulla von Brandenburg (2016), Derek Kreckler (2015) and Ryan Gander (2015), and the group exhibitions Framed Movements (2014), In the Cut: Contemporary Collage (2013) and Power to the People: Contemporary Conceptualism and the Object in Art (2011). Mathews teaches in curatorial programs and serves on the boards of the National Association for the Visual Arts, City of Melbourne Arts & Culture and International Art Space, Perth.
LOUISE LAWSON
Louise Lawson is Conservation Manager for Time Based Media Conservation at Tate. She is responsible for the strategic direction, development and delivery of all aspects relating to time-based media conservation at Tate. This requires working across a wide range of projects and programmes: exhibitions, displays, acquisition, loan-outs and collection care initiatives such as the development of a digital repository for the long-term preservation of digital artworks. Her current research is focused on the documentation and conservation of performance-based artworks within Tate Collection. With a growing number of performance artworks in the Tate collection, this research explores how to preserve and document such works, developing strategies that respond to and answer the challenges emerging from different types of performance-based artworks.
ERIN BRANNIGAN
Dr. Erin Brannigan is Senior Lecturer in Theatre and Performance Studies at the University of New South Wales and works as a writer, academic and curator. She has published monographs, book chapters and journal articles internationally. Her current research projects include The Persistence of Dance: Choreography, Art and Experimental Composition (a monograph), and 'Precarious Movements': Choreography and the Museum (a research project).
For more than 30 years, Shelley Lasica has pushed the confines of dance, choreography and performance. Her practice is defined by an enduring interest in the context and situations of presenting choreography. Throughout her career, she has been making solo performances that function as a means and a reason for showing work. This practice provides the basis for generating ensemble works that question the collaborative and interdisciplinary possibilities of choreography.
FIRST NATIONS DANCE
The conversation will explore contemporary dance in Australia through a First Nations conversation, and expand on ideas of legacy, pedagogy, embodied modes of sharing and decolonising contemporary practice.
THIS IS WHAT WE DID, THIS IS WHAT WE ARE DOING
CONCEIVED OF BY CLAUDIA LA ROCCO AND CREATED IN COLLABORATION WITH LEE SERLE
Co-existence: adjacent things colliding and departing, cycling through. Strange and intimate bodies: whose work is it anyway? A conversation between languages, pasts, and presents.
Claudia La Rocco's work explores hybridity and improvisation, moving between criticism, poetry, fiction, and performance. Her books include the selected writings The Best Most Useless Dress (Badlands Unlimited) and the sf novel petit cadeau (published in print, performance, and digital editions by The Chocolate Factory theater). With musician/composer Phillip Greenlief she is animals & giraffes, an experiment in improvisation that performs with artists from different disciplines and has released the albums July (Edgetone Records) and Landlocked Beach (with Wobbly; Creative Sources). She edited I Don't Poem: An Anthology of Painters (Off the Park Press) and Dancers, Buildings and People in the Streets, the catalogue for Danspace Project's PLATFORM 2015, for which she was guest artist curator. La Rocco has received grants and residencies from such organizations as the Doris Duke Charitable Foundation, Creative Capital/Warhol Foundation, and Headlands Center for the Arts, and her work has been presented and anthologized widely. From 2001-2015 she was a critic and reporter for The New York Times, and she is Editorial Director of Open Space, the San Francisco Museum of Modern Art's live and online commissioning platform.
LEE SERLE
Lee Serle is a Sydney based choreographer, creating dances for the stage, site-specific, participatory performance, and within the gallery, engaging a broad range of artistic collaborators. He has been commissioned to create new works for Lucy Guerin Inc, Australian Centre for Contemporary Art, Sydney Dance Company, Dancenorth, Lyon Opera Ballet (France), Rolex Mentor and Protégé Arts Initiative (USA), and Colombian visual artist Mateo López. Lee Serle began his career performing for Lucy Guerin and Chunky Move in numerous award-winning productions touring worldwide. Lee Serle has performed in the work of many independent Australian choreographers notably, Shelley Lasica, Antony Hamilton, Stephanie Lake, and Internationally for Trisha Brown (USA), Tere O'Connor (USA), and Kota Yamazaki (Japan).
MORNING CLASS
Carriageworks have partnered with ReadyMade Works Inc.; a not-for-profit organisation that provides programming and studio space support for the independent dance community in Sydney to present a series of free morning classes held each day at Carriageworks. In an effort to galvanise the dance community through direct practice and conversation with practitioners, five dance artists will be invited to lead morning class.
TIME: 10 -11.30AM
JANE MCKERNAN
Improvisation for an uncertain future: This class will use the tools of dance improvisation to pay attention to the present moment, take notice of sensation and impulse, respond to the space and each other, and open up the potential to move differently into the future. It is open to anyone interested, regardless of dance experience.
Jane McKernan is a choreographer and performer. She is a member of the collaborative dance trio The Fondue Set, with whom she has co-created six evening length theatre works, including the Green Room Award winning, No Success Like Failure (2008). Her own dance work includes Mass Movement (2014), commissioned for the Keir Choreographic award and Audience Choice winner; Opening and Closing Ceremony (2012), and Teacher Training (2019), performed at The Riley Theatre, Leeds. She has just returned from 4 years in the UK, where she was a lecturer at the Northern School of Contemporary Dance, teaching improvisation and choreography.
DATE: MON 9 MARCH 2020
Lee's class will guide the body via imagery, mapping the skeleton and joints to build the body from the ground up in preparation for dancing. Focusing on weight and momentum we will work to find efficient movement pathways within the body, and how this can be applied to complex phrase material and improvisation.
Culminating in a group improvisation we will share and question our processes when choreographing in the moment. Abandoning predetermined outcomes, we will attempt to find clarity within our practice through the consideration and application of our embodied histories, rapid fire decision making, removing judgment and desire for outcome. Lee's class open to varying levels of experience.
DATE: TUE 9 MARCH 2020
RHIANNON NEWTON
Rhiannon will share her movement practices and creative work through a class that journeys from focused embodied work through to more virtuosic physical and creative movement. The class focuses on how different parts of the body connect and move one-another, emphasising how weight, release, attention, and imagination affect capacity and sensation. The class brings somatic-work into improvised explorations, before developing into floor-work that practices simple pathways for integrating the whole body. It progresses to standing explorations and sequences, which focus on momentum, fluidity and movement through the space. With good beats, sweating and influences of somatic and release techniques, the class prioritises the sensation and pleasure of moving.
Rhiannon Newton is a dancer and choreographer. Her work brings together practices of embodiment, memory, sensation and repetition to attend to the webs of relation bodies exist in, with and as the world. Rhiannon's works have been presented in various Australian and international festivals, exhibition and performance contexts, including Dance Massive, Dancehouse, First Draft, Brisbane Festival, Under the Radar, Tanzhaus Zurich (Switzerland), Trois C-L (Luxembourg), Nagib On Stage (Slovenia) and Judson Church (USA). She has developed her practice in residencies throughout Europe, South-East Asia and North America and been a part of international exchange projects involving Croatia, Singapore and Switzerland. Rhiannon also works as a performer and collaborator with artists such as Mette Edvardsen, Martin Del Amo, Amrita Hepi, and Rosalind Crisp; caretakes the artist-run-space ReadyMade Works in Sydney; and facilitates platforms such as Talking Bodies and First Run.
DATE: WED 11 MARCH 2020
SHELLEY LASSICA
Shelley will be leading a class that focusses on the idea of choreography in relation to dancing, using techniques of body awareness, spatial recognition, and developing attention: generating movement and articulating processes through the development of ideas and vice versa. A technique class that recognises the range of abilities required for performance.
VICKI VAN HOUT
Vicki's class consists of a dynamic progressive sequence of exercises reflective of diverse Australian Indigenous vocabularies including those languages developed from both desert and coastal remote communities. This distinctive language has been the primary aesthetic underpinning recent NAISDA graduates, many of whom have secured places with Bangarra including Wanengga Blaco, Ryan Rearson and Beau Dean Riley Smith and by notable Australian independents including Thomas Kelly, Caleena Sansbury, Henrietta Baird and Raghav Handa.
Vicki Van Hout is a Wirradjerri woman born in Wollongong on the NSW south coast - and a senior interdisciplinary indigenous performer/performance maker who uses dance as an entry point to explore other fields including spoken word and song. Vicki Van Hout trained at the National Aboriginal Islander Skills Development Association (NAISDA) and the prestigious The Martha Graham School of Contemporary Dance in New York. She has performed with and choreographed for major Australian Indigenous dance companies - Bangarra Dance Theatre and the Aboriginal Islander Dance Theatre - and independent artists, including Tess de Quincey, Martin del Amo and Hans Van den Broeck (Belgium). She has created eight full-length works, including plenty serious TALK TALK Long Grass, Briwyant and My Right Foot Your Right Food. Directed Stolen (Jane Harrison) for National Theatre of Parramatta (2016), created Les Festivities Lubrifier for Performance Space's Liveworks program (2015) and has been awarded several international residencies including Cite des Arts residency (Paris, 2015). In 2019, she was awarded the Australia Council Award for Dance.
RUNNING DOG AND RUNWAY JOURNAL
Carriageworks has invited the Sydney based online arts platforms Running Dog and Runway Journal to take part in the public program. Participants will attend workshops, talks and performances and respond to the programs and conversations around the work as well as the four new commissions themselves.
CLASS/JANE MCKERNAN
10-11.30AM
CLASS/LEE SEARLE
CLASS/ RHIANNON NEWTON
CLASS/SHELLEY LASICA
CLASS/VICKI VAN HOUT
TOUCH OF THE OTHER: TAKAO
TOUCH OF THE OTHER: TAKAO KAWAGUCHI WORKSHOP
CHOREOGRAPHY AS WRITING: METTE EDVARDSEN WORKSHOP
CREATIVE DIFFERENCES: CLAUDIA LA ROCCA WORKSHOP
FIRST NATIONS DANCE 2-4PM
PENELOPE SLEEPS
TIME FALLS ASLEEP IN THE AFTERNOON SUNSHINE BOOK LAUNCH
6-7.45PM
CLAUDIA LA ROCCO WITH LEE SEARLE
https://carriageworks.com.au/events/keir-choreographic-award-2020-public-program/
9 - 14 March
Public Program Free
Carriageworks 245 Wilson Street Eveleigh 2015 NSW


