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#SomethingGood: North Texas Cheerleaders Win Gold at Special Olympics
By Larry Collins	• Published June 18, 2019 • Updated on June 18, 2019 at 8:29 am
This year, Special Olympics Texas held its first State Cheer Championship and Liberty Cheer from Midlothian won gold Medals.
"It's hard for me to not cry, because I'm so excited to see all the things my child has learned," Beth Lopez of Red Oak said.
Lopez's 26-year-old daughter, Catherine, is one of the cheerleaders on the medal-winning team.
"When Catherine was born, there was a list of things she would not be able to do," Lopez said. "And year by year, we've thrown those out the window. And cheer is a big part of that."
That same spirit is part of the reason the team was formed 11 years ago.
"There's a lot of places where people like my daughter are told no. You don't belong here – we can't work with you – you don't fit here," Coach Crystal Wells said. "There's a lot of that her whole life and this place is not one of those places."
Each year, 20-30 cheerleaders learn skills as a part of the team. The team consists of cheerleaders of different abilities.
"We have a brand new athlete with cerebral palsy in a wheelchair – there is plenty for her to do," Wells said.
The team also has traditional athletes like Erik Aguayo, 15.
"I'm one of the helpers, so I basically guide them and I encourage them and push them to where they want to succeed," Aguayo said. "They should get the spotlight. They don't always get it. They should get it at least once and a while and they do here."
North TexascoachLarry CollinsOLYMPICSAthlete

redpajama_set_name: RedPajamaCommonCrawl


Stephens analyst Jacob Johnson initiated Teladoc with an Overweight rating and a price target of $75, saying the company is an "industry leader" in the telehealth industry which is undergoing "considerable growth" that is still in its "early innings". The analyst also notes that any M&A by Teladoc should "increase the value of its platform by adding capabilities and geographies", adding that while its gross margins may decline as a result of a "shifting revenue mix," the company's operating leverage should result in expanding EBITDA margins. Johnson further states that Teladoc shares are not cheap, but still trade "at a discount to high-growth healthcare and tech peers."
JPMorgan analyst Lisa Gill views the 19% pullback since March 21 in shares of Teladoc as a buying opportunity. The analyst does not have a fundamental reason to point to for the selloff and believes the company's underlying fundamentals are unchanged. Gill has heard some concerns following the Forbes article earlier this week that questioned Teladoc's use of an adjusted EBITDA metric. She notes, however, that nearly all of the companies within her coverage universe focus investors on an adjusted EBITDA or adjusted EBIT. With the acquisitions that Teladoc has done over the past few years, amortization has grown significantly, and excluding that helps to better understand the underlying growth of the business, Gill tells investors in a research note. The analyst continues to see "significant runway" in the telehealth space going forward and keeps an Overweight rating on Teladoc with an $80 price target.
Piper Jaffray analyst Sean Wieland believes some confusion over Aetna's intentions have pressured the shares of Teladoc (TDOC). The confusion lies in the fact that this was a "Request for Price" and not a "Request for Proposal," Wieland tells investors in a research note. However, his channel checks indicate there isn't any intention of CVS Health's (CVS) Aetna switching vendors. To the contrary, we've seen companies do this in front of a contract expansion, when they need to provide the board with benchmark pricing data to prove they are not overpaying, says the analyst. As such, he believes potential risk related to Teladoc's Aetna contract is minimal. Further, Wieland sees upside to Teladoc's initial guidance on stronger utilization trends as "telemedicine continues to go mainstream." He views the stock as oversold and reiterates an Overweight rating with an $86 price target.
The Centers for Medicare & Medicaid Services on Friday issued a final that marks "another win" for the telemedicine industry, Piper Jaffray analyst Sean Wieland tell investors in a research note. Beginning 2020, Medicare Advantage plans will cover various telehealth services, including phone/video visits for medical or mental health needs, says the analyst. He believes there is a "strong value proposition" for health plans to promote these services to their beneficiaries, and that Teladoc is well positioned to gain from this trend. Wieland reiterates an Overweight rating on Teladoc shares with an $86 price target.
Stephens initiated Teladoc with an Overweight and $75 price target.


Linoso Raspberry Made To Measure Roman Blind F0453 32 - Fabric By Clarke And Clarke.
Linoso is a fine linen-look textured plain fabric, available in a wide range of colours and suitable for drapes cushions and upholstery.
Its warp and weft slub structure creates surface interest and will work effortlessly with other, more decorative fabrics in our collection.
The quality is extremely hard wearing, making it the perfect choice for contract applications.


