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As Putin's reelection looms, online propaganda wars rage in Russia
Putin wants the Russian presidential election to prove his legitimacy, and his supporters have turned to YouTube, Instagram and Facebook to drive voter turnout
By Alexey Kovalev
Konstantin Zavrazhin/Getty Images
If you're Russian and engaging with even remotely political content, using Facebook, Twitter or YouTube is incredibly frustrating these days. Bot and troll infestation has reached 2014-2015 levels, when Russia was engaged in an all-out conventional and propaganda war with neighbouring Ukraine and the rest of the world. But, curiously enough, thousands of bots and hours of propaganda videos on YouTube and social media aren't so much promoting Vladimir Putin as pushing the idea of voting in general, in order to boost the turnout.
Why is the turnout so critically important this time? There is no doubt that Vladimir Putin is going into his fourth term as the Russian president after winning by an enormous margin. Other candidates on the ballot are trailing behind him in the polls with just a little over 30 per cent between the seven of them.
But simply winning isn't enough for Putin. Leaks from his close circles betray a deep sense of insecurity over his legitimacy. Back in 2016, Russian news outlets reported that the target set in the president's administration for the 2018 elections was '70/70', as in 70 per cent of votes cast for Putin at 70 per cent turnout.
And the latter turns out to be a much more elusive target. Putin is safely set to win his fourth election against seven candidates who aren't – with some notable exceptions – even pretending to oppose him. Most aren't even campaigning and are quite content with 0.2 per cent that the most generous polls give them. The one candidate who explicitly says she opposes Putin, the ultra-liberal internet darling Ksenia Sobchak, has said that she's not actually interested in winning – not that she stood a chance at two plus per cent in the polls.
What Russia is really up to with its bold Covid-19 vaccine plan
This certainty of Putin's triumph is a catch-22: even his earnest loyalists couldn't be bothered to vote, because what's the point? Their candidate is winning anyway. But Putin doesn't want to be the president of the few factory workers and public servants coaxed to the polling stations by their bosses with the promise of an extra day off. He wants actual legitimacy – and that means convincing the otherwise apathetic voters to turn up at the polls.
Voter mobilisation in 2018 is unprecedented, and the internet, especially Western social media platforms, are playing a crucial role. YouTube is a particularly intense battleground, with bots furiously up-voting pro-Putin and pro-election videos and down-voting the opposition.
Last week I went on an independent political talk show, broadcast live on YouTube. Within minutes of going on air, the broadcast got at least 3,000 dislikes. Which meant the video never appeared in anyone's recommendations, it quickly sunk in the ratings and its view count stopped at 16,000 views. Before this sustained bot attack, videos from the same channel would routinely attract millions of views. The same has happened to many other videos and channels critical of Vladimir Putin or calling to boycott the March 18 presidential elections.
Facebook has banned Britain First. Here's who it should ban next
The now globally infamous "troll factory" in Saint Petersburg – one of several such establishments, in fact – has also been active as ever, true to its original purpose of influencing hearts and minds domestically. Whenever you are responding to a tweet by an anti-Putin political activist or are retweeted by them, it opens a portal to an inferno of verbal abuse and threats from identically faceless accounts retweeting each other by the hundred. Critical voices are attacked as "foreign-funded saboteurs."
Instagram in Russia isn't much different from the US where 'influencers' are peddling products to millions of followers. Only in Russia the same reality show stars and beauty bloggers have all overnight turned into civic-minded voters and are all praising the streamlined procedure of absentee voting. None are marking their posts as ads or disclosing their relationship with an ad agency or the Central Electoral Commission.
The list of these tricks goes on and on, but what's uniting them all is the heavy reliance on Western digital platforms for all kinds of propaganda: from traditional public service announcements to uncredited attack ads and online harassment of opponents. None of these platforms are doing much to protect their users from the latter – trolls are even exploiting Facebook's opaque terms of service to mass-report and ban opponents – and there's little indication that they are putting users' interests above those of the state.
Threats from Russian officials to ban this or that tech giant from Russia often make the headlines, but the reality is that the two are codependent. Russia is a lucrative digital ad market, and its government heavily relies on social media for propaganda. Facebook has recently appointed a policy representative for Russia, which means its regular meetings and talks with Russia's media watchdog Roskomnadzor are now happening on a government level, with a Foreign Ministry official present. The result is that it's unlikely that 2018 will bring either a blanket ban on Western social media in Russia – or a toning down in government-sponsored trolling and online censorship.
Alexey Kovalev is managing editor at Codastory.com
Chinese hackers targeted major UK companies as coronavirus raged
By Matt Burgess
The decimation of Isis on Telegram is big, but it has consequences
By Charlie Winter and Amarnath Amarasingam
Twitter needs to start exposing the UK's murky online propaganda
By Laurie Clarke
A bitter turf war is raging on the Brexit Wikipedia page
By Matt Reynolds


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package org.apache.kafka.streams.tests;

import java.util.HashMap;
import java.util.Map;
import java.util.Objects;

/**
 * Class for common convenience methods for working on
 * System tests
 */

public class SystemTestUtil {

    private static final int KEY = 0;
    private static final int VALUE = 1;

    /**
     * Takes a string with keys and values separated by '=' and each key value pair
     * separated by ',' for example max.block.ms=5000,retries=6,request.timeout.ms=6000
     *
     * This class makes it easier to pass configs from the system test in python to the Java test.
     *
     * @param formattedConfigs the formatted config string
     * @return HashMap with keys and values inserted
     */
    public static Map<String, String> parseConfigs(final String formattedConfigs) {
        Objects.requireNonNull(formattedConfigs, "Formatted config String can't be null");

        if (formattedConfigs.indexOf('=') == -1) {
            throw new IllegalStateException(String.format("Provided string [ %s ] does not have expected key-value separator of '='", formattedConfigs));
        }

        final String[] parts = formattedConfigs.split(",");
        final Map<String, String> configs = new HashMap<>();
        for (final String part : parts) {
            final String[] keyValue = part.split("=");
            if (keyValue.length > 2) {
                throw new IllegalStateException(
                    String.format("Provided string [ %s ] does not have expected key-value pair separator of ','", formattedConfigs));
            }
            configs.put(keyValue[KEY], keyValue[VALUE]);
        }
        return configs;
    }
}

redpajama_set_name: RedPajamaGithub


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Home » Astro Speaks » D Kumar
D Kumar - Astrologer
Expertise: Vedic Astrology
Experience: 12 years of experience
Exp : 12 years
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About Astrologer
A very well-read person, Kumar is a post-graduate in four disciplines — Psychology, Counseling & Psychotherapy, Public Administration and Astrology. He also holds various post-graduate diplomas such as Human Resources Development, Guidance and Counseling. To top it all, he completed his graduation in Academic Laws and obtained his B.A.L. Degree. That he is also a gifted classical musician is another feather in his cap. His grandfather was a prominent personality who provided honorary astrological services in Tiruchirapalli from the 1960s to the 1980s. His mother too is a practising astrologer who offers honorary services.
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redpajama_set_name: RedPajamaCommonCrawl


text:
Blurtit.
What Does The Name Krista Mean?
Anonymous answered
Follower of the lord jesus christ my name is krista also haha
Thank Writer
thanked the writer.
blurted this.
Sweet loving and caring
Anointed follower of christ!!!!(my name is krista)
Its a girlier name for Kris. (my name is also krista. Small world)
Krista is my name :). It means follower of Christ. I'm a christian too :).
It means "follower of Christ". My name's Krista too,and I hate it,I'm Spanish and here this name is very very strange.
Akshay Kalbag answered
Krista is a feminine name. It is either of English, German or Scandinavian origin. It is a diminutive form of the female name Christina or Kristina, which means Christian.
Other related names of Krista are Cairistiona, Carsten, Chris, Chrissie, Chrissy, Christa, Christabel, Christabella, Christabelle, Christel, Christelle, Christen, Christer, Christi, Christiaan, Christian, Christiana, Hristina, Karsten, Kerstin, Kia, Kiersten, Kilikina, Kirsi, Kirsteen, Kirsten, Kirsti, Kirstie, Kirsty, , Kyrsten, Stiina, Stina, Tiana, Tianna, Tiina, Tina Tine and the list goes on
It was declared the 591st female name on a list of the top 1, 000 female baby names in the United States in the year 2005 and the 385th name in an overall list of the 1, 000 most popular female names in the United States in the year 1990.
What Does The Name Julia Mean?
Meanings of Names
Julia is a Latin name which means "gentle" or "youthful". The same meaning applies to other forms...
What Does The Name Arielle Mean?
Arielle is a hebrew name which means "lioness of god". Its root version, Ariel, is also known in other...
What Does The Name Deanna Mean?
Deanna is a Latin name, meaning "valley", which can also be known as Deanne, Deana and Deena....
What Does The Name Melanie Mean?
Melanie is a female Greek name, often shortened to Mel or Mellie, this name means "dressed in black"...
What Does The Name Andres Mean?
Andres is the Greek version of the name Andrew, and is thought to represent manliness, courage and vigour...
What Does The Name Hilda Mean?
The name Hilda means protector and originally comes from Scandinavia, making it a Scandinavian name....
What Does The Name Brent Mean?
Brent is an Old English name meaning "fiery hill". Brentan is a lengthier version of this male name....
What Does The Name Valerie Mean?
Valerie is a French name of Latin origin which means valour or strong or even healthy. Though it is a...
What Does The Name Sandra Mean?
It can be taken as a derivative (diminuative) of either Cassandra or Alexandra. Alexandra...
What Does The Name Natalie Mean?
The girl's name Natalie is pronounced NAT-a-lee. It is of Latin origin, and its meaning is "birthday."...
Where Did The Name Bon-fire Come From?
The Name "Yahu" ... What Does It Mean ?What Does The Name Yahu Mean In Hebrew?
What Is The Name Of All Prime Ministers Of Pakistan From 1st Day Still Now?
What Is The Scientific Name Of Amoeba?
What Does The Last Name 'Lowell' Mean?
For My Family Surname, How To Find A Coat Of Arms?
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What Does The Name Steven Mean?
What Does The Name Angela Mean?
What Does The Name Ria Mean?
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I have memories of hearing about an aerobatic manoeuvre, a Knickerbocker. Problem is, I can't find any references to it. I'm starting to think it was all a dream - did it exist? Does it go by another name?
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The effect of social anxiety on urge and craving among smokers with and without anxiety disorders.
Despite the often social nature of smoking, relatively little research has been conducted on the relationship between smoking and social anxiety disorder (SAD).Participants (N=99) included 34 smokers without current mental health disorders, 37 smokers with SAD, and 28 smokers who met criteria for other anxiety disorder diagnoses (e.g., panic disorder or generalized anxiety disorder, but not SAD). Nicotine and placebo patches were administered to participants in a counterbalanced manner across two assessment days. Urge and craving were assessed before and after a 5-h nicotine absorption/deprivation period.Compared to smokers without current mental health disorders, smokers with SAD did not report greater nicotine dependence, but did endorse greater motivation to use nicotine to avoid negative outcomes. In addition, after controlling for demographic variables, smoking characteristics, pre-deprivation urge and craving, and other anxiety/depression symptoms, social anxiety symptoms uniquely predicted urge and craving in the placebo patch condition; however, social anxiety had no influence on urge and craving in the nicotine patch condition.These findings suggest that one potential reason that smokers with SAD may have worse cessation outcomes is that they may experience higher levels of craving and urge to smoke during quit attempts. Thus, during a quit attempt, particularly in the absence of nicotine replacement therapy, smokers with SAD are likely to benefit from additional treatment aimed at managing or reducing their social anxiety symptoms.