text:
HomeBrazilBravo
Best time to visit, weather and climate Bravo
Best time to visit Bravo, Brazil
The best time to visit Bravo in Brazil is from january until december, when you will have a warm temperature and limited till mediocre rainfall. The highest average temperature in Bravo is 31°C in february and the lowest is 27°C in june. The weather and climate of Bravo is suitable for a sun vacation.
The average climate figure for Bravo is an 9,1. This is based on various factors, such as average temperatures, the chance of precipitation and weather experiences of others.
Bravo has the semi-arid climate prevailing. If you want to know what the average temperature is in Bravo or when most precipitation (rain or snow) falls, you can find an overview below. This way, you are well prepared. Our average monthly climate data is based on data from the past 30 years.
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All climate data from Bravo
Bravo in brief
Coordinates 13° 45' S, 41° 6' W
Climate Bravo
Bravo has the semi-arid climate prevailing. It is warm to hot all year round and trees don't grow here because of the drought. It consists mainly of sand with grasses and sometimes shrubs. The average annual temperature for Bravo is 27° degrees and there is about 1163 mm of rain in a year. It is dry for 127 days a year with an average humidity of 73% and an UV-index of 5.
days 18 17 19 16 11 5 6 5 6 12 19 18
per day 10 10 9 7 6 6 6 7 8 8 7 9
Weather Bravo january
On average, it is maximum 30° in january in Bravo and at least around 19° degrees. In january there are 18 days of rainfall with a total of 62 mm and the it will be dry 13 days this month in Bravo.
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On average, it is maximum 29° in december in Bravo and at least around 20° degrees. In december there are 18 days of rainfall with a total of 104 mm and the it will be dry 13 days this month in Bravo.
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The weather for Bravo in Brazil will be around 35° degrees in the next 14 days with a couple of days chance of light rain showers.
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Bravo lies in Brazil in the province Bahia. If you want to call Bravo you have to use +55 or 0055 before the phone number without the first 0 in the original phone number (if it occurs). If the normal number is 05012457809, for example, you can remove the first 0 and call +555012457809 or 00555012457809.
Bravo is in a straight line at 14.562 km distance from Sydney. From Sydney Airport the flight time is about 18 hours15.
The coordinates of Bravo, Brazil are latitude: -13.75 en longitude: -41.1
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text:
Lee Watson Lee Watson
By Peter Ellman
Lee Watson, of critically acclaimed BC-based folk rock band the Breakmen, is back with his self-titled second solo album.
The first thing most listeners will hear on this record is Neil Young. Not just a little of his influence, but so much aural resemblance that one might understandably wonder, "Is this Neil Young?" For some that's great— "More Neil!" — but others might be more cynical about the unoriginality. Watson's first solo album, Northern Track, was a country-bluegrass affair with deeper singing from the chest — in other words, less Neil Young-ish. Sometimes the occasional southern drawl would creep into his enunciation, too. Yet, that chameleonic nature might indicate versatility, or an artist still finding his voice.
And for what it is, Lee Watson is a satisfying listen. There's a pleasant familiarity to the overall sound, and as background music for country drives, it scratches a folksy itch well. The harmonica solo at the beginning of "Endless Ocean" and the rhythmic fill tailing the chorus of "White Rock Angels" could fit easily into Young's After The Gold Rush or Harvest, and the slide guitar colours in each scene nicely, too.
There's not really anything objectionable here. If you find yourself daydreaming about a less experimental Neil Young, you'll find comfort in Lee Watson's self-titled album. (Dead Radio, Love)
CITYFOLK
More Lee Watson