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Adam Driver, Carrie Fsher, Daisy Ridley, John Boyega, Mark Hamill, Rian Johnson, Rogue One, Star Wars, The Force Awakens, The Last Jedi
I've seen Star Wars: The Last Jedi twice now. I had initially planned to rush out a hasty review, but I knew I wanted to see it again, and now here we are. Here are my thoughts on the latest Star Wars movie:
"Let the past die. Kill it, if you have to."
This Kylo Ren line has been getting a lot run in the deluge of reviews and think-pieces written in the wake of Star Wars: The Last Jedi, the eighth numbered episode in the saga. This one from Yoda is just as good:
"We are what they grow beyond. That is the burden of all masters."
Whichever you prefer, each is a nice one-off line that also serves as a meta-message to the audience in today's self-aware blockbuster age. With as much lore and time-tested fan devotion as Star Wars has, a very important question now and moving forward will be—how much does "new Star Wars" have to resemble "old Star Wars" to still be good? The Last Jedi while still paying clear fealty to the original trilogy, seems to have primed the franchise to grow beyond its master.
Along this line of thinking, The Force Awakens was a mixed bag. I loved it, but at times, the parallels to the original classic were so surface-level, that it felt like Star Wars Mad Libs. Despite delivering a thrilling, energetic reintroduction to the saga, it still ruffled some feathers. If The Force Awakens felt like an announcement that Star Wars would eventually jump light years ahead with its new batch of characters, The Last Jedi feels like the franchise finally being ready to burst down the door to a new, broader Star Wars universe. Mission accomplished. The world is now a Star Wars sandbox, and we're all just living in it.
To unpack everything that's great about The Last Jedi is to consider the possibility that it is the greatest Star Wars movie to date, period. On the other hand, to unpack all the things that weren't so great, would be to consider that it is more on par with the prequel trilogy. It's not perfect, but The Last Jedi reaches a few rarefied heights that allow it to transcend any unevenness and land among the better Star Wars movies so far.
The story picks up immediately after the end of The Force Awakens. The Resistance is on the run, much as it was at the beginning of The Empire Strikes Back; meanwhile Rey (Daisy Ridley) is on Ahch-To trying to convince Luke Skywalker to teach her about the Force and rejoin the Resistance. Poe (Oscar Isaac) enters into a power struggle with Vice Admiral Holdo (Laura Dern), following an attack that leaves Leia incapacitated. Finn (John Boyega), BB-8, and Rose (franchise newcomer Kelly Marie Tran) set off search for an ally who can help the Resistance evade the First Order. Kylo Ren is coming to grips with his place within said First Order.
One of the great things about this movie is how jam-packed with interesting ideas it is. On the flip side, with so much going on, the good stuff is sometimes crowded out by less worthy distractions. For every triumphant Luke Skywalker or Rey moment, we have to cut back to Finn's aforementioned dead-end quest, which amounts to little more than a MacGuffin. For every stunning revelation about the Force (and there are a few doozies), there is a clunky reference to God, Hell, or other Earthly nomenclature that feels really out of place in a Star Wars movie. The movie's very structure itself is odd, as the prime thread, the Resistance fleet struggling to evade the First Order, feels like the van tumbling off the bridge in Inception. It basically lasts the entire the runtime, yet barely goes anywhere. The timeline feels unnecessarily compact in a way that cannot be avoided when the characters are constantly reminding the audience exactly how many hours of fuel the Resistance has left (that's a nit-pick, but hey).
And yet, it's far far away from being all bad. Dern and Benicio del Toro are tremendous additions to the cast. Dern as Holdo, stepping in for Leia, is introduced early on as a potential heavy who pulls rank with Poe, but later proves to be a true wartime general if there ever was one. Her maneuver at the end of the film was a real cinematic stunner, and it was a joy to experience that moment in two different packed theaters. It was an instantly iconic moment, even if it does raise tricky questions like, "why haven't they always done that?" Del Toro plays a quirky codebreaker, who's assistance is needed to disable the First Order's tracking systems. While "new Star Wars" has been positively vibrant thus far, bursting with wonderful new additions, it's a small shame that we aren't likely to see either of these characters (or the great actors portraying them), not to mention Luke and Leia, in future installments. Here's hoping stars of their caliber continue to be involved in these movies.
Speaking of stars and things that are great, The Last Jedi serves as the swan song for Carrie Fisher's Leia, who has been one of the defining elements of the franchise since 1977. Rest In Peace, Carrie Fisher, you are a legend, and it was great to see you in action one more time. I don't care what people say about that flying scene, I thought it was awesome.
Those who clamor loudly for "old Star Wars" will undoubtedly scratch their heads over the implications of the breakthroughs in Force knowledge in The Last Jedi. Rey and Kylo Ren (or "Ben" as he is often referred to in this one) share a telepathic connection that goes well beyond anything we've seen before (shout out to whoever coined the phrase "ForceTime"). The reveal of Rey's parentage suggests that there are many more potential Force-users out there than previously hinted. This promises to be a key development that should eventually allow future episodes to disentangle themselves from the Skywalker family drama entirely.
The Last Jedi is both darker and sillier than Star Wars has ever been. It opens and closes with the weight of harrowing wartime sacrifices rivaling those in Rogue One, and yet it also comes bearing porgs, crystal foxes, and other relentlessly cute galactic fauna. Finn's MacGuffin Quest takes him, Rose, and BB-8 to Canto Bright, the swanky interplanetary gambling destination. Visually, it evokes some combination of locations from the prequels including Naboo and Coruscant. Narratively, it exists to give Finn something to do, allow a stampede of alien racehorses to trash a casino, and have BB-8 act like a slot machine. The BB-8 gag, and a few others, like characters getting hit in the head by objects being moved by the force, and a sinister piece of tech that turns out to be a clothes iron for First Order uniforms, would fit right into a Spaceballs sequel (The Schwartz Awakens… you're welcome). The balance struck between the serious and the comical feels a little closer to that of Attack Of The Clones than Empire Strikes Back. Fortunately now, with Adam Driver we have a more interesting depiction of young male angst than we did in episodes II and III.
Speaking of Adam Driver, his Kylo is easily the best mega-budget movie villain to come around in some time, and possibly the best one Star Wars has ever had. In the original trilogy, we had to infer that there might be some lingering conflict within Darth Vader. With Kylo Ren, he's always so conflicted, that we never really know what he's going to do next. Despite his acting like a spoiled adolescent (replete with temper tantrums), we don't really know what he wants. His gaze extends beyond what we're used to seeing from villains. In The Force Awakens, he killed his father. This time around, he finds himself at odds with two additional father figures, Luke and Supreme Leader Snoke. He is intent on purging his demons left and right, and without discrimination. Maybe it's Oedipal (thinking… he does spare his mother… hmm), or more likely he just has no tolerance for being governed by anything from his past. Either way, at least it's intriguing and a little refreshing. Kylo finishes the movie with a bit of a clean slate. Finding out what he does with it, and how Rey figures in, is easily the most intriguing arc that will presumably be picked up in Episode IX. Were it not for Luke and Rey, Adam Driver would own this movie. He might own it anyway.
Along with Kylo, Luke and Rey are the best elements of The Last Jedi. As much as I have loved his voice work, this latest grizzled version of Luke Skywalker is probably the best Mark Hamill has ever been. His character arc isn't likely to surprise you. He is Rey's cranky, reluctant mentor, but Hamill brings a warmth to the role that feels true to the character (despite what Hamill has said IRL) and fits perfectly with the new movie.
Daisy Ridley returns as Rey, and once again, she is one of the highlights of the movie. What a find she has turned out to be. Rey is a worthy hero for this trilogy and really knows how to handle both action, comedy, and everything else these movies are throwing at her.
With the proverbial lifting of the velvet rope around the Force, and one of the most inspiring and open-ended finishes the series has seen, The Last Jedi almost feels as though it could The Last Star Wars Movie. Kylo and Rey have unfinished business, but no other part of Episode VIII calls strongly for a direct sequel. Nonetheless, a sequel we shall receive. Perhaps the trilogy-capper will dispense with the unnecessary over-complication of its story and develop a bit more of a laser-focus on the best stuff. It would do well to jettison the digressions and empty MacGuffins in favor of exploring the stories and mysteries that Star Wars is seems to be ramping up to. The original trilogy wasn't perfect, but was much leaner than what everything that has come since, and there's a lesson in there, somewhere. I hope that lesson is learned, because New Star Wars is definitely here to stay. The Last Jedi mostly succeeds in charting a new path into the future, and, like Kylo Ren, ushering its past slowly into oblivion.
From → Film Reviews, Star Wars
THE RISE OF SKYWALKER Brings Everything Full-Circle… Or Something | Our Planet Burke
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A Clockwork Orange – The Stuff Of Nightmares »


This 48" vanity with espresso finish and satin nickel hardware and clean lines with a stepped door profile with preassembled top and bowl.
This 48" wide solid wood vanity features clean lines with a stepped door and drawer profile for a modern look. The deep Espresso finish and satin nickel hardware complement the modern look. With four working drawers two on each side of a large cabinet with adjustable shelf and open bottom shelves flanking the center cabinet this vanity features ample storage space. Drawers are solid wood dovetailed drawer boxes fitted with soft close full extension slides and the cabinet features integrated soft close hinges. This vanity has a 2.5CM engineered Emperador Light marble top preassembled with an H8810WH (17" x 14") bowl cut for 8" faucet spread and corresponding 2CM x 4" tall backsplash.