text:
Q: How to get date type format? I have a date in yyyymmdd format dataframe
ex.
df= data.frame(dat = seq.Date(from= as.Date("2021-01-01") , to = as.Date("2021-01-07"), by =1))

I want to create a column of strings in this format:
example : 2021-01-07 should look like 07-JAN-21

A: toupper(format(date_column, "%d-%b-%y"))

here is the premise
> df$dat <- toupper(format(df$dat, "%d-%b-%y"))
> df
        dat
1 01-JAN-21
2 01-FEB-21
3 01-MAR-21
4 01-APR-21
5 01-MAY-21
6 01-JUN-21
7 01-JUL-21

redpajama_set_name: RedPajamaStackExchange


text:
Kitsap Transit receives $13 million in federal relief funding
Christian Vosler
BREMERTON – Kitsap Transit will get more than $13 million in federal funding to help keep buses and ferries running while the agency grapples with a steep decline in ridership and sales tax revenue due to the coronavirus outbreak.
The funding is a small slice of the $25 billion allocated to transit agencies across the country in the federal coronavirus relief package passed by Congress last month. Transit agencies in the Puget Sound region – including Kitsap, King, Pierce and Snohomish counties – collectively received $538 million in CARES Act funding.
It's a shot in the arm for Kitsap Transit, which has seen a precipitous drop in bus and ferry ridership since early March. But the total impact of the economic crisis is still unclear.
"It's basically going to keep us operating while we figure out what the long-term effect of this is going to be," Kitsap Transit executive director John Clauson said.
Kitsap Transit is anticipating a large hit to its sales tax revenue for March. Just how much won't be clear for some time, Clauson said, because the state takes a few months to pay out sales taxes to transit agencies. But early projections estimate Kitsap Transit could lose anywhere from $6.6 million to $15.5 million in sales tax revenue. The ferries, which are funded by a separate sales tax, could lose between $2.5 and $5.8 million. Sales tax makes up nearly 90 percent of Kitsap Transit's revenue base.
Ridership has also dropped significantly. Last month, Kitsap Transit cut bus service by 35 percent and stopped collecting fares on buses and ferries.
While the CARES Act funding will help offset Kitsap Transit's sales tax shortfall, it likely won't cover the additional coronavirus-related expenses like extra cleaning crews, paid family and sick leave, and protective equipment.
"The thing I'm grateful for is that because this is unchartered territory, we've never been here before with this, that it's going to allow us to keep operating while we figure the long-term effects, and how long is that term," Clauson said.
How much the federal funding will help depends on how soon the economy can get back up and running, said Justin Leighton, executive director of the Washington State Transit Association.
"I think that it's too new, and that's why we consider this one of multiple phases that Congress can do to alleviate the pressure," Leighton said.
The federal funding can be used to cover operational expenses dating back to Jan. 20, pay administrative leave for transit workers, purchase personal protective equipment or cleaning supplies, or for capital projects.
It's not clear yet if the money can be used to shore up lost sales tax revenue, something WSTA is pushing for.
"I'm arguing that we make it flexible," Leighton said.
The federal funding will be a boon to transit agencies in Washington, but more will be needed to return service levels to pre-pandemic levels, Puget Sound Regional Council director Josh Brown said. PSRC distributes federal transit funding to local agencies.
"We're still in the middle of this crisis, all indications (are) that even if sometime in May we begin to reopen the economy this is probably going to be a slow roll," Brown said.
For Kitsap Transit, the damage depends on the severity and duration of the recession.
In a presentation to the Kitsap Transit board of commissioners Tuesday, finance director Paul Shinners outlined three different scenarios – how the agency would fare in the event of a 15%, 25% and 35% dip in sales tax revenue for the rest of the year.
Using the CARES Act funding and the $4 million in Kitsap Transit's reserves, the agency should be able to sustain a sales tax hit of about 25 percent through the end of 2020, Shinners said.
Beyond that, Kitsap Transit's financial picture is murkier. Compared to the 2008 financial crisis, the economic downturn brought on by COVID-19 has been much more sudden and severe. It's not clear right now what recovery will look like, Clauson said.
Even after restrictions are lifted, riders will likely be slow to return to public transit. Some employers may opt to continue to take advantage of teleworking.
"It's trying to predict what's going to happen, how quickly the economy will come back, how quickly confidence levels in riding public transit will come back," Clauson said.
Kitsap Transit implemented a hiring freeze last month and has not laid off any employees. As restrictions are lifted, Kitsap Transit's goal is to get the public transportation system back up and running as quickly as possible.
Leftover doses? Standby lists? Looking for a COVID-19 shot? Here's where to look. Fully vaccinated against COVID-19? CDC says it's safe to travel but still recommends staying home Washington vaccine eligibility expands to all age 16 and up April 15 How full are Washington hospitals? Track capacity levels
The agency has also been going through its budget to look for savings. One potential expense that could be cut is the fast ferry reservation system, which costs about $85,000 a year. In a worst-case scenario, Kitsap Transit could use about $10 million slated for the construction of the Silverdale transit center to sustain operations.
"Worst comes to worst, we delay construction projects and reassign that money," Clauson said.


Tunnel Vision is a "cybertextual" interpretation of Mark Strand's poem, "The Tunnel." The project, which uses open-source motion-detection software in conjunction with a standard webcam, uses the position and size/force of a user's movements to effect the way in which the poem is presented. When the user moves, h/er movements make visible sections of the poem, and as s/he moves, different parts of the poem are presented. When s/he stops moving, the poem disappears.
The combination of a motion-tracking system and original programming, which creatively extends the data from the motion-tracker to the presentation of the poem, is the basis for our allegorical reading of Strand's psychological poem, a poem about the "other inside of us." Whereas Strand's poem is about a psychological fight with an other/stranger, ours is about the ambivalent dynamic that many of us feel with technology-as-other. When a user has to move around, bob their head, and/or wave their hand to see/read the poem, our hope is that they will realize they are acting a bit like the protagonist in Strand's poem, who desperately tries to scare the other/stranger away. (You can't scare your technological other away.. it's always already part of you).