Discussion in 'Stage Management and Facility Operations' started by baileypl, Apr 8, 2018.
Hello, this is more of a opinion reply cause I want to see where everyone is on this topic... what do you think about high school student technology operators?
1. Do they need supervised even if the have been trained on the system by professionals?
3. What stigmas surround students that operate tech in high school theatres?
4. What good/bad experiences have you had with high school techs.
6. What is the best way we can support them in their passion for this?
I know this topic is somewhat controversial but I think that it will be interesting to hear other people's opinions on the topic. Personally, I think we need to give these kids some leeway, but not enough rope to hang them selves with.
Students should be given the training and support to understand how these systems work and to be able to run shows with little or no outside support except for artistic guidance (think bowling with bumpers deployed). Upon demonstrating that specific students can be responsible and non-destructive, they should be able to receive paid work supporting shows which they are not academically involved with.
In general, sound systems should have protective limiters programmed in DSP's to prevent the speaker elements from going supernova during raging feedback and lighting and sound consoles should have files saved off as default configurations for that venue. After that, the only way a student can seriously damage the lighting or sound systems is by spilling a coke on the consoles, or by dropping something from a catwalk.
If there's rigging involved, they should be trained on basic operations like opening/closing curtains, flying things in and out, but in a counterweight house should be supervised whenever weight is being moved.
I've encountered only one or two students ever who expressed enough interest to learn how to use the systems but proved they were not responsible. They were ejected from future events, more so because of how they treated others and less because of anything they did involving equipment.
In my travels where students have been given support and encouragement, and have been treated like responsible young adults, they have proven that they are capable of just about anything. Where students have been treated dumb and like there's some secret knowledge to running tech for a show, they have proven woefully unprepared to put on a good show. Usually there's either no support at all in these situations, or an adult has taken it upon themselves to develop a king-of-the-booth psychosis.
The only real horror stories I have on this matter are regarding well-intentioned parents. From things like wanting to hang 20' velour curtains off of 3/4" EMT conduit from Home Depot to building 2nd story platforms where the joists split out of the frames and the building inspector shut down the show. I walked off a production of Once Upon A Mattress where the bed was constructed by an inexperienced faculty member. The director didn't heed my warnings and one of the casters split out of the frame almost bouncing the actress 12' off of the top of the bed onto the stage where she would've rolled into the pit. Same show a faculty member tried to to triple stack platform risers to get an 8' deck height without anything to prevent the upper layers from dancing off of the bottom layers. During that very tense dress rehearsal, most of the tech students were just as concerned and livid as I was -- all they needed was someone with enough experience to reinforce for them that that was the appropriate response to the reckless scenery construction they had been seeing for years before I became involved at that school.
Aaron Becker, Ben Stiegler and Lekolite48 like this.
In high school I not only was sure I was great, I WAS great, just ask me and I'll tell you.
Looking back in my multiple rear view mirrors, there are a great many to whom I'd not only provide miles of rope but plans for gallows and help with its construction. I may even teach them how to properly tie and position the noose knot.
Les and Jay Ashworth like this.
They are the future if not taught and taught proper, well thing will go awry.
If interest is show and questions asked I will teach. If they are just there to have fun and earn that extra credit make them push wagons and do housekeeping til they ask or quit.
The strong will survive and the weak will not.
As far as your part take the necessary precautions to prevent as much unsafe scenarios as possible and the rest leave up to the gods.
@Amiers Well said. Do you have a little bell or two on your key ring for that extra jingle?
Les and Amiers like this.
Students should not have keys of their own. Many teachers hand their key rings over (trusted only) for specific purposes and then lose track of them in the same hour. I've always liked a big stick or pom-pom attached to make if them obvious. I've been handed rings that have house and car keys on them, not recommended!
All events should require an adult ( 21+) school employee to be the supervisor. Otherwise having students do paid work a great way to motivate and teach responsibility.
Dark and private corners of theaters can be highly attractive to teenagers for a wide range of reasons.
Les, Jay Ashworth, RonHebbard and 1 other person like this.
I agree, no keys for students, too much liability for things that could go wrong or happen under their "supervision". I've had students that I trained run various events as a paid staff member without myself present, but with a custodian being the adult in charge unlocking everything and I was only ok with that specific student who I knew could handle something if the (extremely easy to work with) group had a problem arise.
I tried to train students to run everything we had, lighting, sound, flies, etc as a part of my class, and then most self selected as to whether they'd want to do it in a show situation.
The only stigma I can think of is that its a boys club, but that is unfortunately also part of the industry. It was hard to attract girls and most that I did get were only interested in painting, but I did have a few come through that were great and down for anything.
Some kids stress and implode if something goes wrong, but thats why the adults are around, to right the course, get the show back on track and get the kids through it.
Yes, a supervisor/adult should be present anytime minors are in the building. With a school the school policy probably requires that a staff member be present. Now if that's the theatre director/manger or the night custodian is going to depend on the skill and trust level with that student and what they are there for. Students may get frustrated by this but remember, ultimately its the supervisors job and livelihood that's at risk should something happen.
I'm not sure on this one. When I was in HS I was regularly given the set of "tech keys" this has the dedicated key to the booth, windows and electric winches. Catwalk took a master key and the teacher always unlocked for us. The keys had to go back to him at the end of the work day. Can I honestly say I never abused this? No. I also can say that today, I certainty wouldn't want to climb mount Everest to unlock a window at the light booth and rather hand that key to someone if I trust them. If I do that is going to depend on the student and my experience and trust level. I know who that works around me that respects the equipment and that is the only person I would think about handing keys too. Most of that issue it not even an issue where I am now as nothing is locked except the building itself.
#1- They are stupid and adults know better. This is so not the case- I find the students I work with far preferable to even veteran adult volunteers. So many bad practices have been developed in the community group I work with and often I see the adults setting such bad examples. The kids want to be there and they want to learn, they are far more apt to ask "am I doing this right" rather then just doing it an hoping for the best. Yes, they are young and not as mature and keeping an eye on them is good but the ones that don't want to be there will weed themselves out.
Recent production we put a 9 year old (supervised of course) on sound effects and she hit every cue, every show spot on. Next mainstage show they did with a veteran op had far less cues and critical timing and that person never hit one right. I'll take the 9yo any day.
Kids are going to more work to be blunt- More questions, hard to get that phone out of their hands and will tend to be a bit spacy. That the nature of kids, I continue to work on how I work with them but I can't say I've ever had any worse experience with students/kids than I've had with adults.
Treat them like a young adult, let them to the work and let them run out the leash. If there is a task to do, let them give it a try and then coach them on the result. Don't stand behind them and micro manage them. No one likes that. Obviously if life safety is involved don't let them loose, but then if that's the case they should be observing first and then walk through the process step by step many times over. Understand they won't be perfect because you're not perfect either. If they make a mistake don't yell at them for making the mistake, use that to teach them how to correct the issue. Above all have fun with them and show them you appreciate and support their involvement. Thank you cards, treat and snacks go a long way to make them feel welcome. If they really do love it get to know the parents as they often won't understand the skills that their kid is learning (Oh you just push a button). Getting to know the parent allows you to help the parent understand this could be a career path and the time they invest picking their kids up at midnight is a good investment in their child.
teqniqal and Ben Stiegler like this.
@Aaron Clarke I can't seem to find your point #5 on your numerically ordered list; please elaborate.
Les, RonHebbard and Van like this.
Supervisory personnel should always be on site when students are operating equipment. Does this mean you need someone standing over their shoulder in the booth? no, At the fly rail? Well, there really should be adults present but if properly trained there is no reason a responsible student shouldn't be operating properly maintained equipment.
Checked in and out on performance nights/during work calls Yes. Given a key and free reign to be 'King of the Auditorium'? No.
See second part of answer above. With proper training and respect for the position there should be no issue.
I've mostly ever had great experiences with students. Only once did I have to replace a kid because of absolute refusal to follow or incorporate safety rules and practices. It takes patience, a willingness to accept the occasional mistake, and attention to ones own attitude towards things when providing instruction.
See answer above: Give them the best training and as much responsibility as possible. Kids will, almost, always rise to an opportunity to demonstrate responsibilty. They continually amaze me. Patience and the willingness to accept the occasional mistake are the biggest tools you can take into the situation.
In my experience students tend to be unreliable. If we still had a theatre tech class I think they would treat the job with more professionalism. As a volunteer club, they tend to be in it for the camaraderie and snacks.
The last time I had a student-staffed show was at a college. Great crew, they had show blacks with the name of the hall (wish I could recall it now) - "XYZ Crew, never seen, never heard, always there."
High school? Eh, not so much. The relative maturity level is the biggest issue. The post above points out that when these things are no longer laboratory exercises but social clubs things get dicey.