This index measures the equity performance of companies in both developed and emerging markets that derive the majority of their revenues from silver mining. Additionally, the index screens may include companies that are in the exploration phase of silver or involved in the production of other precious metals. The index utilizes the MSCI 25/50 methodology.
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Sant'Agata Bolognese is part of the Rete Nazionale Città dei Motori (National Motor Cities Network) as the head office of Lamborghini. Here, Ferruccio Lamborghini opened in 1963 the famous House of the Bull, destined to go down in history of luxury cars with models like Miura, Countach and Espada. Highly skilled engineers, planners and designers have worked at the plant in Sant'Agata, helping make special Lamborghini cars. People like Giotto Bizzarrini, Paolo Stanzani, Gian Paolo Dallara, Horacio Pagani, the test driver Bob Wallace left a trace in Italian automotive history, linking their name to Lamborghini and Sant'Agata Bolognese. Today the plant includes a recently opened Museum that celebrates the history of Ferruccio and his "perfect cars", like him born under the sign of Taurus.
It is the symbol of Sant'Agata, the only Gate that has reached our days as proof of the four gates that made up the ancient fortified wall. Porta Otesia preserves traces of the drawbridge (now restored) and the tower on which stands the original bertesca, used for shelter and patrolling. Inside is the public clock and, at the bottom, the premises that were once used as a prison. The existing cell is now equipped with tools and accessories that evoke the past.
The Partecipanza Agraria - Agrarian Common Ownership - is an ancient local institution, which can be traced back to a form of collective property of reclaimed and cultivated land. It is a form of long lease that the Abbey of Nonantola, for a small fee, granted to groups of people or families who lived in the town. Today, it represents a great historical heritage for the community, thanks to the unique mechanism of land distribution, but also its commitment towards recovering works of art exhibited at the Column Hall.
Inside the town hall, there is a small gem of a theater from the 18th century. Its origin is tied to the first theater, designed and painted by Ferdinando Bibiena, which was then destroyed by a fire before its inauguration. Today the building hosts the Municipal Theater, and returned to its original function in 1998, when it was inaugurated in the presence of an exceptional godmother: Natalia Pizzai, the Queen of Italian Music and a native of Sant'Agata. In its pleasing scenario, with its decorated ceiling and majestic chandelier, the TreTeatrixTe theatrical representation is held here every year.
Located near Porta Otesia, it was home to the Brotherhood of the Holy Spirit. Inside there are thirteen frescoes, partly dating back to the mid-16th century, depicting the Apostles and the Savior in actual size. On the altar stands a 17th-century altarpiece representing the Descent of the Holy Spirit, a work by Giovanni Battista Digerini. Completing the list of treasures in the Oratory are the relics of over twenty Saints. Deriving directly from Rome, they have been here preserved since the 18th century. The entire complex has been included among the Nation's Monuments.
The La Villa nel Pozzo exhibition has temporarily installed in the town hall, documenting an important archaeological find from 2013. The site that was discovered turned out to be a rustic Roman villa. The walls of the sub-foundation made it possible to establish the exact layout: the villa was equipped with a large porch and several rooms, including those for grape pressing, and a well. The latter, located in the center of the complex, has collected numerous sediments over the centuries dating back to the first century BC and the second century AD. A true treasure of information that has restored plant and animal remains, fragments of materials and utensils such as containers, jugs, vases, combs, spoons, and other objects of metal, wood, stone, ceramics, and glass.
This is one of the most anticipated events in the area of Persiceto: a true traditional village festival with exhibitions, exhibits, sports, gastronomy and shows. For more than 30 years, it has been held every last weekend in May.
The Lamborghini company was founded in 1963 with the aim to build the perfect vehicle: Miura, Countach, Espada are just a few of the known models of the House of the Bull, whose history is celebrated even in the company Museum.
Vintage picture of Lamborghini factory's interior.
Lamborghini factory in Sant'Agata Bolognese.
Ferruccio Lamborghini sells the company ... but the Countach flies.
The roundabout dedicated to the Lamborghini test driver Bob Wallace was inaugurated in 2015 in Sant'Agata Bolognese.


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Jordyn Woods Shares Stunning Swimsuit Photo -- Critics Of Khloé Kardashian's Nemesis Say Plastic Surgery And Photoshop Are Responsible For Her Good Looks
Mel Walker
Jul 5, 2020 2:33 AM PDT
Jordyn Woods, at age 22, is flaunting her best attributes and delivering the goods for her numerous followers on social media.
The model took to Instagram on July 4th to put a huge smile on their faces. The young woman sported a white swimsuit while sitting on the edge of a pool surrounded by trees and a beautiful summer weather.
Woods, who has over 11 million followers on Instagram, captioned the sizzling photo: "How many days has it been since Juneteenth?"
This is the perfect setting for someone who is living their best life amid rumors that Khloé Kardashian and Tristan Thompson have reconciled for the sake of their young daughter, True Thompson.
Woods played an important role in the cheating scandal the power couple went through last year. While she received some blame for her involvement in the incident, many believe that it is time for the Kardashian/Jenner clan to forgive her for her sins and really move forward.
This is a very unlikely scenario, but at least Woods can find some solace in the fact that the scandal helped her establish her presence online and become a powerful influencer with a strong following and brand.
Despite the success, critics are still coming at her for other things like her use of Photoshop in her pictures. According to a few naysayers, her perfect look, and stunning pictures are just the end result of a great image editor and clever plastic surgery.
She has not addressed those charges, and those who bring those accusations forward do not have definite proof to back their position.
One critic stated: "She photoshopped her head to make it look little, I saw her in real life, and she looks like Hulk."
A positive comment added: "She looks good, but what's the relationship between the caption and the photo?"
A third follower explained: "What a clown. she just better focus on not getting anymore surgery."
A fourth person brought up the fact that Woods is not really socially conscious: "This is the same girl who says she's just now knowing how it feels to be a black woman because of the backlash for messing with her friend's baby father😂😂😂😂."
A fifth follower suggested that her caption did not really go with the picture: "I love that it's so on-trend now to speak on these things that it's now a suitable caption for a swimsuit photo 🙄."
Was it necessary for Woods to talk about Juneteenth next to this picture?
Jordyn Woods Reveals One Of Her New Year Resolutions
Jordyn Woods' Recent Video Will Make Fans Smile
Jordyn Woods Flexes On The 'Gram With The Gifts She Received For Christmas
Chris Brown And Ammika Harris's Baby Boy, Aeko, Delights Fans With His Puzzling Facial Expressions In New Photo