They support printing from the Universal Print Driver but their functionality is limited. Image Unavailable Image not available for Color: And by first confirming printing backlogs, errors, and warnings, you can choose the printer that will get your job done the fastest. Are you in United States? Go to main contents. New Installer screen Click for larger image.
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The Scoundrel & Scamp Theatre
A Magical Storm
November 25, 2019 / Leigh Moyer	/ Leave a comment
by Marguerite Saxton
A bed, bathed in violet blacklight, hovers. It serves as a token to magical realism. This type of storytelling doesn't do the work for you. Instead, it allows you to engage with the magic and the real for yourself. For those not familiar with the term, magical realism is an artistic genre in which fantastic elements appear in an otherwise hyper-realistic setting. Though authors and artists worldwide incorporate it in their work, it is strongly associated with Latin American literature and art. High-profile examples include Julie Taymor's film Frida and Gabriel García Márquez's novel One Hundred Years of Solitude. Cloud Tectonics, written by José Rivera and here directed by Bryan Rafael Falcón, features a rare-for-Tucson glimpse into this type of surreality.
Azúl Galindo as Celestina del Sol. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
From the moment the female protagonist Celestina del Sol, played by Azúl Galindo, appears, we feel the uncommon nature of this play. We meet her in the bizarre madness of a Los Angeles typhoon. She, a wandering woman with a pretty obvious predicament, lucks out with a ride from the benevolent but emotionally wounded Aníbal, played by Marc Pinate. What develops is a swirling layer cake of happenings.
If you want simplicity, this isn't your show. Don't expect answers — you may leave confused. But isn't that fun? Well, I enjoy that kind of story.
See, without linear explanations in the way, the eccentric stray thoughts of people have more space to solidify blurred edges of this tale. The performance has an overall disorienting feeling due in part to the innate quirks of these characters. But more so, Galindo's cadence is markedly off-beat and this lends to a strange affect. Her chemistry with Pinate's character is odd yet, one has to ask, is this by design? Is this a byproduct of the phenomena of forced intimacy in surreal romantic plots or could it be related to our basic perception of time, how it folds upon itself, how it shape-shifts in our memory? Does the macho superego of Aníbel's brother Nelson, played by Cole Potwardowski, have to be so antagonistic; does all of the affection have to be so extreme in order for us to get the playwright's intent? And most pressing, who/what is Celestina? Well, you choose.
Between long spaces of silence are welcomed interjections of TV static and radio noise. Touches of absurdity in minor key tones and tinny vignettes projected into vintage microphones help us realize that time has become irrelevant. As one watches this performance they may ponder their geography as an audience member, where the characters have gone, and whether it even matters.
The silent, rhythmic set assemblages add a subtle homage to magic. Between scenes, amongst muted blue light, two technicians move in unison like otherworldly helpers. They float throughout the set, rearranging elements in order to bring new life to the stage. In one particularly moving moment they methodically disassemble the house — and one cannot help but extend the metaphor further: the dissolution of a home – the breaking of a heart -the haunting in one's head. Their eerie presence accompanied by the sustained raindrops and shaking thunder claps gives the illusion of a controlled chaos; that it is indeed, much crazier "out there".
There are some links to grander, worldwide issues and if one is willing, they may sense a commentary on sanity, the well-being of young women, and how a culture's relationship to time has major implications on its people. But trying to keep up with the who, what, and when of this production is complicated. The unique and pleasing challenge of Cloud Tectonics is allowing oneself to embrace the ambiguity of it all. As Celestina says, "Time and I don't hang out together."
Cloud Tectonics runs from November 21st through December 8th at the Scoundrel & Scamp Theater, located at 738 N. 5th Avenue. Tickets can be purchased by calling (520) 448-3300 or visiting https://scoundrelandscamp.org.
The Little Prince is Pure Magic
October 21, 2019 October 21, 2019 / Leigh Moyer	/ Leave a comment
by Chloe Loos
The Little Prince is my favorite book. When I was a little girl, my mother introduced me to the world of the enigmatic prince and all the characters he meets throughout his travels of the universe. I didn't, as most children don't, quite grasp the eternal life lessons this book has granted me. As I've grown, I find myself drawn to quotes from the book that give me clarity. Many of us likely have a similar bond with Antoine de Saint-Exupéry's 1943 novel. Entering the star-strung set, all of my nostalgia came to light.
Kate Cannon (middle) as The Aviator with Julia Balestracci (left), Gretchen Wirges (right), and Lance Guzman (bottom). Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
The Scoundrel & Scamp's adaptation of the novel, translated by Claire Marie Mannle, and adapted and directed by Holly Griffith, delivers everything I so love about this book. I can't remember the last time that I was so enthralled with a piece of theatre. It's magical, it's beautiful, it's funny, it's poignantly sad, and every line is filled with deep truths and wisdom. It is in this space that we hear big truths from the little voices of both the prince both on stage and the one within us.
Cole Potwardowski as The Lamp Lighter and Ryuto Adamson as The Fox. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
The ensemble cast, led by Kathleen Cannon as The Aviator, glided through this piece of work with grace. Attention was directed and kept so well; I would be so caught up in a performance that I wouldn't notice the utter magic happening on stage until they reminded me to look for it. While every single performer had moments where they either made me laugh or sometimes brought me to tears – sometimes at the same time – special shout out to Gabriella de Brequet's performance of the Rose, Cole Potwardowski as The Lamplighter, Ryuto Adamson as The Fox, and each one of Gretchen Wirges' many characters. The ensemble was so strong and so striking in the physical, vocal, and character work that I sometimes forgot this wasn't a cast of 30.
The performers navigated the tonal shifts and transitions with beauty and were strongly supported by music director Feliz Torralba. Torralba's playing underscored multiple moments to the point that she and the music felt like another member of the ensemble. Her strong use of musical motifs helped us journey through the plot and tethered us to characters and emotions felt by the characters on stage and the audience.
In addition, the stagecraft was truly out of this world. The set featured a revolving platform and twinkles of starlight, supported by the incredible lighting (Raulie Martinez) which took us from day to night through sunrises, sunsets, dusk, and twilight. The props were childlike and simple but imbued with a sense of playful awe. No wonder we adults still go to the theatre. Kids go, too. I stayed for the talk back and a little boy, no more than 8, asked a question about what The Prince did after the end of the story, to which Griffith noted was the same sort of question the aviator would ask. This shows that the work we choose to do, as theatre makers, matters. By allowing a space to wonder, to hope, to welcome, the art done impacts hearts and minds of all ages.
Finally, I can't remember seeing a production this diverse in a long time. Out of nine on-stage bodies, there were six women, half of whom were women of color, and three men, none of whom were white. The creative team was primarily made up of women as well. The variety of performers in this production reminds us that there is so much space for love, acceptance, and voices, if we only let them on stage. Through The Little Prince, those of us in the audience, especially those tired or excluded by lack of representation are reminded, simply, that this story is for all of us.
The Little Prince runs through Sunday, November 3rd at The Scoundrel & Scamp Theatre. Tickets may be purchased online at scoundrelandscamp.org, by calling the box office at (520) 448-3300, or in-person an hour prior to the show.
The Nexus Between Life and Death Will Always Be Found in Nature
October 4, 2019 / Leigh Moyer	/ Leave a comment
by guest reviewer Richard Thompson
The nexus between life and death will always be found in nature. It's only natural. It's not just the sounds of innocent children's laughter and birds chirping in the prelude or the cacophony of jungle beasts making feral noises when finding a seat in the auditorium of The Scoundrel & Scamp Theatre. Life abound is felt; nature is imbibed. Yet, these stages in life wouldn't tell the complete story of nature without the aged glass cases that stood as sad celebrity sarcophaguses to dead beetles, moths, and scorpions. And in the end, the production Herman: The Naturalist takes us through every facet of life and death, only to be reborn. With a nice red radio to boot.
Grant Bashore in Herman: The Naturalist. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
Inspired by stories learned of his family's past, Grant Bashore takes on all aspects of nature and life inextricably tied to us through a series of narratives between individuals. The story begins far in the future, introducing us as an alien research team approaching a now mostly decimated earth where the hope and folly of humanity are explained through the lasting words of a mysterious school-bus-turned-museum owner who may or may not have made it out of Guatemala in the mid-1900s. I'll let you take that in.
Bashore takes the performing lead and transforms into each of the five characters with such distinction that each character seemed to be performed by a different actor. T, the alien captain and leader to the audience, provides the setting, tells us why we are here, and where we are going. He uses a finely tuned mix of audience recognition, without audience engagement, that provides smooth transition between scenes and, when questions are asked of us they are both rhetorical and answerable.
Grant Bashore as T. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
The family members of the now worshipped title character Herman retain a 20th-century Midwestern tint and are represented in reenacted interviews discussing how each member is facing the reality that a family member may be gone. "Dead" seems to be too hard a word to say. No one wants to acknowledge death, but even as the words try to slip out of Stewart, Herman's older, stoic brother, even he couldn't recognize the truth he knows inside.
As these various narratives are told, Bashore utilizes familiar forms of communication for both humor and introspection. From faded interviews, real reenactments, memories, and musical interludes integrated with contemporary movements highly influenced through Stanislavskyian form, his skills of blending mime and spoken word provide layers of emotion and meaning to even the subtlest of movements. It's this physicality that elevates this theatrical art form.
Staged and choreographed with Rick Warner, Bashore dominates the stage with an undeniable physicality. Trained in active analysis his mastery of phsycophysicality through proprioception provides a performance that exemplifies a true understanding of decision and gesture that elevates methods of physicality and movement in the performing arts. At each moment, the audience can see the inception of a character's motivation, extending into the decision each of these people make before they even decide to react. It's a testament to his ability to transform into… anything on the stage. Fingertips turn to raindrops, palms and forearms turn to oceanic life, and even a low-rhythmic bounce of a worn-out bus as its fatigued drivers prepares to move on.
This storytelling could not be done without the deft management behind the production's light and sound design. Lighting Designer, Lawrence Ware, along with Bashore, devised an integration of extreme opposites in light and dark that will both comfort and confuse the audience. While keeping with pure whites and blacks, Ware also infused many moments with deep reddish hues that feel like death is the only recourse, while breathing a sense of relief back into the scene with a variety of blues that fend off the plight brought from the ominous reds.
Much of the production relies on sounds, music, and auditory effects (created by Bashore and Assistant Sound Designer Christopher Hill). The amazing use of engine noise, sound skips, and instrumental pieces heighten the visuals on stage. The set design was minimalist with the exception of an old burgundy radio that was resting on its side, allowing for Bashore to provide the world we would be envisioning. This minimalism is stretched to most of the costuming, but it needs to be noted that Costume Seamstress Callie Hutchison was able to weave an impressive collection of outfits that touch science-fiction sensibilities while retaining its foundation in the world without taking us out of the story of a man named Herman.
This minimalism extends to a lack of women in the cast. While the FireFly Gang comprises of an up and coming actress already showing stage presence (Willow Falcón), the majority of women's influence in the piece is relegated to off-stage roles.
It can hardly be surprising that a one-man physical performance would have very few mentions of women, and even more difficulty in properly representing the opposite sex without it turning into an absurd – or thoughtless – characterization, as opposed to a relatable character. However, there are no words that properly illustrate the haunting transition of voice when Bashore is reading journal entry as Florence, only to transform into Herman himself as he is writing the excerpt she is reading. There are not enough tissues to prepare one for that.
Herman: The Naturalist asks the audience to accept the entirety of nature. We can't float through life like the children at the prelude (Marco Amoroso, Sebastian Falcón, Willow Falcón), run away from life and its expectations like Herman's father, ignore and deflect our personal hurt like Florence, or just pretend it's all okay, like Herman did. We have to hope. Hope for life. Hope for ourselves. Hope for others. Hope for something more than us. And maybe, even, hope for a run-down school bus turned into a museum by a man named Herman.
Herman: The Naturalist runs through Friday, October 11 at The Scoundrel & Scamp Theatre. Tickets may be purchased online at scoundrelandscamp.org, by calling the box office at (520) 448-3300, or in-person an hour prior to the show.
About the guest reviewer:
Richard Thompson (Actor) was born in Kokomo, Indiana. He has no relevant education from any formal institution in theater or film. His writing career comprises of columnist work for The Arizona Daily Star, editor for Persona Magazine, content creator of Looking Back manuscript for P.C.C., Sandscript Magazine contributor, and editor and columnist for Gourmet News for which he received a James Beard nomination for his article, "Holy See-Food". He is also a Hearst Poet and a published IEEE author (2018-2019), as well as a technical writer whose proposals, grants and speeches have totaled in over $250k in gained between 2016 to now. Since 2017, The Community Players produced his stage play, Last Call, followed by performances in No Admittance (Bill Bowen) and One Flew Over a Cuckoo's Nest (Chief), numerous Radio Theater shows, backstage crew for 'Shakespeare in the Park' (A Midsummer's Night Dream) as well as multiple roles in musical shows. In 2018, he worked under Eugenia Wood in Hark, with Ron Athey, Cassils, and Arshia Fatima in Cyclic, and produced his original manuscript The GRANDest Pageant. Films include Rise, The Righteous Twelve, and The GRANDest Pageant. In 2019, he founded Graveyard Production Company (www.gyproco.com) and will perform Exist.
Old and New Favorite Stories This Season at The Scoundrel & Scamp Theatre
August 12, 2019 August 12, 2019 / Leigh Moyer	/ Leave a comment
Editor's Note: This is the tenth in a series of interviews with creative decision makers and artistic directors at all of Tucson's theatres as we look forward to the 2019-2020 season.
Building empathy and expanding what tribe means to us, one show at a time, with Bryan Falcón.
by Leigh Moyer
What makes a Scoundrel & Scamp show? Well, according to Artistic and Co-managing Director Bryan Falcón: "At the heart there's really the question of does the show have a mixture of heart and mind? Does it have a sense of mystery to it? Is there a little touch of whimsy? And is there duende that's living underneath the surface?"
For those of you like myself who are unfamiliar with duende, it's a figure from Latin American fairy tales: a mischievous spirit that lives in the walls of homes. While the term might be new to some of us, those familiar with the shows that The Scoundrel & Scamp Theatre produces will recognize it immediately. Not all their shows have spirits, but they do tend to have a personality of their own, an extra life beneath the surface, changing what seemed like a straightforward story into something else.
That layered depth is alive and well in their first production, The Little Prince. A crashed aviator is confronted by a young prince exploring nearby worlds, and, with the innocence of a child, questions and ridicules the strange habits and priorities of adults. The Scoundrel & Scamp version aims to ask a classic loved by generations some of the same questions. Upsetting expectations, like taking traditional gender expectations and casting roles like the Aviator as a woman, intend to ask the questions of why things have been done one way and not another and, hopefully, answer them skillfully.
Falcón gushed about all the plays this season, about the mystery and joy he hopes each of them bring audiences, but one stands apart from the group: "In Cloud Tectonics there's a search for who we are. It is a story that is near and dear to me. It's a beautiful love story set against the backdrop of magical realism. A man living a mundane life, separated from the passions that filled him when he was young. It is his journey to look for the things that made him who he is and doing so through remembering Spanish and remembering the foods of his youth. These are things that speak to me as a Latin artist growing up in the United States."
He continued, "I think border issues are on my mind a lot these days and the weight of our tendency to 'other' people. A lot of othering comes from a struggle to find our own people. We are hungry for an identity, something that we can believe in, that we feel is good and upright. And it's so important for Tucsonans to be in tune with. How do we go through that process of finding what's important to us, what gives us passion, what gives us reason to live? Cloud Tectonics is a really good story for our community today."
Much of what he spoke about wasn't about the content of the plays, but the issues he hopes they bring to light — namely, the issues of hate, intolerance, and a lack of basic empathy for others — and the conversations he hopes they will spark in audiences. Beyond border issues, the political climate of 2019 is on Falcón's mind and that concern makes itself known in the productions to which he is drawn.
"I think that's interesting, tracking how our society has changed in the course of the last three years. And there's a lot of argument to say it has changed recently, right? But in other ways, at a basic level, we haven't changed a lot. It feels like we are inclined as a society to draw boxes around identities and say this is our tribe and we are going to just cheer for our tribe and just tear down the other tribe as much as we possibly can. And I feel that now it's just as important, if not even more acute, that we set up situations where that conversation can happen across the table in the lobby of a theatre or in a talkback session where you can start to feel, to step into the identities of other people, start to understand what it is that hurts them, what is it that fires them up and makes them passionate. And start to have empathy so we can real conversations instead of pointing fingers at each other and labeling them bad people."