Be there, not bury them if they make a mistake, and its okay to make a mistake, know that they know if the make a mistake, someone can get hurt, we have a lot of really really cool dangerous tools and toys. Have fun, that no one is above pushing a broom.
Ben Stiegler and Van like this.
Teachers and other staff, as great and dedicated as they can be, are not employed to run the theater. While there should be someone supervising, the simple fact is that it's just not always realistic.
With that in mind, something we've historically had trouble with is "protecting" the crew from being labeled as a club. Calling it a 'club' essentially invites people to goof off, which generally isn't advisable around theatrical equipment. Being on a volunteer crew is a privilege, not a right. That's something that can take time to ingrain, and many students will either leave or be removed because they simply aren't responsible. What you end up with is that the new batch of students half way through their first year can generally be trusted to not kill themselves with the help of the senior, and more mature students.
To loop back a bit, the snacks and camaraderie mentality has to start and stop with the first year students. If some aren't dedicated and only come occasionally to meetings, that's fine so long as they aren't disruptive. They simply won't be getting calls for shows or anything involving a client coming from outside the school.
Students having keys is an issue all on it's own. Signed in / out sets of keys is the way to go for student technicians, with the slight caveat that the student 'head' of crew should probably have a more permanent set of keys. There comes a point when the most dedicated and mature students are trusted enough to be put on paid jobs as contracted employees of the school board, it makes sense to give them one set.
Essentially, once a student has demonstrated and is trusted enough to be allowed to contract for the school board, I no longer see a problem with that person having the key(s).
I hope I don't come off sounding too rude, but the comment on student technicians being "unreliable" irked me somewhat. That's down to student selection, training and mentality. I know I've pulled 90+ hour weeks essentially living at the theatre for various shows and festivals alongside other students who wanted nothing more than the best they could do for the show and client.
I hope I don't come off sounding too rude, but the comment on student technicians being "unreliable" irked me somewhat. That's down to student selection, training and mentality.
Can't agree more. From my days in HR: For myself and the supervisors I coached the first rule was always if your team/staff are not performing to expectation you must first and foremost look with-in yourself. It is just not common in nature to have an entire team or group of people all be poor performers in any regard. Could there be bad apples, sure, but you need to coach to good ones and bad ones will almost always self eliminate or can be removed from the group.
There should be a probationary period like anything in life, but if they have proven themselves (and you've trained them properly to handle what they need to handle) no unless/until there's an issue that comes up.
In our highschool stagecrew there was the different levels, there were the first year members (didn't matter what grade, if they joined in grade 12 and it was their first year on the stagecrew they were still first years), and those who were on for several years who trained the first years until competency was proven.
Again once a probationary period has passed...but you risk loss/abuse with anyone. Me, if I'm doing work in the auditorium I may turn on the projector and crank up the sound for a Hollywood DVD movie, or rock videos to see on "the big screen"...yesterday I had a video of a Jean Michel Jarre concert I was at last year playing while I was getting ready for an event (and using it to psyche me up).
But in my position, which is 100% voluntary, I was given full keys only a month after I joined the organization as a member and volunteering for the position a couple of weeks without any security check or anything which surprised me...in most cases this organization doesn't give keys to the building until someone has been a member of the club for a few years so their trust has been earned...but I guess in my case (in my mid-30's) since I was willing to do the work for free and had the background they trusted me early on.
Going back to my high school days, the keys weren't given to any individual...there was a special locker outside the auditorium (and viewable by the school office) that held the keys to the auditorium and only senior stagecrew members were given the combination to that locker. Of course if a junior crew member was signed up to run an event (and had proven themselves) and no senior member was going to be at that event they were given the combination.
Sure there's the stigma of techies in highschools as geeks...it's seen in TV shows, the kid with all the keys taking projectors to classrooms. Even by the actors in the school play even though we make them look good at the cast/crew party crew are treated like less than dirt after the final performance!
In my organization which is 100% voluntary (except for the cleaning service we use), we get resumes from highschool students who want experience but they expect to be paid as well...I've been doing it 15 years unpaid, and they want me to pay THEM???? They don't want to work just for the experience (even if everyone else are volunteers), so we have yet to bother with them.
Sure I love to teach them new skills, but they have to understand that the position comes with responsibilities...if they goof off or don't concentrate the show messes up/doesn't go on. But when there's a technical issue/challenge and they solve it (especially without the audience knowing) they should be proud of their work.
I remind them too about a famous Alfred Hitchcock quote when someone went wrong on a movie set..."It's only a movie."
Things do happen and go wrong, and I say to learn and do better next time. I always try to improve the operation of our auditorium.
I come from 2 largely different backgrounds in my work with students/educational settings. I work at a college with no fine arts program but a theater venue that we rent out and use for school activities. We have Student Employee's that are employed through the Federal Work Study program. I also work with a number of local high schools as a Designer and Technical Supervisor, or assist HS staff with there shows.
Once Trained on my theaters systems my college work study students are expected to use the systems effectively with out my over site.
HS students should have at least of Direct line of supervision in the building, if not maybe actually in the theater themselves. I've found that many of the HS systems don't have the Processor/Limiter hardware or access limitations in place they should, and these are still HS students that may sometimes play if they know they are completely on their own.
My College Student workers have keys and alarm codes for our building. keys to Front Door, back doors, Booth, and Mic/equipment storage room. They do not have keys to my office.
I do not think that HS students should have keys to any part of the school building. This is partial do to the fact that the booth key might also be keyed to places that a student should have no business being in (machine room, offices, etc.) That said I have worked with high schools whose students, have been trusted with a key to the booth to frequently run and assist with events in the theater during the school day. If a student has shown their working knowledge of the equipment aand responsibility/protecting the booth space i think that level of limited responsibility can do wonders for a student to have ownership of what they do.
That they are not responsible. I've found that I would trust many of the high school students to sub in for a show or an event at my theater over my own work study students because HS techs' want to, and love, to have the responsibility and take those things more seriously then my workstudy students.
Most of my experiences with HS techs have been good to great, and even greater when they are supported with small degrees of trust that increase over time. The old adage, Trust but Verify, is particularly helpful for young students that crave responsibility and will amazing you down the line. When I need a board Op for an outside show, different venue, different group I frequetly will go to HS tech's/ or recent grads I've worked with that have proved their worth and passion.
When I was in high school we had master keys to the building, we were unsupervised, and we were paid to do non-drama club AV events. paid minimum wage, i often worked 30-40 hours in a week. It was by far the most efficient and flexible place I have worked to date. Equipment did not walk, not even gaff roles. Further, if someone we didn't know was in our space, you can bet we were on em like a hawk. we were very protective of our theatre.
All that said, to actually become a technician at my high school was a year long vetting process by the TD. The TD was staff at the school and had been in the industry for 30 years. We had 3 students like me who got to enjoy all those freedoms and benefits, and it was far more educational to me than my 3.5 years in college were because if I wanted to learn something about the gear I had the time, the access, and the experience of my TD to help me figure it out. I learned something new every day.
1. people who are genuinely interested in the job and want to do good at it will have no reason to steal, misplace, or make a mess of the gear.
2. life is not fair and neither is tech. only a select few should have the keys. not everyone gets to touch the gear. that way if something does go south, the list of suspects is short.
3. if you think they deserve it, treat your crew with respect and treat them like your equals. You will be amazed how well some young kids can rise to a challenge and be responsible. However, this only works if you talk to them on equal footing. the secound you try to make a power move, high schoolers will get rebellious.
Dionysus, NickVon, baileypl and 2 others like this.
1. Do they need supervised even if the have been trained on the system by professionals? Absolutely, because they are still learning, and inexperienced, and of course, while they are in education, the staff are still legally responsible for what they do, even with the best intention.
2. Should they have a key to unlock the system (not the booth or aud doors, just to unlock it to operate it) Nope - as above, plus the fact that as students, they are allowed to be forgetful and irresponsible.
3. What stigmas surround students that operate tech in high school theatres? Stigmas? Apart from those that got the job because they n' act, sing, dance or play an instrument, meaning the must be technical - the real stigma is 'student', meaning sadly, often with opinions on their ability outstripping their actual real level.
4. What good/bad experiences have you had with high school techs. Over confidence. Inability to react to events yet convinced they know best.
6. What is the best way we can support them in their passion for this? encouragement and support, and making sure they remember it is education NOT work.
Now I'm back doing it again, I still employ plenty of younger people. Maybe in the summer while at uni, or waiting to go to it. Some are really keen and understand they're at the bottom of the food chain. Others know it all. Think what they're told is old and outdated and eventually get fired because they are not team players and real pains!