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Outlaws capture Midget American state championship
Team of Camas and Washougal players went 31-0
By Dan Trujillo | August 6, 2013 12:00 am | comments
The Camas Outlaws captured the Junior Baseball Organization's Midget American State Championship July 14, in Corvallis, Ore. Players are Nate Adams, AJ Anhorn, Drew Fishburn, Morgan French, Brig Griffin, Chase Howington, Jake LeBlanc, Ty Mairs, Mason Packer, Easton Rheaume, Ethan Tobey and Tyler Willis. Coaches are Tad Mairs, Eric Rheaume and Aaron Howington.
After winning the Milwaukie Invitational, the Banks Invitational and the Tri-County district championship, there was only one trophy left for the Camas Outlaws to obtain.
The team of 9- and 10-year-old baseball players from Camas and Washougal put the finishing touches on a perfect season when they defeated Sweet Home, Ore., 18-7 for the Junior Baseball Organization's Midget American state championship July 14, in Corvallis, Ore.
"It's surreal for us to be 31-0. One of the parents said it was like catching lightning in a bottle. Everything went our way," said head coach Tad Mairs. "The kids were ecstatic. There were high-fives and big hugs all around. Some of us even had tears in our eyes. It was a very special moment."
The Outlaws beat Oregon City in the opening round by the score of 14-4. They also defeated Liberty 7-5 and Keizer 12-11. Camas then rallied from five runs down in the first inning to beat Selwood 6-5 in the semifinals.
"Hard work and unity pays off. It takes the whole team working together in order to accomplish those feats," Mairs said. "By the time we got to the state tournament, our bottom of the lineup was better than everyone else's. You could see the difference. We were just peaking at the right time, one through nine in the lineup."
Mairs and his fellow coaches Eric Rheaume and Aaron Howington thanked the players for making the sacrifices necessary for the team to improve as a whole each practice and each game. They also thanked the family members of these ballplayers for their unwavering support.
"I can't tell you how many parents and grandparents, brothers and sisters, aunts and uncles, and cousins I saw at the games," Mairs said. "It was pretty amazing."
The Outlaws camped together during their tournaments. They also participated in team barbecues and went out for pizza. Before the state championship game, they all shaved their hair into mohawks.
"If you'll do it, I'll do it," Mairs said. "Having that bond is very important. It makes you stronger as a team."
As the Outlaws rode off into the sunset as state champions, Mairs is excited to see where they venture in the future. Some could be back with the team next year. Others might move away or pursue greener pastures, but they will always have the memories from this perfect season to treasure.
"I hope to see the kids go on and continue to be successful through hard work," Mairs said. "Years like this one don't come around all that often. We all feel pretty lucky."
Dan Trujillo


If you're fed up sleeping on airport benches and floors while travelling, you'll like the idea behind a new, smart micro-hotel that is due to open its first location in January at Washington DC's Dulles International Airport. The brainchild of a Boston-based start-up called Sleepbox, founded by Mikhail Krymov and Peter Chambers, it offers small, modular rooms that give passengers a quiet and comfortable place within the airport to sleep, relax or work while waiting to board a flight.
Sleepbox will be located after security in Terminal A of the airport, and will offer 16 secure and sound-insulated rooms that passengers can reserve on an hourly basis through the company's smartphone app 24 hours per day. CEO Mikhail Krymov (36) is an architect who is originally from Moscow. Having moved to the US four years ago, he now lives in Boston with his wife and two cats, and says there were two experiences that gave him inspiration for the creation of Sleepbox.
Mikhail believes in the transformative power of travel, and says that by experiencing new ways of living and meeting different cultures, we grow and learn things about ourselves that would be impossible to learn virtually or digitally. So he felt that he could offer something to help make that experience better. Sleepbox offers rooms with Wi-Fi, Bluetooth capability, mood lighting, a memory foam mattress, privacy and security, and the company can launch a hotel wherever it's needed – near the gates of an airport or in heart of a city.
For further information on Sleepbox, please see here.


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Q: How to use str_detect to find specific values in a dataframe I have a dataset where I am looking to search across the whole dataset for anytime 'ACE' appears (upper case specifically).
My dataset also contains columns with words like 'placed' so it's picking up rows that do not actually have 'ACE' exactly.
My dataset looks like:
Study ID   Title                             Drug        ...
1         Study of placement              Gene1-drug
2         Study of ACE                    Gene1-drug
3         Study of placed treatment        ACE-drug

I am looking to be able to pull out rows 2 and 3 in this case since they both have 'ACE' exactly somewhere in all the columns.
At the moment to get this I've been trying answers from similar questions but haven't got far.
For example I've tried:
test <- df %>% filter(str_detect('ACE', "[[:upper:]]"))

A: One way to do this is this:
df <- data.frame(
  v1 = c("a", "b", "c", "d"),
  v2 = c("c", "x", "y", "z")
)

# with `stringr`:
df[which(str_detect(apply(df, 1, function(x) paste(x, collapse = " ")), "c")),]
# or in `base R`:
df[which(grepl("c", apply(df, 1, function(x) paste(x, collapse = " ")))),]
  v1 v2
1  a  c
3  c  y

A: using base R if you want to try:
> df[apply(df, 1, function(x) sum(grepl('ACE',x))==1),]
# A tibble: 2 x 3
  `Study ID` Title                     Drug
       <dbl> <chr>                     <chr>
1          2 Study of ACE              Gene1-drug
2          3 Study of placed treatment ACE-drug
>

redpajama_set_name: RedPajamaStackExchange


Our seniors have a vast amount of wisdom and life's experience to share with the world that you can only acquire by having experienced life first hand. The seniors in our communities have successfully raised families, owned their own businesses, and been doctors, lawyers, teachers, salesclerks and everything in between. Therefore now in their golden years of life they are ready to share their experience and talents with those in their own community and add some joy in their own at the same time.
Founded when the late President John F. Kennedy was in office, Senior Corps is the organization that brings seniors together with those in the community that need them the most. Here they will guide, teach, and share their life's experiences with individuals, families, nonprofit groups and religious groups within their communities.
There are various different ways that Senior Corps can help volunteers to get the help and education that they need to make a difference in their community according to their own talents, experiences and times they are available.
One being the Foster Grandparent Program, this program links volunteers age 55 and older with the children in their community that are in the most dire need. They will guide, mentor and lend support to the young people that need it the most.
The Senior Companion Program, pairs up senior volunteers with the adults in their communities who have trouble managing the simple everyday tasks of living. They can assist by visiting them, helping them with easy to do chores, making phone calls for them or anything else they feel they can do.
RSVP, links seniors with volunteer job opportunities in their communities that match up with their special talents or skills. This can be anything from helping with contracting duties to working with various non profit organizations.
Between Foster Grandparents, RSVP and Senior Companion Program's, there are more than 500,000 senior citizens that volunteer their time and talents. They willing give of themselves to other seniors and children in need of help, companionship and guidance.
For contact information for volunteers and organizations click here for more details.