Empathy is key, not just in this conversation, but in the mission statement of the theatre. Falcón stressed that showing a variety of voices and viewpoints was the foundation of each season. It can be challenging, he admitted, as the history of play-writing does not always lend itself to telling stories outside of a certain sphere. But that is where he and the Scoundrel & Scamp creative team, which includes Elizabeth Falcón and Claire Mannle, come in. He explained that he might find a season he is excited and passionate about, but then realize it all comes from one perspective. And when that happens, he says, "We scrap it and begin again. It takes a lot of time and effort but it is so important to our identity as a theatre company to have that sense of diversity and multiple lenses for those coming to see a play."
The cast of the 2018-2019 season production of This Girl Laughs, This Girl Cries, This Girl Does Nothing. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
Falcon seems to see his role as artistic director as a humanistic duty or community obligation. "We're really in the business of growing empathy for others through addressing concerns of the heart. We want to explore themes of race and tribe and gender and push the boundaries of what all things mean to us. And the theatre is one of the few art forms if not the artform that allows you to step into other people's skin for a time and in doing so learn empathy. Theatre is a way to change hearts. I borrowed that, that isn't my quote, but I heard it and it stuck with me."
Their season contains both plays "for Scoundrels" (usually recommended for those in high school and up) and "for Scamps" (theatre to be enjoyed by audiences of any age), The Scoundrel & Scamp Theatre is working to bring theatrical inclusivity to as many people as possible, regardless of age or background. "Part of our mission is to introduce the next generation to theatre," Falcón explained. "Part of that is by providing theatre that families can come to with some sense of security that is is going to be a good experience for all involved, work that will hook people no matter their age. And there are some things we want to talk about of a darker or more adult nature and that is our season for Scoundrels."
You can learn more about the whole season below or on their website. Individual tickets are available before the run of each show begins but season tickets are on sale now. This season they are also introducing a new way to consume (and I really think that is the best descriptor) theatre: The Scoundrel Society. As a member, you can watch any show as many times as you like. Entrance to other events like the new Late Night with Scoundrels cabaret and more intimate conversations with creatives and invitations to parties are also promised. Plus, you get a cool mug.
The Scoundrel & Scamp Theatre's 2019 – 2020 Season:
The Little Prince, adapted by Holly Griffith from the novel by Antoine de Saint-Exupéry, directed by Holly Griffith
"It is only with the heart that one can see rightly; what is essential is invisible to the eye."An aviator crashes his plane into the Sahara desert and encounters a mysterious little prince from a distant planet. The two strangers, each far from home, share adventures and become friends. A new ensemble-based, physical theatre adaptation of the beloved classic story for children and grown ups who can remember that they were children once.
Cloud Tectonics, by José Rivera, directed by Bryan Rafael Falcón
November 21 – December 8, 2019
"What better way to understand a mystery than to fall in love with it?"
On a rainy night in Los Angeles, a man picks up a pregnant hitchhiker to help her find her way home and time suddenly stops. Realism and magical realism collide in Rivera's dreamlike world where two souls unexpectedly cross paths.
The Light Princess, book by Lila Rose Kaplan, music by Mike Pettry, directed by Michelle Milne
"A princess needs to find her ground so goodness can prevail, everyone needs something they can call their fairy tale."
In this musical adapted from George MacDonald's fairy tale, a king and queen are desperate to have a child. They turn to a witch for a solution, but "there is always a price." Their daughter is born without gravity and must find it before her 16th birthday or else… Wise men, witches, princes all attempt to come to the rescue. This enchanting musical comedy is a Valentine for the whole family, appropriate for Scoundrels and Scamps alike.
Ada and The Engine, by Lauren Gunderson, directed by Bryan Rafael Falcón
Ada Byron Lovelace is the woman you didn't know to thank for our digital age. Although her dear friend Charles Babbage conceived the first "analytical engine" or proto-computer, she wrote and published the first program for it, an algorithm designed to be carried out by a machine. As she comes of age with a stern mother and in the shadow of a scandalous father, we see her brilliance in conflict with 19th century conventions. Genius knows no gender.
Letter's End, by Wolfe Bowart
Wolfe Bowart (Cloud Soup, U.S. Premiere) triumphantly returns to the S&S stage with his unique solo physical comedy. On his inspiration for Letter's End, Bowart says "I've always been interested in memory – how at times it tumbles out like Fibber McGee's closet and other times seems elusive, stuffed away in an old package in the attic. The story begins with a man inhabiting a slightly off-kilter dead letter office, but then becomes something altogether unexpected. Ultimately a wondrous and poignant journey down a most magical memory lane, where mops sneeze and storks swoop in bearing gifts and trees grow out of shoes, Bowart's performance inspired Canberra critic Wendy Brazil to remark "you will be mesmerized … he will make you laugh, he will make you sigh, and and you will be enchanted by his every move."
Late Night With Scoundrels
The second Friday of the month at 10:30pm
A Late Night cabaret experience – sixty minutes of the best variety that Tucson has to offer! Explore the many skills and talents the artists of our community possess in this unique experience to 4th Avenue and the Tucson Community. Acting! Song! Dance! Standup! The Physical. The Metaphysical! …and Puppetry! Now something completely different for your Friday night. The first Late Night with Scoundrels will be held on September 13th.
Editor's Note: Leigh Moyer is the resident house manager at The Scoundrel & Scamp Theatre. While she had no input or involvement in the creative process behind building a season, we feel it is important to disclose any potential biases.
Blood Wedding: An Invitation to Powerful Theater
April 1, 2019 April 1, 2019 / gretchendw	/ Leave a comment
Flamenco music filled the spaces around me. The glow of soft red light cascaded down the curtain. Audience members of different ages and cultures wandered in. And then, a young girl came and sat front row, center. She even sat between two seats, allowing herself to take up space. She was enraptured, as was I, for the duration of this incredible production.
Blood Wedding was written by Federico Garcia Lorca and, for this production, translated by Scoundrel & Scamp's own Elizabeth Falcón. The play encompasses the story of one family joining to another with all of its politics, heartache, and love. The Bridegroom, played by Sean Cronin, is to be wed to the Bride, played by Claire De La Vergne, but the bride is still in love with her past amor, Leonardo, played by Jeffrey Baden. A tragic love story follows.
The set, designed by Jason Jamerson, is beautifully designed with open walls and doorways. The hilly platform upstage contains the constant presence of figures representing nature, death, the moon, and music. The figures move to form beautiful tableaus that serve as the perfect theatrical backdrop. The tableaus included live musicians, including a guitarist, who punctuates and underscores much of the action on the stage and two vocalists/percussionists who help fill the stage with authentic Spanish music and heart. The vocalizations of everyone in the tableau created flowing transitions from one scene into the next.
Nicole Delprete as the Wife of Leonardo, Emily Fuchs, Susan Arnold as the Mother of the Bridegroom, China Young, and Claire De La Vergne as the Bride. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
The music, arranged by Melissa Alejandra Aguirre Fernandez, was one of my favorite parts of this show. It was powerful, meditative and cathartic. Its vitality — in all senses of the word — makes the music feel like a crucial member of the cast. One of my favorite scenes took place between Mother-in-Law of Leonardo, played by Julia Balestracci, and Wife of Leonardo, played by Nicole DelPrete. Their beautiful voices lilted as they sung about folklore heavy with foreboding and pain. The singing was accented perfectly by the Spanish guitar. Such a touching, heartbreakingly stunning scene.
The costumes, designed by Maria Caprile, were stunning. Most performers wore a variety of shades of brown, and off-white, while Mother of the Bridegroom, Bride, Bridegroom, and Leonardo wore blacks, whites, and greys. The sparse pops of red in the props and costuming were balanced and predicted the essence of death and danger.
The diversity of the cast in gender, age, and culture gave this show greater power in terms of authenticity and richness. This is the casting I want to see in every show, regardless of its cultural point of view. The world is diverse, our art should be as well. When we see ourselves, it enables us to connect to the deeper meanings and truths. It allows us to have a mirror to look more intimately into our own humanity, instead of just observing the humanity of others.
The performances, directed by Bryan Falcón, were great as a whole. At times, some of the performers would use an accent, and others not. Sometimes a British overtone, sometimes a Spanish. Sometimes odd diction, sometimes not. I found this a little off-putting, but not so much that I couldn't enjoy the beautiful performances behind the words. The delivery was often overly dramatic, in a way that the poetic language demanded.
Claire De La Vergne as the bride on her wedding day with Kat McIntosh as the maid. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
I have to call out the performances of three individuals: Adrian Encinas, as The Moon, Leora Sapon-Sevin as Death, and De La Vergne. Encinas and Sapon-Sevin were creepy and spectacular. They used their bodies to create shapes of darkness and light. I was enraptured every time they move or spoke. They used their voices expertly to create silence, anger, pain and delight. De La Vergne was a glorious revelation throughout. Her pain became my pain. Her strength, my strength. Her love, her loss — mine. De La Vergne's final exchange with the Bridegroom's mother, played elegantly by Susan Arnold, was inspired and powerful. As a director, I wanted to cast her; as an actor, I wanted to be her; as a human being, I wanted to hug her. I can't wait to see much more from De La Vergne.
The women in this play have unexpected agency. The Bride makes choices that lead her along a dark path. She is neither commanded by her father, nor carried away by her lover, nor controlled by her betrothed. Additionally, in the end, it is the women who hold the space for love and grief. It is the women who commune to overcome aggression with emotion. It is the women who call out in their anger and sadness. It is the women who bravely water the earth with their tears.
The girl in the front row didn't flinch at the darkness or grief. She took it all in, as did I. I hope she grows up and wants to create art just like this. Please go see this show. Allow the visual feast of diversity in music and humanity to transport you to that place where poetry and inclusion and love mean everything.
Blood Wedding is playing at The Scoundrel & Scamp Theatre, Thursdays-Sundays through April 14th. (Thursdays, Fridays and Saturdays at 7:30pm, Sundays at 2pm). Call the box office at 520-448-3300 or visit scoundrelandscamp.org for tickets.
A List of Epic Proportions
February 13, 2019 February 13, 2019 / Leigh Moyer	/ Leave a comment
For the month of February an evening at the Scoundrel & Scamp Theatre will treat you to an immersive experience: a 65-minute trip into the minds of playwright Duncan Macmillan and director Michelle Milne. In Every Brilliant Thing, the narrator Claire Marie Mannle leads an unsuspecting audience with gentle familiarity, a soft consensual nudge that enrolls ordinary folks in becoming co-narrators in this supposedly one-person show. Though we learn that "suicide is contagious," we're guided through farcical absurdity – poignant moments of total surreal accuracy, sobering, convoluted pockets of humor wound within the labyrinth of a life. If space permitted, I'd list a million brilliant reasons to see this play. But here are five:
Theatre-in-the-Round (and round and round and round):
The concentric layout of Mannle's movement keeps this piece in a groove which guides the audience's eyes in a continual search around the theatre, peeking at one another's expressions, wondering where the next scene will be, and guessing what delightful, odd treasures it will produce.
Jazz Music on Vinyl:
Claire Marie Mannle in Every Brilliant Thing. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
There really isn't a parallel to the nostalgia that vinyl records conjure. The feel of plastic imperfections running under one's fingertip, the romantic crackling of static perfuming the air, the ritual of buying and unwrapping. The somatic sitting still. Every Brilliant Thing reveals an undeniable reverence for jazz music, treating us to the moody tunes of Cab Calloway, Ray Charles, and Ometta Coleman, just to name a few. One even gets the feeling that the music is a scene partner, a dramaturg of sorts; giving history and credence to the already vulnerable unfolding of life.
Levity in Depression:
Mannle performs a spoken dance in this play – a magnetic ebbing of transformation. Depression is serious and haunting, a generational ghost. Even so, our fearless narrator is graceful as she weaves between seven year old sheepishness and collegiate courage. She fluidly reveals years of time passing, mere minutes to us audience, but great leaps of life's monuments in her story. We are taken along the non-linear way that most people think and feel in, possessing a secret notion that we're privy to some private experience, the ones we keep close to our hearts and share only with beloveds.
Audience Tomfoolery:
In this performance there are particular analog moments that defy expectation and tickle the edges of conformity. It blurs the boundaries of authorship and audience, projecting Mannle like a circus ringmaster who hypnotizes us through a mélange, a maze of memories. There are disappointments, assessments, and antics: sock puppets and improvised conversations with "Dad" – serious belly laughs injected into an ordinarily down-beaten topic of depression.
Didn't know live theatre included snacks? Well, it does. This one does. Snacks!
This play is a craftfully produced arrangement of intimate and uncomfortable situations. It's a good way to laugh at something difficult, which we could all use some allowance to do now and then. It encourages us to embrace the difficult and strive for better, while permitting many moments to laugh at the irony of it all.
Every Brilliant Thing runs from February 7th-24th at The Scoundrel & Scamp Theatre, located in the Historic Y at 738 N. 5th Avenue. Evening and matinee shows are available. Tickets can be purchased from scoundrelandscamp.org or directly from the box office on premises. The box office opens for ticket sales one hour prior to the show.
Editor's Note: Marguerite has worked with The Scoundrel & Scamp Theatre on other productions and as a teacher with their youth theatre program, she had no involvement with this production. All our reviewers work to identify and avoid any potential biases.
The Deeper Meaning of Sports
January 23, 2019 January 23, 2019 / Leigh Moyer	/ Leave a comment
by China Young
Bill Epstein in My Life In Sports. Photo by Tim Fuller, courtesy of The Scoundrel & Scamp Theatre.
Spoiler Alert: My Life in Sports, a one man show written and performed by English professor Bill Epstein and performed at Scoundrel & Scamp, is not actually about sports. Well, not entirely. I felt as though sports served more as a loom and thread. A tapestry of life experiences is woven before our very eyes. The structure of the story-telling takes on various shapes and patterns as Epstein connects memories through time, using anecdotes and metaphors that often circle back to where they started.
The simplicity of the direction and production design by Bryan Rafael Falcón and the sincerity of Epstein's delivery of the dialogue drew me in with a comfortable warmth that felt like I was 8 years old being told a folk tale by my grandfather and hanging on every word. Now that I think of it, the play starts when Epstein is 8 years old, so perhaps that was the intention all along. I found it to be a very effective way to draw people in, although at times I did find myself drifting simply from the soothing tones of the narration. Still, I was very impressed with the production and how the concept of sports, whether literal or metaphorical, took me on a journey that touched me profoundly.
The thing I appreciated the most was Epstein's reflections on the relationship between sports and the "construct of masculinity." We all know that there seems to be this unspoken "romance" between men and sports. Not all men experience this of course, and not all people that experience this are men, but somehow society has created this construct of "boys play sports" that this production explores a little more deeply and with a self-awareness that is appreciated in a time where constant social examination and re-evaluation is needed. Epstein does a fantastic job capturing the essence of the time in which he was raised, amplifying the understood gender norms, racial inequality, and his privilege of being not only a white male, but also his father's son. He discusses, at times, how sports, or sport-like behavior, was how boys established their pecking order. In his Author's Notes he states "Virtually the only live and unrehearsed programming still on network television, the subject being discussed, endlessly, on twenty-four-hour talk-radio stations across the country, the section of the newspaper most men turn to first, sports are a powerful and influential narrative formation, one of the crucial ways that American men construct identity."
We all saw this truth during the NFL "taking a knee" controversy, which, as you've noticed, has disappeared as quickly as began (maybe because it's off-season, or maybe because those that were "offended" by it have moved on to other asinine battles… but I digress). My biggest fear is that sports is to America what the games of the Colosseum were to Rome, a tactic to distract the poor from their poverty in the hopes that they would not revolt. I don't dislike sports, and played them for many years (before theatre took complete reign of my life), but I believe they have the power to keep the masses complacent just as they have the power to fuel the "masculinity complex." Although he used some derogatory language on occasion, and I hate giving him the "product of his time" pass, I wasn't terribly bothered by it because it was made clear that that was in fact the past, and not the present, and I believe and embrace the social evolution of which we are all capable. If we don't know where we came from, we can't possibly accurately assess where we are.
There were several other lovely elements of the production. The space is lightly littered with a baseball bat and glove, eventually a coat rack with a jacket to signify Epstein's scholarly career choice, and even a pair of ballet shoes to represent Epstein's late wife, but to also remind us that dance is another sport that significantly impacted his life. The use of projections offered environmental settings, magnification of text, and the creation of emotional atmospheres. The subtle sound effects enhanced those atmospheres, as did the simplicity of the lighting. Epstein includes references to Tennessee Williams in his Author's Note, describing memory as "dimly lighted" and "poetic" and "seems to happen to music." The design team, comprised of Bryan Rafael Falcón, Josh Hemmo (Projection design), Connor Greene (Production Design Associate), Brian Graham (Lighting Designer), and Tyler Berg (Sound Design), manage to capture that description of memory within the intimate performance area with skill and artistry.
Though I could call out this production for is male-heavy team (Stage Manager Marguerite Saxon being the only female name listed) and focus on the voice of yet another white man, the content of the work gives me faith that these men understand the privileged patriarchal patterns society perpetuates. Besides, if they are engaging in the creation of theatre, they have likely broken from the "construction of masculinity" imbedded in a "life in sports."
My Life in Sports plays at Scoundrel & Scamp Thursday through Saturday at 7:30pm and Sunday at 2pm. For tickets call 448-3300 or visit scoundrelandscamp.org.