text:
Two Education Officials Join Brookdale Board
LINCROFT, NJ (Nov. 21, 2014) – Dr. Henry Cram of Long Branch and Paul Crupi of Ocean were sworn in as the newest members of the Brookdale Community College board of trustees during the board's Nov. 20 annual meeting in Lincroft.
Cram, a former teacher, college instructor and school superintendent, is current president of the Middle States Association of Colleges and Schools' (MSA) Commissions on Elementary and Secondary Schools.
In his nine-year career with the MSA, Cram has visited and worked with schools in Europe, Asia, Africa, the Middle East, Central and South America and the Caribbean.
He formerly served as director of professional development for the New Jersey Association of School Administrators and is a past recipient of the Education Best Practices Award from the New Jersey Department of Education (NJDOE).
Cram holds a doctorate in educational administration from Rutgers University, a professional diploma in educational administration from Fordham University and masters and bachelors degrees from Montclair State College and William Patterson College, respectively.
Crupi currently serves as legislative liaison for the NJDOE. He has previously worked as special assistant to the NJDOE's chief of staff and as a policy advisor in the Office of the Governor.
A lifelong Monmouth County resident, Crupi holds a master's degree in public policy from the Edward J. Bloustein School of Planning and Public Policy at Rutgers University.
Cram and Crupi replace outgoing trustees Lucille Jones and Brian Butch, both of whom had served on the board since 2005.