It's been way too long since Buffalo Chicken has showed it's mug here. So happy Buffalo Chicken Monday to all!
While most of the Buffalo Chicken recipes on this Blog have been pre-meditated, this one was purely by accident. Yesterday morning, while still half asleep, I reached my hand in the freezer, did an "eenie, meenie, miney, moe" and pulled out what you could call the 'pandora's box' of the freezer – ground chicken. For some reason, I continue to buy this at the store, and then when faced with doing something with it, always seem to be left scratching my head. Last time I was faced with this was back in April, when Southwest Chicken Burgers were born. And last night, almost 4 months later, a new ground chicken master piece was born, and Buffalo Chicken Tacos was it's name! You could use rotissere chicken or shredded chicken breast for this as well.
2) Add ground chicken to vegetables and sautee until cooked through.
3) Take the Frank's and ranch dressing and whisk together in a small dish, then pour the mixture over the vegetable/chicken mix. Add blue cheese and stir until melted.
4) Let simmer over low heat for 5-10 minutes, until some of the sauce has absorbed.
5) Cook corn tortillas over direct flame until char marks appear, then flip and repeat on the other side.
6) Top with minced celery and carrot and sprinkle some blue cheese and ranch or blue cheese dressing.


text:
17c — Writing the Self
Big Dance Theater returns to BAM Nov 14—18 with 17c, a dizzy intertextual romp through the diaries of Samuel Pepys, weaving music, dance, video and text into a spectacularly outré portrait of the famed 17th-century philanderer and his tragic wife Bess. Annie-B Parson, Co-Artistic Director of Big Dance Theater, spoke with Adriana Leshko about the piece, her technique, Pepys' diaries, and more.
Photo: Bylan Douglas
How would you describe Big Dance Theater's body of work to someone who has never seen it?
Big Dance Theater, as its simple name suggests, has been in a protracted, aesthetic, alchemical conversation with dance and theater simultaneously. All elements from both camps are in play: costumes, props, language, structuralism, the use of space, time, line, causation, relationship, shape, literature, sound design, singing, dancing…
Big Dance's body of work is a sprawling compendium of material wherein abstraction and narrative work hand-in-hand to express the world, dance and language cohabitate, design matters, sound matters, the body in space matters, literature matters. In a Big Dance piece, Form and Content intersect and have equal sway in expressing the world—meaning: what we say and how we chose to say it, are equally important.
The sources for each piece are unique, yet I've noticed themes over time that consistently make their way into each work—these human contradictions: our desire to live against the immutability of our mortality; our desire to be autonomous in the face of our interconnectedness; and the playful nature of theater against the innate tragedy of reality.
My work has always been defined by its privileging of dance in a theatrical context and the collision of forms this juxtaposition creates. This often materializes as text juxtaposed against movement forms themselves, as two concurrent systems of subject matter. I believe strongly in both the supportive and poetic power of structures that stem from dance-making tools that are unique to choreography, forms that can hold both a narrative and an unrelated ongoing movement piece at once, allowing the two elements to collide and resonate with each other.
By way of training I am a choreographer, and my early works were dances. By the time I created my company, I was in collaboration with Paul Lazar, an actor and director, and the theatrical elements organically entered the work.
What are some themes/ideas explored in 17c?
What does it mean to be hyper-generative? How have our technologies of writing the self evolved and how has that affected who we are? What does it mean NOT to have a diary endure through time, NOT to be read? Or, the legacy of erasing women's lives is a blow to the passing down of identit(ies) for women, while men have maintained a narrative through-line by way of publishing their "selves." How do we retrieve identities that have been erased? Has anything in 350 years changed in the way more powerful men perceive and treat less powerful women (citation: Uber, Trump, Murdoch…)? Why have dance and theater become so much less valuable than in the past?
What drew you to Pepys initially? And how is his obsessive chronicling of his own life relevant to our contemporary moment?
My first induction into Samuel Pepys' compendious diaries was through an abridged one, and I was charmed and vindicated by how much he valued learning to dance, going to the theater (he saw it as a vice he couldn't quite quit), and daily singing and music classes. In the argument between the past is so different from contemporary life, and people never change, it seemed here was a chronicle of a time when art mattered greatly, enough to live for and fight for—very unlike our own. And Pepys was eye-opening in how unusual he was for his time, not because he was a diarist, but because of his compulsive, plain spoken and uncensored writing—it reminded me of a Facebook page!
Much like our own constant social media updates, he needed to get everything down on paper or he felt lost; he possessed this same compulsion to assign a real-time meaning to his daily existence. Dispensing with the flowery language of the day, he recorded every toothache, desire, aspiration, thrill, and frill as he rode, strode, groped, bullied, and danced through his days. And his descriptions of his life are unbound by any moralizing or spiritual component; Pepys "keeps it real." But then I got a hold of the unabridged diaries and saw a darker, uglier side of Pepys. While he has a contemporary self-awareness, he is also totally emboldened by and oblivious to his unacknowledged bias against women and aggression toward them. This contradiction makes him fascinating and valuable to observe, interrogate, and challenge.
Who was Margaret Cavendish and what is her role in the work?
Mad Madge, as she was called, was a 17c playwright, largely unpublished in her time, who lived in the same city and time as Pepys, and intersected a bit with him. She was a radical feminist thinker and an enfant terrible type. I had the idea to include a play in the piece that Pepys and Bess may have seen; I wanted to include the voice of a woman. Most of the women I read wrote in the flowery Restoration style of the day, while Margaret Cavendish did not. Her subject matter is women and their lives and freedom. I was instantly smitten. I include an edit of her play The Convent of Pleasure in 17c, as a play within a play.
Could you talk about the importance of movement/choreography in illuminating the character of Bess, Pepys' long-suffering wife?
In reading the diaries over many years there was a gnawing wonder about Bess' voice; I strongly suspected that she too had written a diary but if so—where was it? Finally, last year I stumbled on a passage that answered my question: in a rage at her, Pepys admits to finding her diaries: "I burnt them all" he admits. (He also describes with relish and detail how his trousers are caught around his ankles, as he is raging...) So dance was my way of letting Bess speak without access to her diaries.
Describe a typical Big Dance Theater rehearsal/rehearsal process, if such a thing exists.
I came to the theater through dance, and this has influenced the way I work. Most people think of theater as something that is—first and foremost—written. However, I have always approached theater as something that is constructed, developed, grown, through movement and its forms. Many theater rehearsals begin sitting around a table, reading a script. Big Dance works start with dances—on your feet—gathering sources, generating material, marinating, experimenting, honing, refining in tandem with the performers and designers. So our rehearsals often focus on generating movement through forms. Here's a metaphor: I construct a recipe and the dancers make the cake, then I taste it and change the seasoning; they refine that, and back and forth it goes.
What are some questions you wish you would be asked in Q & As such as these, whether about 17c specifically or about your career writ large?
How has the work you do outside your company affected what you make for the company? What writers have influenced you? What composers? Who are your art heroes?
What has been your most memorable Next Wave experience as an audience member?
As a young choreographer in 1984 on my first visit to BAM I saw Pina Bausch's Café Müller. Having been immersed in the prosaic, structural, and virtuosic pedestrianism of the early Judson Church dance-makers and second gen-Judsons, I was intoxicated by Bausch's use of dance in relation to costume, sexuality, relationship, scenario, and character. This was a decidedly European perspective on dance from an entirely different family tree than the downtown dance scene of the time, as well from the Modernists who I rejected out of hand. I continued to see her work at BAM.
Last time, I saw the first Pina Bausch piece without Pina Bausch on Earth, and I learned something new about the mechanics of her work. I felt a strange absence in the theater and in the work itself and realized watching it that all these years her dancers had been dancing FOR her, and her alone. Choreography is a very personal sport. And it's more perishable than fruit.
—Adriana Leshko, Senior Publicity Manager at BAM.
Posted by Susan at 12:25 PM
Labels: 17c, Annie-B Parson, Big Dance Theater
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Born Earle Appleton Brown, Jr. on December 26, 1926, in Lunenburg, MA; died on July 2, 2002, in Rye, NY. Education: Studied engineering and mathematics at Northeastern University, Boston, MA; attended and graduated from the Schillinger School of Music, Boston, 1946-50.
American composer and conductor Earle Brown is considered a crucial force in the progression of modern music. In the 1950s, he and associates John Cage, Morton Feldman, David Tudor, and Christian Wolff comprised the so-called New York School. Unknown to these avant-gardists at the time, their individual writings and new ideas about the possibilities of music and sound would ultimately influence the course of composition for generations to come. Influenced by the surrealist movement in literature and abstract expressionism in art, each set about creating works that likewise evoked the random nature of modernism. Although each concentrated to a large extent on time, the New York School composers approached the concept in different ways. Whereas Cage broke it apart and Wolff sought to minimize it, for example, Brown treated time as both a static and dynamic occurrence.
"My primary esthetic influences were the spontaneity, direct contact, the 'now-ness' and the in-the-moment immediacy of the Abstract Expressionist painters, especially the 'improvisational' techniques of Jackson Pollock and the subtle coloristic effects of Philip Guston and Bill de Kooning," Brown once remarked, as quoted in the Musical Times. Brown's other artistic influences included the mobiles of Alexander Calder and the collages of Robert Rauschenberg. The big-band sound of jazz leader Stan Kenton also had a significant impact on the young Brown.