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Centrally located next to the imperial palace and a stone throw's away from Tokyo's financial district Marunouchi and the Ginza shopping district lays Hibiya Park, the first Western-style urban park that Japan opened in 1903. It is one of the oldest parks in Japan, having started first as the estate of feudal families in the Edo period (which lasted from 1603-1868, when Japan was under the rule of the last feudal military government known as the Tokugawa Shogunate), and thereafter being utilized as a military drilling and exercise ground before opening as a public park in 1903.
It is a wonderful park to visit with its greenery and ponds, while offering a wide variety of facilities and activities. During your stroll through the park, you will also stumble upon a range of interesting artifacts from all over the globe – many which were gifts from foreign governments throughout the years.
Start in the spacious tulip and rose gardens in the north side of the park, which have been modeled after those found in German parks. There are numerous benches around and this area makes a great location for people watching.
Tucked away on the side of the gardens near the Italian style pillars, you'll find a statue of Romulus and Remus, a gift from the Italian government to Japan in the 1930s. Along the northern side of the park one also finds the Liberty Bell, donated by the US Government, while spotting many other historic artifacts such as a drinking fountain for horses and even a '500'- year old gingko tree. The tree, planted next to Hibiya's famous Matsumotoro Restaurant, is called 'risky Ginkgo tree' due to its controversial and expensive relocation at the time of park expansion and the park designer putting his job at risk of doing so.
In the park, you'll also find two outdoor spaces intended for music events, while the larger flower park is regularly used as venue for festivals. Hibiya Park for instance hosts the Oktoberfest each year.
Other facilities include a park museum, a library, a children's playground, tennis courts, and the historic Gothic building Shisei Kaikan, which housed Japan's State News Agency during WWII, and which is one of the few Western style buildings in this size left in Japan.
Hibiya Park is a place for any occasion or any mood you are in – whether you've come to admire the colorful flowers of which different varieties bloom in different seasons, enjoy a nice lunch at one of the restaurants offering outdoor seating in the park (of which there are so few in Tokyo!), just peacefully want to gaze over the beautiful ponds, or to quietly hang out in-between the trees to read a book, the park offers plenty of room for all of that. Even if the drums of people visiting Hibiya for its festivals or music events make you claustrophobic to venture into those areas of the park, you'll find that if you only walk a little further towards the gardens and ponds that there is plenty of space left for some tranquility.