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All the candidates from all three churches along with Bishop Jack, Fr. Chris and Mark from St. Cross and Rev. Katy from Church of the Resurrection.
On the evening of Sunday, October 22nd, 2017, St. Cross held a Service of Baptism and Confirmation for a group of children and adults from our church and our neighbouring churches, Church of the Resurrection, the Good Shepherd & St. Barnabas and Church of the Apostles Miles Platting & St. Cuthbert.
There were eight candidates in all- Jordan, Hamid, Lisa, Dereck and Gloria from St. Cross; Carmen from Church of the Resurrection; and William and Jacob from Church of the Apostles. The service was led by Bishop Jack Nicholls, who we were pleased to welcome back to St. Cross, and it was wonderful to see so many of the families and friends of those being Baptised and Confirmed coming along to support them!!
The service was followed by refreshments and a chance to chat to old friends and new in the Church Centre- it was a lovely to welcome members of our close neighbour churches to St. Cross for such a special service!! We send our congratulations and continued prayers to all the candidates as they continue their Christian Journey!!


text:
package org.dbmaintain.structure.clear.impl;

import org.dbmaintain.database.Database;
import org.dbmaintain.database.Databases;
import org.dbmaintain.script.executedscriptinfo.ExecutedScriptInfoSource;
import org.dbmaintain.structure.constraint.ConstraintsDisabler;
import org.dbmaintain.structure.model.DbItemIdentifier;
import org.junit.Before;
import org.junit.Test;
import org.unitils.UnitilsJUnit4;
import org.unitils.mock.Mock;

import java.util.ArrayList;
import java.util.HashSet;
import java.util.Set;

import static java.util.Arrays.asList;
import static org.dbmaintain.util.CollectionUtils.asSet;

/**
 * Test class for the {@link DefaultDBClearer} to verify that we will keep trying to
 * drop database objects even if we get exceptions (until we make no more progress).
 *
 * @author Mark Jeffrey
 * @see MultiPassErrorHandler
 */
public class DefaultDBClearerMultiPassTest extends UnitilsJUnit4 {

    /* Tested object */
    private DefaultDBClearer defaultDBClearer;

    protected Mock<Database> database;
    protected Mock<ConstraintsDisabler> constraintsDisabler;
    protected Mock<ExecutedScriptInfoSource> executedScriptInfoSource;

    private static final String SCHEMA = "MYSCHEMA";
    private final Set<String> tableNames = asSet("TABLE1", "TABLE2", "TABLE3");

    /**
     * Configures the tested object.
     */
    @Before
    public void setUp() throws Exception {
        Databases databases = new Databases(database.getMock(), asList(database.getMock()), new ArrayList<String>());

        defaultDBClearer = new DefaultDBClearer(databases, new HashSet<DbItemIdentifier>(), constraintsDisabler.getMock(), executedScriptInfoSource.getMock());
        database.returns(tableNames).getTableNames(SCHEMA);
        database.returns(asSet(SCHEMA)).getSchemaNames();
    }

    /**
     * When we throw an exception on the first pass then it is ignored and we try another pass (which succeeds).
     */
    @Test
    public void testClearDatabase_IgnoreFirstErrorOnDropTable() throws Exception {
        database.onceRaises(RuntimeException.class).dropTable(SCHEMA, "TABLE2");
        defaultDBClearer.clearDatabase();
    }

    /**
     * When exceptions do not decrease then we throw an exception.
     */
    @Test(expected = IllegalStateException.class)
    public void testClearDatabase_ThrowExceptionWhenExceptionsDoNotDecrease() throws Exception {
        database.raises(IllegalStateException.class).dropTable(SCHEMA, "TABLE2");
        defaultDBClearer.clearDatabase();
    }