All of these forces played an important role in Brown's musical development. Early in his career Brown made significant discoveries, inventing open form (indeterminate contemporary music in which some details of a composition are clearly indicated, but the overall form is left to choice or chance) and graphic notation (written music using graphs to indicate pitch and rhythm) as illustrated in his composition December 1952. During his later years, as seen especially in orchestral pieces such as Available Forms I and Available Forms II, Brown alternated between what David Ryan in the Wire described as "a sense of gigantic repose and a nervous, intense, sometimes aggressively quickfire combination of musical figures." Throughout his career, he maintained a concern for the freedom of the performer, as well as for the defined input of the composer.
While many now associate Brown with European modernism, his true roots lie in the traditions of American music. Born on December 26, 1926, in Lunenburg, Massachusetts, Earle Appleton Brown, Jr. took up the trumpet at an early age, participating in his school's marching band as a youngster. Inspired by big-band jazz--he very much admired the energy of big-band orchestras and their composers and arrangers--as well as the flexibility of improvisation, Brown formed his first jazz group in high school.
But rather than pursuing music, Brown instead embarked on a career in aeronautics, studying engineering and mathematics from 1944 until 1945 at Northeastern University in Boston, Massachusetts. It was here that Brown was first introduced to the theories of Russian-born mathematician and musicologist Joseph Schillinger, whose theories were constructed using highly mathematical procedures and governed by strict parameters. He then spent two years with the United States Army Air Corps, earning his pilot's license and playing in the Corps orchestra alongside jazz saxophonist Zoot Sims, whom he befriended. During his lifetime, Brown also encountered such jazz greats as Bob Brookmeyer, Gerry Mulligan, Ornette Coleman, and Eric Dolphy.
Thereafter, in 1946, Brown enrolled at the Schillinger School of Music in Boston, studying music theory with Kenneth McKillop and, starting in 1947, composition with Roslyn Brogue Henning. He graduated in 1950. That same year, he moved with his first wife, a dancer named Carolyn, to Denver, Colorado, to teach Schillinger orchestration. Immensely attracted to the avant-garde in writing and the visual arts, Brown decided to apply the same ideas to his music, and he delved into a period of experimentation and investigation of a more kinetic method of composition.
In 1951 Brown shared some of his experimental compositions for the first time with John Cage, who was in Denver on tour with Merce Cunningham. Carolyn Brown, at the time involved with the Jane McLean Dance Company, so impressed Cunningham during the visit when she danced in his master class that he asked her to join his company in New York City. Consequently, in 1952, the couple relocated to New York, where Carolyn became a central creative force with the Cunningham Company.
Between 1952 and 1955, Brown worked with Cage on the Project for Music for Magnetic Tape. He soon adopted advanced composition techniques, experimenting with serial methods and aleatory forms. (Serialism is a method of composition in which various musical elements such as pitch, rhythm, dynamics, and tone color may be put in order according to a fixed series. In aleatory music, the composer introduces the elements of chance or unpredictability with regard to either the composition or its performance.) Brown's continued fascination with abstract art and musical flexibility led him to develop graphic notation in 1952 and open form in 1953. One of his key early graphic notation works included Folio, composed in 1952-53, a series of scores that explores the parameters of space and time in various ways. Another significant work, 25 Pages, exemplifies Brown's open form. Written for one to 25 pianos in 1953, the piece is precisely notated but, because of its clever design, each page can be performed in any order and either way up (right to left, up or down).
December 1952, a series of floating rectangles composed as a musical equivalent to Calder's mobiles, remains one of the most famous of all graphic scores realized through improvisation. "I designed a lot of things that were motorised," Brown recalled in an interview with Ryan. "The origin of December 1952 was to be a box that was to sit on the piano ... with a series of bolts and pulleys which moved things through space. Before this, I designed another piece--Buckminster Fuller and Calder influenced; it was to be a globe with strips of music paper interacting with the circumference; the globe was to sit in a bowl of water. The pianist would play whatever came up closest to him."
By the mid-1950s, Brown's reputation had extended to Europe, and in the 1960s, he created some of his most brilliant and explosive works. For example, with 1962's Available Forms II, for 98 musicians in two groups, Brown created 48 "events" (called such because they were not typical formal musical works), which were directed by two conductors. He likewise drew attention for Corroboree for three pianos in 1964 and String Quartet in 1965. Returning to orchestral work the following decade, he composed Cross-Sections and Color Fields, 1972-75, Modules 1-3, 1966-69, and Time Spans, 1972, earning critical praise for his freshness and musicianship.
These achievements, Brown always believed, resulted from a strong belief in his ideas. "You have to use your musical sensitivity, you have to use your memory," he said to J.D. Hixson for the Studio for New Music online magazine. "You have to know where you're going, from where you came. You have to know what you're building, what the continuity looks like. You also have to have the self-confidence to walk out there and conduct these pieces and help the musicians enter into the process. The conductor has to be gentle, to be firm, with a great deal of confidence, and no fear about 'making a mistake.' It's like something I read recently, that said that sometimes in making a mistake, you can find something you never would have otherwise! But the confidence is essential."
Brown's later compositions added a layer of warmth to his musical experimentations. His most celebrated later work, Tracking Pierrot, composed in 1992 for small ensemble, features open solos. His final piece was Special Events, which premiered in February of 1999 in Stuttgart, Germany. Brown died at the age of 75 on July 2, 2002, at his home in Rye, New York. He was survived by his second wife, art curator Susan Sollins.
Throughout his career, Brown received numerous honors and awards, and he accepted many lectureships. He served as composer-in-residence at the Peabody Conservatory in Baltimore from 1968 until 1973; at the Aspen Music Festival in Colorado in 1971, 1975, and 1981; at the Rotterdam Philharmonic and Conservatory in 1974; at the California Institute of the Arts from 1974 through 1983; at the American Academy in Rome in 1987; and elsewhere. His visiting professorships included positions at the Basel Academy of Music in 1975; the State University of New York at Buffalo in 1975; the University of California at Berkeley in 1976; the University of Southern California in Los Angeles in 1978; and at Yale University from 1980 through 1981 and from 1986 until 1987.
From 1965 through 1966, Brown held a Guggenheim fellowship, and he received an honorary doctorate degree in music from the Peabody Conservatory in 1970. He was also president of the American Music Center in New York from 1986 through 1989, was awarded the Letter of Distinction by the American Music Center in 1996, received the John Cage Award for Music from the Foundation for Contemporary Performance Arts in 1998, and was elected a member of the Bavarian Academy of Fine Arts in Munich, Germany, in 1999.
Composer-in-residence, Peabody Conservatory, Baltimore, 1968-73; composer-in-residence, Aspen Music Festival, 1971, 1975, 1981; composer-in-residence, Rotterdam Philharmonic and Conservatory, 1974; composer-in-residence, California Institute of the Arts, 1974-83; visiting professor, Basel Academy of Music, 1975; visiting professor, State University of New York at Buffalo, 1975; visiting professor, University of California at Berkeley, 1976; visiting professor, University of Southern California in Los Angeles, 1978; visiting professor, Yale University, 1980-81, 1986-87; president of the American Music Center in New York, 1986-89; composer-in-residence, American Academy in Rome, 1987.
Guggenheim fellowship, 1965-66; Letter of Distinction by the American Music Center, 1996; John Cage Award for Music from the Foundation for Contemporary Performance Arts, 1998; elected member of the Bavarian Academy of Fine Arts in Munich, Germany, 1999.
Music (violin, cello, piano), 1952.
Folio (unspecified instruments; October 1952, November 1952 [Synergy], December 1952, MM 87 and MM 135 ,and Music for Trio for five dancers, 1952-53); arranged for chamber ensemble, 1981.
Music for "Tender Buttons" (speaker, flute, horn, harp), 1953.
Octet I (eight tapes), 1952-53.
25 Pages (1 to 25 pianos), 1953-54.
4 Systems (unspecified instruments), 1954; arranged for chamber orchestra, 1981.
Octet II (8 tapes), 1957.
Pentathis (flute, bass clarinet, trumpet, trombone, harp, piano quartet), 1957-58.
Holograph I (flute, piano, percussion), 1959.
Available Forms I (18 musicians), 1961.
Light Music (large orchestra, lights, electronics), 1961.
Available Forms II (large orchestra, two conductors), 1962.
Novara (flute, bass clarinet, trumpet, trombone, harp, violin, cello, four-track tape), 1962.
From Here (four sopranos, four altos, four tenors, four basses, 20 instruments), 1963.
Times 5 (flute, trombone, harp, violin, cello, four-track tape), 1963.
Calder Pieces (four percussion, mobile), 1963-66.
Corroboree (three or two pianos), 1964.
9 Rarebits (one or two harpsichords), 1965.
String Quartet 1965 , 1965.
Event: Synergy II (11 woodwinds, 8 strings), 1967-68.
Small Piece for Large Chorus , 1969-70.
Syntagm III (flute, bass clarinet, vibraphone, marimba, harp, piano, violin, cello), 1970.
New Piece Loops (17 instruments), 1971-72.
Time Spans (large orchestra), 1972.
Sign Sounds (18 instruments), 1972.
Centering (violin, chamber orchestra), 1973.
Cross Sections and Color Fields (orchestra), 1975.
Windsor Jambs (Transients) (mezzo soprano, flute, clarinet, piano, percussion, violin, viola, cello), 1980.
Folio II (unspecified instruments), 1981.
Tracer (flute, oboe, bassoon, violin, cello, double bass, four-track tape), 1984.
Special Events (cello, piano), 1998.
The New York School (includes compositions by John Cage, Morton Feldman, Christian Wolff), hatART, 1993.
The New York School 2 (includes compositions by John Cage, Morton Feldman, Christian Wolff), hatART, 1995.
(With Eberhard Blum, flutist), Four Systems , hatART, 1995.
(With Ensemble Avantgarde) Synergy , hatART, 1995.
(With David Arden, pianist) Earle Brown: Music for Piano(s), 1951-1995 , New Albion, 1996.
Brown: Centering; Windsor Jambs; Tracking Pierrot; Event: Synergy II , Newport, 1998.
American Masters Series: Earle Brown , CRI, 2000.
Slonimsky, Nicolas, editor emeritus, Baker's Biographical Dictionary of Musicians, Schirmer, 2001.
American Record Guide, September/October 1998, p. 127; September/October 2000, p. 116.
Boston Globe, July 11, 2002, p. B7.
Down Beat, February 1993, p. 39; May 1995, p. 58; July 1996, p. 57.
Los Angeles Times, October 30, 1986, p. 3; November 5, 1986, p. 7; November 16, 1990, p. 22; January 15, 1993, p. 24; March 9, 1995, p. 11; July 10, 2002, p. B11.
Musical Times, Autumn 2002, p. 5.
New York Times, February 17, 2002; July 8, 2002, p. A16; July 9, 2002, p. 19.
Village Voice, August 6, 2002, p. 991.
Washington Times, June 14, 1997.
Wire, September 2002, p. 24.
"Earle Brown, Composer," http://www.earle-brown.org (October 29, 2002).
"Earle Brown: 'No Beginnings, No Endings ... and the Paradox of Art,'" Studio for New Music, http://www.studiofornewmusic.com/ebrowninterview.htm (October 29, 2002).