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What NASA Can Learn from the Rescued Chilean Miners
The plight of the Chilean miners, trapped under the Atacama desert, was a bit like an astronaut on Mars: isolated, lacking resources and difficult. As psychologists interview the miners, they should pass their notes to the American space agency that helped rescue the workers. Their insights should have a valuable research payback for future space missions.
By Rand Simberg
Martin Bernetti/AFP/Getty Images
The recent rescue of the trapped miners in Chile was a triumph of both human will and technology. The miners themselves were the first to display great human will; they didn't give in to despair or turn on each other and, hoping against hope, they organized and disciplined themselves to survive. Once they were found, human will was on display all over the globe, as determination, advice and technology poured into the Atacama desert, much of it from America's space agency. That is a coincidence, because NASA has been studying that region for years as the closest analog to Mars on this planet.
The coincidence doesn't end there. When it works right, "a triumph of human will and technology" is a fair description of both the NASA human spaceflight program, and the situation faced by the miners—isolated from the rest of the world for months with limited resources. Their situation may be analogous to that of NASA's future space-exploring astronauts. In fact, science fiction writers have anticipated similar situations for years. Arthur C. Clarke's acclaimed 1961 novel, A Fall of Moondust, depicted a situation very like that facing the miners, except on the moon (at that time, the depth of the dust on the surface was still unknown—the plot would be less plausible today), with a similar suspenseful and successful outcome.
There are two key differences between the experience of the miners and that of future deep-space explorers. First, what happened to the miners was when things went wrong. But even so, they had it a lot better than what will happen to astronauts when things go exactly as planned.
The miners had abundant water and, with the run of the entire mine below the cave-in, plenty of room to exercise, dispose of waste and get away from each other for privacy and quiet time. Once they were found, they received food, fresh air, and high-bandwidth real-time communications as well.
In contrast, consider Lockheed Martin's notional "Plymouth Rock" mission to an asteroid, in which three crewmembers would spend several months in a pair of Orion spacecraft, with a total habitable volume of just a few hundred cubic feet (even if one of the Orions is a "stretch" version). That's about the size of a small bedroom, including a toilet and galley.
They will presumably have standard-issue astrofood, like that used on the International Space Station (with extra hot sauce to compensate for the effects of weightlessness), no shower (sponge baths only), and communications with the rest of humanity will likely be low bandwidth (email, voice and pictures, but no video, at least most of the time), with a several-minute delay for most of the mission's duration, making real conversations difficult.
But here is the biggest difference. Once the miners were found, they could be supplied with material goods (as long as they were small enough in diameter to fit through the initial shaft). Astronauts on a deep-space mission will have no such supply source—what they leave with is what they'll have, and what they'll be able to have won't be much. For instance, they will likely have to recycle their urine, because they won't be able to afford the weight of a six-month water supply (unless perhaps it serves a dual use as radiation protection).
And remember, this is for a nominal mission. If things go wrong, they'll have to hope that, as on Apollo 13, there will be enough marginal supplies on board to improvise. If not, they'll die (as indeed those on Apollo 13 would have if the oxygen-tank explosion had occurred on the way back from the moon instead of on the way to it, when they no longer had the lunar module as a life-support backup).
Obviously, such long-duration missions in constrained circumstances will be stressful for their crews, and this is a situation with which NASA has little experience. The closest such experience is from the Soviet/Russian Mir space station program, particularly after the fire and collision in 1997, which occurred with NASA personnel on board. But even in those cases, they were only a couple hundred miles away and could be retrieved in an emergency. A deep-space mission with a crew is one with which NASA has no experience at all (one of the reasons that some think that the moon is still an appropriate first destination, being only three days away). So any data that can be gleaned from analogs will be useful.
Despite the huge difference in circumstances (volume, privacy, real-time communications, fresh food, gravity, etc.) NASA psychologists will no doubt want to interview the freed miners, to understand how they responded to events, correlate their responses with personality types, and add to their data base of such knowledge to figure out how to best plan and select crews for the much harsher conditions in which at least early space explorers will have to live. Presumably they will cooperate, to reciprocate all the help that the agency gave them. But even with such knowledge, such missions will likely await more cost-effective transportation, which will allow less spartan spaceships for exploration than a dual Orion (e.g., an inflatable module with over six times the volume). Long-duration group dynamics, in which changing personnel out is not an option, are hard enough without straining them further by unnecessarily harsh living conditions.
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/*  -*- mode: c++; coding: utf-8; c-file-style: "stroustrup"; -*-