}

redpajama_set_name: RedPajamaGithub


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Dehradun Pilgrimage Tour Packages
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Chopta-Tungnath Trek
Chopta Tungnath trek is a relatively unexplored trekking destination, which is known for its mesmerizing scenic beauty. The trek towards Tungnath, the 3 from Tungnath takes you to Chandrashila, which is situated at an altitude of 4,000 meters above sea level.Chopta is blessed with rich flora and fauna as it is located in the midst of dense forests, with a beautiful floor of rhododendrons, interspersed by deodar and pine trees. During the first one and half kilometers, you will pass through a sea of brightly coloured rhododendrons and silver oak forests. Following this the vista opens to green alpine meadows which take you to the Tungnath temple.According to folklore, the arms of Lord Shiva are believed to have emerged here. On trekking a kilometer further ahead, you will reach the Chandrashila peak from where you get spectacular views of the snow capped peaks of the Himalayas glistening in the sun rays. The grassy meadows of the region make it an ideal spot for camping too.Chopta is well-connected by roadways connecting Guptakashi and Gopeshwar. The weather is lovely and the views are simply breathtaking.Best season: May to June and August to SeptemberDuration: 3 DaysAltitude: 3680 m
Chopta Tungnath Trek 2020, Uttarakhand
Rajaji National Park is both a national park as well as a tiger reserve which ranks high amongst the Places to see in Haridwar. The park was created by the amalgamation of 3 sanctuaries- Rajaji, Motichur and Chilla. The park is located in the Shivalik range of Himalayas and spreads over 820kms. The park is famous for its 600 elephants, 250 leopards, and 11 tigers along with other animals, who have been kept in the natural forest environment. It has now become the second tiger reserve of Uttarakhand after Corbet.Location -Ansari Road, Mohand Range, DehradunTiming- 6 am to 9 am & 3 pm to 6 pm. Visitors booking a full day safari can wait at the rest house inside the forest.Best Time to Visit - Park remains open from 15th November to 15th June. Park is closed during the monsoon season. Entry Fee - Rs. 150 per head for 3 hours visit. Gypse rate for 3 hrs safari trip is Rs. 2100 and vehicle entry is Rs.250 per vehicle with Indians and Rs. 500 per vehicle with foreigners. The guide cost is Rs. 600 for general guide and Rs.1000-1500 for experience in wildlife.History of Rajaji National ParkThe Rajaji National Park initially started as three separate national parks in Uttarakhand. The pre-existing natural abundance of the area, along with its thriving community of wildlife, flora and fauna and its idyllic weather served as the perfect premise for the establishment of these national parks. In 1964, a stretch of the Dehradun Forest spanning 90 square kilometres was declared as the Motichur wildlife sanctuary. The Rajaji Wildlife sanctuary had existed since 1948 and the Chilla sanctuary since 1977 in Shivalik and Lansdowne respectively.In 1983, these three parks were combined to form the Rajaji National Park as it stands today, which covers an area of over 820 square kilometres. In April 2015, Rajaji National Park received the status of a tiger reserve, making it the second reserve for tigers in Uttarakhand. It remains one of the most picturesque and well-maintained national parks in the country. The government decided to name the park after one of the most renowned freedom fighters of the country- C. Rajagopalachari, who was known as Rajaji. After playing a pivotal role in fighting for India's independence, he was also the last Governor-General of post-independence India. He was awarded the Bharat Ratna for his services to the nation.
Rajaji National Park Safari from Dehradun | Book @ 15% off
After Rajaji National Par, Malsi Deer Park is the most visited wildlife centre in Dehradun. This is a mini zoological park turned out to be one of the favourite picnic spots or hangout places in the city, ideal for family outings or school excursions. The herds of deer meandering freely in their habitat through the scenic Malsi reserve forest area ensures an amazing sight before the eyes of its visitors, incomparably beautiful. Unlimited number of birds can also be found inside the park together giving a mind blowing views. For kids, there are fun rides and space for games also. The weekend witnesses the flooding of people towards the park. The park is situated just 10 KM away from Dehradun city at Mussoorie Road.
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Aanand Shah Chardham Yatra Helicopter Package 2020 | Flat 20% off
I booked this helicopter package for my parents and they had a wonderful time there. They were highly satisfied & happy with their holy trip. The arrangements of stay, meals, transport all were well taken care of. They had proper darshan at all the temples. Thanks for the memorable trip
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text:
Fake News Apocalypse: How A Liberal Troll Took Down Several Major Fake News Websites Using Copyright Law
(Tue, 20 Jun 2017 08:05:56 Z)
In a delicious twist of irony a famous satirical fake news website manages to take down or seriously hamper dozens of "real" fake news sites using nothing but copyright law.
Here at Lead Stories we have a long history of debunking articles originating from "The Resistance: The Last Line of Defense", a website that constantly publishes fake news and hoaxes designed specifically to inflame conservative audiences gifted with a less than average level of intelligence. The author of the site (unmasked by Politifact as Christopher Blair) is quite open about the fact that he writes fake news specifically aimed at people he calls "Trumpsters" in order to make money from advertising:
I tell the stories to my control group of 125K imbeciles, professionally marketed to fit a specific demographic of human being: The Trumpster. The Trumpster will not only typically believe anything you tell them if it makes them angry, they will conceive things from headlines alone that boggle the mind.
They are the truly ill-informed and no amount of real information will ever change their minds. I've convinced them to embrace single payer because Trump said it made sense. I've seen them tear up their rights and agree that the government now own them. Toying with them is way too much fun.
In fact he was so good at creating viral fake news aimed at conservative audiences that "real" fake news websites started copy-pasting his articles verbatim while removing any indicators they were satirical in nature. "The Resistance: The Last Line of Defense" actually carried following disclaimer on its about page, along with several other subtle and not so subtle hints in the articles themselves:
DISCLAIMER: The Resistance may include information from sources that may or may not be reliable and facts that don't necessarily exist. All articles should be considered satirical and any and all quotes attributed to actual people complete and total baloney. Pictures that represent actual people should be considered altered and not in any way real.
We must admit we initially thought all the sites copying the content were part of the same network but an investigation by Buzzfeed revealed they were mostly owned by Albanian and Macedonian teenagers looking to make a quick buck off somebody else's work. This seems to have annoyed Blair a lot as evidenced by this snippet from the Politifact article mentioned earlier:
Fake news websites in places like Albania and Macedonia steal Blair's stories and repost them without credit. The sites are run by "a bunch of whiny teenagers," Blair said, noting that he has dealt with many sites by notifying service providers of the infringement and blocking some countries from accessing his site altogether.
Yes, a fake news author is concerned about plagiarism.
Recently he seems to have stepped up his game by going on a copyright infringement reporting spree as he writes in this article on Gopocalypse.com.
Blair's vitriol aimed at Buzzfeed might be explained by the fact that a recent Buzzfeed investigation by Craig Silverman caused advertising network RevContent to pull its ads from "The Resistance: The Last Line of Defense" (and from many other non-satirical fake news websites). Amusingly the Gopocalypse website is still running RevContent ads.
Key paragraphs from the Gopocalypse article:
Those "Russians" are actually a group of teenagers in Veles, Macedonia, formerly known as Yugoslavia. They own and operate a couple dozen pages with a few million fans and all they do is copy and paste whatever gets the most shares on a conservative page. My stuff gets mad shares, because it's sensationalist garbage and death hoaxes. These people, with no satire disclaimers, steal my stories and sell as them real. People get mad, call me a part of the problem, the news is still fake, yada yada yada.
They took it within minutes and spread it to a reach of millions. That not only hurt my own reach, it also turned me into the bad guy. So I did what I had to do. I started finding the bigger pages and reporting them to Facebook. What these copy and paste "news aggregators" don't understand is that I'm not some pass it along, reblogging shlep; all of my material is original, written by me and 100% my intellectual property.
That means I have the right to send Digital Millenium Copyright Act notices to take down my material to Facebook, their hosting companies and most recently, their advertisers. They all have the same policy: A DMCA taken notice is complied with unless the party files a counter-claim, under penalty of perjury, that the intellectual property is theirs.
Are you following? I know...TL;DR. Anyway, Facebook, GoDaddy, NameCheap and the rest of them are finally getting tired of these people and the trouble they cause. Today when I woke up, I was informed by one of my Macedonian "contacts" that 22 pages had gone down from Facebook. That right there is what you can call a successful campaign.
That's the "serious" version of the article. You'll also want to read the "fake news" version over at "The Resistance: The Last Line of Defense", trust us. Who can resist a title like "BREAKING: Donald Trump Takes Out MASSIVE European Fake News Empire With One Phone Call"? We couldn't.
Over the past year we've been actively tracking many of the copycat sites using our Trendolizer engine as a part of our overall monitoring of hundreds of fake news websites in order to be able to quickly debunk the most trending fake news articles (you can read more about that here on the website of The Poynter Institute).
And indeed : over the past few weeks we have noticed that several sites that regularily used to make the list of top trending fake news articles were no longer appearing in it. Many of them definitely used to be copy-pasting Blair's work. Here's a selection:
Completely offline: True Trumpers, True Americans, Usa Today News, Trumpers Online...
Lost their Facebook page: Daily USA Update (facebook), The USA News (facebook), Open Magazines (facebook), Red Info US (facebook), Conservative Info Corner (facebook)...
Lost their advertisers: Blue Vision News (seem Ad.content is gone), News Feed Hunter (dito)...
We have no doubt many of these sites will be back onine shortly under different names and with new Facebook pages but it will take them lots of time and money to rebuild their follower counts. An expensive lesson in copyright and one of the most interesting ways to combat fake news that we've seen so far. Kudos to Christopher Blair aka Busta Troll!
Maarten Schenk is our resident expert on fake news and hoax websites. He likes to go beyond just debunking trending fake news stories and is endlessly fascinated by the dazzling variety of psychological and technical tricks used by the people and networks who intentionally spread made-up things on the internet. He can often be found at conferences and events about fake news, disinformation and fact checking when he is not in his office in Belgium monitoring and tracking the latest fake article to go viral.
Read more about or contact Maarten Schenk