Derby LIVE invites the people of Derby to be their guest for Christmas 2017. Join Derby LIVE and an all-star cast at Derby Arena for a traditional family Pantomime and follow the classic love story of Beauty and the Beast.
A trip to the pantomime is sure to get the family into the Christmas spirit. Derby Arena will be transformed into magical theatre space, with spectacular pyrotechnics and amazing special effects. It will bring together sensational sets and costumes, hilarious comedy, fabulous music and dazzling dance routines.
Go on a journey to a little French village and boo and hiss as the Wicked Witch casts a spell on the dashing Count, transforming him into a grotesque beast, condemning him to live for only two years unless he can be saved by true love.
Everyone's favourite characters will be bought to life in this enchanting and spellbinding tale that will combine hilarious comedy, fantastic music and dance routines and lots of audience participation.
Can true love set the Beast free? Only Beauty holds the power to break the Witch's spell and give everyone a happy ever after!
Panto always guarantees fun for all the family, with lots of audience participation that will have everyone all shouting 'he's behind you'.
It's never too soon to get tickets for this festive family favourite; book now for the best seats in the house at the best prices with the panto early bird rate.
Beauty and the Beast will be on stage at Derby Arena from Tuesday 5 December 2017 until Sunday 31 December 2017, tickets priced from £14.75 with concessions, group, school and family tickets available. Save £2 when you book before 31 Oct, with other savings available.
With tickets going on sale as this year's pantomime Cinderella opens, it's never too early to book for this fantastic festive treat – call the Sales and Information Centre on 01332 255800, pick seats online at derbylive.co.uk, or book in person at the Assembly Rooms, Market Place, Derby.