    Contributors: Asier Aguirre

    All rights reserved. Use of this source code is governed by a
    BSD-style license that can be found in the LICENSE.txt file.
*/

#pragma once

#include "server_app.h"
#include <string>
#include <cstdint>
#include <functional>

namespace server {

    class Server {
    public:
        Server();

        void onCreateApp(std::function<void*(ServerApp&)> h) { createAppHandler = h; }
        void onDestroyApp(std::function<void(void* user)> h) { destroyAppHandler = h; }

        bool run(uint16_t port, const std::string& documentRoot = ".");

        const std::string& getDocumentRoot() const { return documentRoot; }

    private:
        // resources
        std::string documentRoot;

        // hooks
        std::function<void*(ServerApp&)> createAppHandler;
        std::function<void(void*)> destroyAppHandler;
    };

}


The company will begin offering its employees in the United States specialized savings accounts for training and education.
In today's economy, corporations freely roam the globe for the most efficient, lowest-cost sources of supplies and labor, while American workers are told that the way to compete is constantly to improve their skills with training and education.
Paying for it is usually up to beleaguered employees, which only adds to their sense of economic insecurity.
I.B.M., often a trendsetter in business practices, is taking a step to address the workers' economic problem — a step it hopes other companies will follow and help encourage a change in tax policy.
I.B.M., at a conference in Washington today, is announcing that it will begin offering its employees in the United States specialized savings accounts for training and education. The "learning accounts" will be modeled on 401(k) retirement accounts, which began in the late 1970s. Workers will put up to $1,000 a year into the accounts, and I.B.M. will contribute 50 cents for every dollar put in by the employee.
Under the I.B.M. plan, the employee decides how and when to spend the money, held in an interest-bearing account. When an employee leaves I.B.M., the individual takes the account.
Companies have long paid for employee education and training. Indeed, I.B.M. spends more than $600 million a year on worker education programs. Yet such spending is typically to upgrade a person's skills for their next job with the company.
The I.B.M. move, Professor Kanter said, is part of a broader evolution in corporate-worker relations. "This is reinventing how a company develops the social contract with its workers in a highly mobile, global economy," she said.
A key message in that new social contract, I.B.M. executives said, is that whether a person stays with the company for a long career or just for a few years, I.B.M. is a place where people can enhance their skills and be more competitive in a labor market buffeted by globalization and rapid technological change.
Investing to create that kind of corporate climate, they say, should eventually give the company an edge in attracting and retaining talented workers.
Besides encouraging other corporations, I.B.M. plans to talk with universities, urging them to consider tuition discounts for workers seeking new skills.
A tax change is needed, according to I.B.M. and some economists, to help workers to invest in their own education in new fields. Currently, workers can deduct the cost of education and training in their own occupation, as defined by government job classifications, but not in new careers.
For example, if a software engineer wanted to learn a new programming language, the training costs would be tax deductible. But if that person wanted to train to be a business consultant, that would generally not be tax deductible, even though the new job required related technology and skills. If the programmer wanted to become an emergency room nurse, the education expense would not be tax deductible because it is a different line of work.
Mr. Palmisano would also prefer the law to be changed to allow the new accounts to use pretax dollars, as a 401(k) does.
The report, "Succeeding in the Global Economy: A New Policy Agenda for the American Worker," was sponsored by the Financial Services Forum, an organization of chief executives of the largest commercial banks, investment banks and insurers.
Many policy groups have recommendations to increase the opportunities for workers to upgrade their skills continually.
Last month, for example, the Third Way, a research organization aligned with centrist Democrats, called for the federal student loan program to be extended to adults seeking new skills to climb the occupational ladder.
The I.B.M. learning accounts fit into the larger policy debate about how to cope with an economy of increasing dynamism but one that creates a lot of churn in the labor market. Four million jobs a month, or 25,000 an hour in a business day, are eliminated in the American economy. But more than that are created.
I.B.M., a classic global enterprise, deals with plenty of job churn itself as its worldwide employment has increased in recent years, American employment has declined slightly, with steady hiring and layoffs. In the second quarter of this year, 3,500 I.B.M. workers worldwide were told their jobs were being eliminated. A third of the displaced employees typically find jobs elsewhere in the company.
Steps like the I.B.M. learning accounts could well help some people make transitions to new jobs, but they will do little for many workers, said Jared Bernstein, an economist at the Economic Policy Institute, a liberal research group.
I.B.M.'s learning accounts will initially be available in 2008 to workers who have been with the company for at least five years in the United States, where the company employed 127,000 people at the end of last year.
The company has earmarked $40 million over the three years for contributions to the learning accounts, which is in addition to its $600 million training budget. And $20 million will be spent on two other new programs — one to send employees to developing nations to work on environmental and educational projects, and the other to train people who want second careers in nonprofit organizations, government and schools.


¡Fíjense qué gran amor nos ha dado el Padre, que se nos llame hijos de Dios! ¡Y lo somos!
We have had a busy few months with the addition of two student teachers from Martin Luther College. Miss Boyd completed her experience at St. John just before we celebrated Christ's birth and Miss Tellock completed her 6 weeks (minus the snow days :)) the week before we were dismissed for spring break The first week of March we were blessed to have a clinical student, also from Martin Luther College, in our midst. These young professionals kept the students engaged by teaching our youngest students about the fruits we eat. The kindergartners, 1st and 2nd graders learned all about the body parts God has given them to serve him! The 3rd-8th grades have been busy manipulating new verbs in context as we continue to discuss the short film "Las Cuerdas." Due to one of the themes of the short film, the students have been discussing how God has given each person unique abilities and how everyone deserves to be shown respect. In addition, we have learned how we can show love for Jesus by the qualities we display when we interact with our friends. We were reminded that Jesus is the best friend of all as He went to the cross and suffered for all of our sins (and rose again on Easter)!
This list is just a start. Youtube also has many great thematic videos on various topics in Spanish.