text:
North Korea /
Five reasons to visit Borneo
Situated in the heart of southeast Asia, Borneo is a unique biodiversity hotspot. Delve into the tropical rainforests, mountain ranges and coastal forests and discover the natural wonders and diverse culture of the Malay Archipelago. Come face to face with an orangutan (the intelligent 'Man of the Jungle'), sail on a tranquil river cruise or marvel at the magnificent architecture of Brunei's capital.
Bako National Park – for a chance spot proboscis monkeys
© gualtiero boffi, Shutterstock
Spellbinding Bako is Sarawak's oldest national park (and Malaysia's second oldest) and boasts 16 well-marked trails ranging from one-hour strolls to full-day treks. It's also tipped to be Sarawak's best park for wildlife experiences so come here to see a range of bird and monkey life as well as bountiful species of reptiles (including Borneo's only dangerous snake – triangular-headed pit viper). There are reputed to be some 280 proboscis monkeys here so chances of a sighting while trekking are high. Bako also has 25 distinct kinds of plant life and seven ecosystems. Remarkable!
Bandar Seri Begawan – where exotic Islamic traditions intermingle with impressive modern architecture
The cream-and-gold Sultan Omar Ali Saifuddien Mosque is an icon of the city © Peera_stockfoto, Shutterstock
BSB (as the locals call it) is an intriguing city. On the one hand, you feel you are in a place entrenched in trading history and Islamic exoticism, while on the other, is the emerging face of a 'modernised capital'. The city spreads out over 16km from the downtown area, which is hemmed in by riverside recreational areas, state-owned land, museums and ministries. Once you get past the logistical challenges and locate the most animated tamu (markets), the museums and mosques, the gorgeous green spaces and nearby beaches, you can join the locals and enjoy a high quality of life for a few days as well as some rich cultural experiences. And while you're here, make sure you try the street food: among the most delicious and immaculately presented in Borneo.
Sepilok Orangutan Rehabilitation Centre – to get close-up to the 'Man of the Jungle'
© Lisette van der Kroon, Sabah Tourism
Borneo is home to 90% of the world's orangutans and, with its innate magnetism and undeniable appeal, the 'man of the forest' – from the Malay orang for 'person' and hutan for 'forest' is a deserving mascot of the island. The orangutan is a protected species across Sabah, Sarawak and Kalimantan, but that has not put an end to the extreme dangers to the species' survival. Current numbers of orangutans living in the wild are estimated at between 20,000 and 30,000 – less than a third of the population in the early 1990s, and down from 55,000 in 2005.
Sepilok was set up to rehabilitate orphaned orangutans who had lost their parents and habitat through logging and has since become one of Borneo's orangutan-viewing hotspots. A boardwalk leads to the feeding platform, perched up in the trees about 25m from the viewing area. What a super way to get a close-up view of these charismatic creatures!
Southeast Sabah – for diving & rainforest experiences
© Sarawak Tourism
Between the islands, lagoons and straits of southeast Sabah lurks a treasure chest of marine biodiversity. Along the coast, hilly hinterlands are interspersed with some of Borneo's biggest tracts of enduring rainforest. Cocoa, rubber and coconut crops thrive in the fertile volcanic soils – though the landscape is increasingly dominated by large oil palm plantations. The region is inhabited by the Bajau Laut – maritime nomads whose ancestors set out from the Filipino island of Mindanao over 1,000 years ago. Many have now settled in stilt villages along the shores of the mainland as well as offshore islands and reefs. The Bajau remain closely connected to the sea, living on the coast and making a living from fishing and seaweed cultivation. Several local and international initiatives are under way to save the eco-region of the Sulu–Sulawesi seas. National Geographic magazine named it as one of the most diverse marine communities on earth – with nine times as many stony corals as the Caribbean Sea, and over twice the number found in the Indian Ocean. Six of the world's seven species of sea turtles dwell here, along with whale sharks, massive manta rays, and an incredible abundance of fish species.
Note that in recent years there have been security issues in this area – do seek out the latest advice before travelling.
Take a river cruise and stay in a longhouse in Sabah and Sarawak
The longhouses of some of Sabah's Rungus and Sarawak's Iban tribes welcome guests. In Sarawak, you can stay in quiet remote areas to experience local life. Longhouse accommodation is occasionally purpose-built, for those wanting to get a taste of tradition without living among a family. Most longhouse accommodation in Sarawak is in the Skrang, Lemanak, Batang Ai and Rejang river areas.
In the Batang Ai area, longhouse communities can be reached via a self-chartered longboat trip or on a tour – some of the upriver longhouse communities still live a relatively isolated and traditional life that's fascinating to observe. At Kampung Mengkak Longhouse (Rumah Burau, Mengkak; mob: 013 286 7451) on the Sungai Engkari, you can mingle with some of the 26 families who live in the 200m-long structure as they sit in the ruai (communal veranda), drinking tuak (rice wine) and making handicrafts. The locals demonstrate their blowpipe skills, perform dances and play music in traditional dress on request, but with far more personality and passion than you could ever expect in a city cultural show.
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