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The Promised Neverland Season 3 Trailer: Release Date, Cast, Plot, and More Latest Update!
Mark Adams
"The Promised Neverland" got off to a good start and was one of the most promising animes in its first season. The anime is based on a series of Japanese comic books called manga, which was written by Kaiu Shirai and drawn by Posuka Demizu.
It tells the story of a group of orphaned kids who try to get out of the orphanage after learning that they were only raised to become food for demons. After the first season's successful start in Japan in January 2019, a second season was ordered right away in March of that year.
The second season came out on January 8, 2021, and ended on March 26, 2021. Unfortunately, season 2 has not lived up to the hype and expectations that the first season created. Even though it upset a lot of anime fans, some people still want to see "The Promised Neverland" season 3 come back.
What's the Story About in the Promised Neverland?
In The Promised Neverland, Emma, Norman, and Ray are the main characters. A group of orphans who live together is also part of the story. Their lives have been happy up until the main characters find out that the orphanage is a farm where children are raised and then given to demons to eat.
After realizing that they don't have much time left, the three come up with a plan to escape with the rest of the children.
Will Promised Neverland Season 3 Ever Be Released?
We don't know when Season 3 of "The Promised Neverland" will air because it hasn't been confirmed yet. Lastly, let's hope that CloverWorks will listen to what the anime community is saying and make a third season. We'll make the changes here as soon as that happens.
In the meantime, you can watch the second season on Netflix, Hulu, Funimation Now, Adult Swim, DIRECTV, HBO Max, and HiDive, or for free with ads on Funimation Now and Crunchyroll, if you haven't already.
Read More:- High Rise Invasion Season 2 Release Date: Will There Be a Season 2 of High-rise Invasion?
What Do We Expect From the Cast?
Sumire Morohoshi as Emma
Lynn as Gilda
Yuuko Mori as Lannion
Mariya Ise as Ray
Maaya Uchida as Norman
Yûko Kaida as Isabella
Ai Kayano as Anna
Read More:- Great Escape Season 3 Release Date: Is There Going to Be the Third Season of Great Escapes?
What Do We Expect From the Plot?
The first season took place in a building called "Grace Field House," which you may already know. We saw Emma, Norman, and Ray, who were younger than us, earn the truth through their lives. What used to be true? "Grace Field House" used to be a farm, and the teens who lived there were the food for monsters called "demons."
The more kids learn, the more their minds grow and develop, which makes the demons want them even more. They were sent to eat when it was time to pick, most likely because a family had already used it.
Our wonderful trio also thought of clever ways to get away, and Isabella, the farm's mother, sat around doing nothing. Emma and the people around her were taking down the walls that were around the field. So far, it was what happened in the first season, and fans couldn't wait for the second season to start.
On January 8, 2021, the second season of The Promised Neverland started. This was after two years. In the second season of the anime, we were behind the walls. Since the magical world outside isn't as mysterious as it used to be, the second season of the anime is also just harsh judgment.
Emma and her friends try to stay alive, get away from the vampires who are after her, and make plans to save the friends and other farm kids they left behind while looking for a place to live. So, things were asking. Unlike the first season, the second season of the anime couldn't have a scary part. Because of this, there wasn't much it could do about it.
In season two, questions like "What happened to people?" and "Why do vampires eat people?" were answered. At the end of the second season, we had a happy ending, and it looks like there won't be a third season.
The second season of the show quickly covered a lot of big plot points, so we strongly suggest reading the manga. No longer is there much to say about the drawings. They kept the good parts of the first season and the shades of green.
Even the beginning and end aren't as bad as they used to be, which is why "Touch Off," the first episode of the first season, was once a fan favorite.
Read More:- Julia Season 2: Is There a Second Season of Julia on Hbo Max?
Is There A Trailer For The Promised Neverland Season 3?
Since Season 3 of The Promised Neverland hasn't been officially announced yet, there isn't a trailer for it yet.
Stay up-to-date on any news if official details come out. We'll keep this article up-to-date so you don't miss any new information!
Categories: Other


horizontal head one is below the flywheel. Since the flywheel turns anti-clockwise, seen from the left side of the motor, the vertical head pickup will fire first, the horizontal head pickup will fire after 90°. The spark plugs on the Pantah fire each turn of the crank, so there's a "wasted spark" each cycle. The "good" spark for one cylinder alternates with the wasted spark for the other. If you off-time one camshaft of 1/2 turn, no matter which camshaft, no matter in which direction, the motor will still run, but the timing will not be 450°-270° any more, but 630°-90°: a big bang Pantah.
There are two cables connected to each pickup. They are both marked "V"
little plastic rings that may well be missing after over 20 years. the 4 cables run inside a common rubber sheat to a 4-pin connector under the tank, that joins to the wiring that then connects to the Bosch BTZ modules and the coils.
slip out. To re-fit, just carefully pry open the "wings" again.


Makersville is extending an exclusive discount to Excel families where our kids will have the opportunity to work side-by-side with a group of overseas students from China in this 3-day robotics camp. It will culminate in a First Lego League (FLL) or Jr. FLL offseason competition. Students have the option to participate in the 5-day full-week if you provide your own transportation to field trips organized by Makersville at an additional cost, including a trip to Legoland. Please inquire with the vendor directly. You may use instructional funds for the 3-day camp, or pay the vendor directly. After you register, the information will be passed on to the vendor to finalize payments with you. The information provided here covers the 3-day camp option only.
Time: 9AM - 3PM on Feb 11, 13, 9AM - 7PM on Feb 15. Additional field trips and after-camp activities are available for additional costs. Please inquire with the vendor directly.
-Parents are required to pick up their children by 3:30 pm each day unless special arrangements are made or the children are signed up for additional classes/activities.
-Parents are asked to attend the Friday February 15th Expo/Competition (3-7PM) to cheer on their students.
-If participants have their own NXT or EV3 robots, please bring their robots with them each day. It is not required to have a robot, however.
The $75 tuition covers the 9 am - 3 pm program on Monday, Wednesday, Friday and the Expo/Competition 3-7 PM on Friday.
Registration opens on Jan. 24, 2018 at noon and closes on Feb. 8th, 2019 (Friday) at midnight.
Feb. 11, 2019 / 9 a.m. to 3 p.m.
Feb. 13, 2019 / 9 a.m. to 3 p.m.
Feb. 15, 2019 / 9 a.m. to 3 p.m.


The high performance 100% cotton drill short is built for strength and reflects our commitment to cutting-edge fabric technologies and technical excellence. With an elasticated waist and adjustable drawcord, this short gives you maximum range of movement as well as a perfect fit for comfort. The tape side pockets are added for convenience, so you can keep items close at hand even when on the field training or playing a game. Continuing Canterbury's tradition of iconic sporting style, the short is complete with flat felled seams and the distinct CCC embroidery on the right, so you'll immediately identify with Canterbury's well-established community of fans and athletes.
Four colours available in sizes 30" through to 46"


Neemuch is surely one of the privileged part of Madhya Pradesh when it comes to banking services. Today branches of all the leading public and private sector banks are operating in this city. From State Bank to Punjab National banks, HDFC you can find all and more in this part of Madhya Pradesh. Given below are addresses of all these banks along with their IFSC code.


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Home/Autos/EV Reliability As Varied As Gasoline Cars, Consumer Reports Finds
EV Reliability As Varied As Gasoline Cars, Consumer Reports Finds
Posted by : admin / On : February 22, 2021 / In : Autos
Battery electric vehicles accounted for about 1.5% of U.S. new vehicle sales last year, a small and growing number that will grow over the next decade as automakers bring out more offerings and more consumers discover some of the advantages over gas cars.
Already there are enough different models for Consumer Reports and J.D. Power to create electric vehicle categories in their annual car ratings.
The reliability of electric vehicles turns out to be as varied as their gasoline counterparts, said Jake Fisher, Consumer Reports' senior director of automotive testing.
Surveys Find High Satisfaction and Reliability Issues
And both Consumer Reports and J.D. Power's research found that electric vehicle owners typically report great satisfaction with their cars despite reliability issues.
Consumer Reports now tracks electric vehicles in a separate category in each price segment. The magazine also now identifies EVs and other vehicles that produce the least amount of greenhouse gases and pollution with a Green Choice designation in its car reviews and other ratings.
It found that EVs in the $35,000 to $45,000 score far better than those in the $75,000 and over segment.
The Tesla Model S and Model X, Porsche Taycan and Jaguar I-Pace all score second from the bottom on Consumer Report's five point reliability scale in the latest ratings. The Audi E-Tron is at the very bottom.
But if you go to entry-level electric vehicles—the $35,000 to $45,000 range—reliability is much better. The Chevrolet Bolt is among the most reliable vehicles, regardless of powertrain, Fisher said. It carries the highest reliability rating. The Hyundai Kona Electric and the Nissan Leaf score in the middle of the magazine's scale, indicating average reliability. But the Kia Niro gets worse than average marks.
The mid-priced tier—$45,000 to $55,000— is mixed. The Tesla Model 3 and BMW I3 have average reliability. The Tesla Model Y comes in at the bottom tier.
Fewer Parts in EVs, Less Wear on Brakes
Electric vehicles should be more reliable than a car with an internal combustion engine because they have fewer moving parts and less complexity, Fisher said.
"But the reason that we're not necessarily seeing that is because the companies launching electric vehicles don't have a hundred years of experience like they do with gasoline-powered vehicles," Fisher said.
It won't take long to catch up, he said, but until then, "we're going to see some growing pains."
Fisher said it's not surprising that the Chevy Bolt is at the top of the reliability class. General Motors produced an electric car more than two decades ago and has more experience than most other automakers, he said.
"It's possible that they're going to do better with electric than they would with 10-speed automatic transmissions and turbos and all those other problems," Fisher said.
Consumer Reports found that owners almost uniformly expressed high satisfaction with the vehicles regardless of the reliability. All but the Nissan Leaf and BMW I3 received the better than average to the highest owner satisfaction rating in the magazine's latest report.
J.D. Power Finds Similar Satisfaction with EVs
That finding also appears in the J.D. Power U.S. Electric Vehicle Experience Ownership Study launched by the auto market research firm this year.
Among the early purchasers of electrified vehicles, 82% of Power respondents say they "definitely will" consider purchasing another in the future, according to the report. The study surveyed nearly 10,000 owners of both battery-electric vehicles and plug-in hybrid vehicles.
The auto market research firm's findings mirror another part of what Consumer Reports discovered. Tesla generally gets poor reliability ratings but owners don't seem to care.
"It's notable that, while Tesla is seen to have poor quality, Tesla owners are more highly satisfied overall, indicating their willingness to overlook quality problems," according to the J.D. Power report.
It found that Tesla Model S owners demonstrated the highest ownership satisfaction experience giving the vehicle a score of 798 on a 1,000 point scale. The Tesla Model 3 ranks second with a 790 score. Both were rated in the premium vehicle segment.
The Kia Niro EV ranked highest in the mass market BEV (battery electric vehicle) segment with a score of 782. The Chevy Bolt was second at 745 and the Hyundai Kona EV was third at 743.
J.D. Power said shoppers are beginning to gravitate to electric vehicles because they like the expected lower operating cost compared to a gas car. An EV requires less maintenance. The brakes last longer because of regenerative braking, it doesn't need oil changes and it has lower fuel costs.
Read the full article here >> https://www.forbes.com/wheels/news/ev-reliability-varied-as-gasoline-cars-consumer-reports/
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