text:
Q: Move LinearLayout to bottom of parent LinearLayout I have a LinearLayout that has a background image.
The LinearLayout also has a child LinearLayout with a TextView inside it. The child LinearLayout has a 20 % transparent background color.
My problem is that I want to move the child LinearLayout to the bottom of the parent LinearLayout. Now the child LinearLayout is located in the vertical center of the parent LinearLayout.
Image:

I have tried different techniques, including using RelativeLayout.
The design XML:
<?xml version="1.0" encoding="utf-8"?>
<ScrollView xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:tools="http://schemas.android.com/tools"
    android:layout_width="fill_parent"
    android:layout_height="fill_parent"
    android:fitsSystemWindows="true"
    android:fillViewport="true"
    tools:context=".MainActivity">

    <LinearLayout
        android:orientation="vertical"
        android:layout_width="match_parent"
        android:layout_height="match_parent">

        <!-- Main season image -->
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            android:id="@+id/linearLayoutMain"
            android:layout_width="match_parent"
            android:layout_height="300px"
            android:orientation="vertical"
            android:background="@drawable/img_season_02">
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        <!-- //Main season image -->

        <!-- Navigation -->
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            android:id="@+id/tableLayoutNavigation"
            android:layout_width="match_parent"
            android:layout_height="wrap_content"
            android:layout_centerHorizontal="true"
            android:columnCount="3"
            >

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                android:layout_width="match_parent"
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                    android:layout_height="100dp"
                    android:gravity="center"
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                    android:background="@drawable/img_tile_food"
                    android:layout_marginTop="2dp"
                    android:layout_marginRight="1dp"
                    android:layout_marginLeft="2dp">

                    <LinearLayout
                        android:layout_width="match_parent"
                        android:layout_height="wrap_content"
                        android:background="#bb000000"
                        android:orientation="vertical"
                        android:layout_alignParentBottom="true"
                        android:paddingLeft="6dp">

                        <TextView
                            android:id="@+id/textViewMyProfileFood"
                            android:layout_width="wrap_content"
                            android:layout_height="wrap_content"
                            android:layout_marginTop="3dp"
                            android:text="@string/food"
                            android:textAppearance="?android:attr/textAppearanceMedium"
                            android:textColor="@color/colorWhite" />
                    </LinearLayout>
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                <!-- //Row 1 - Column 1 -->

                <!-- Row 1 - Column 2 -->
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                    android:id="@+id/linearLayoutExercise"
                    android:layout_width="0dp"
                    android:layout_height="100dp"
                    android:layout_marginLeft="1dp"
                    android:layout_marginRight="1dp"
                    android:layout_marginTop="2dp"
                    android:layout_weight=".3"
                    android:background="@drawable/img_tile_exercises"
                    android:gravity="center"
                    android:orientation="vertical">

                    <LinearLayout
                        android:layout_width="match_parent"
                        android:layout_height="wrap_content"
                        android:background="#bb000000"
                        android:orientation="vertical"
                        android:layout_alignParentBottom="true"
                        android:paddingLeft="6dp">

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                            android:id="@+id/textViewExerciseTitle"
                            android:layout_width="wrap_content"
                            android:layout_height="wrap_content"
                            android:layout_marginTop="3dp"
                            android:text="@string/exercises"
                            android:textAppearance="?android:attr/textAppearanceMedium"
                            android:textColor="@color/colorWhite" />

                    </LinearLayout>
                </LinearLayout>
                <!-- //Row 1 - Column 2 -->

                <!-- Row 1 - Column 3 -->
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                    android:id="@+id/linearLayoutMyProfile"
                    android:layout_weight=".3"
                    android:layout_width="0dp"
                    android:layout_height="100dp"
                    android:gravity="center"
                    android:orientation="vertical"
                    android:background="@drawable/img_tile_profile"
                    android:layout_marginTop="2dp"
                    android:layout_marginRight="1dp"
                    android:layout_marginLeft="2dp">

                    <LinearLayout
                        android:layout_width="match_parent"
                        android:layout_height="wrap_content"
                        android:layout_alignParentBottom="true"
                        android:background="#bb000000"
                        android:orientation="vertical"
                        android:paddingLeft="6dp">

                        <TextView
                            android:id="@+id/textViewMyProfileTitle"
                            android:layout_width="wrap_content"
                            android:layout_height="wrap_content"
                            android:layout_marginTop="3dp"
                            android:text="@string/my_profile"
                            android:textAppearance="?android:attr/textAppearanceMedium"
                            android:textColor="@color/colorWhite" />
                    </LinearLayout>
                </LinearLayout>
                <!-- //Row 1 - Column 3 -->
            </TableRow>

            <!-- //Row 1 -->
        </TableLayout>
        <!-- //Navigation -->

    </LinearLayout>
</ScrollView>

A: Only do this for each of your row will solve your problem.
<!-- Row 1 - Column 3 -->
                <LinearLayout
                    android:id="@+id/linearLayoutMyProfile"
                    android:layout_width="0dp"
                    android:layout_height="match_parent"
                    android:layout_marginLeft="2dp"
                    android:layout_marginRight="1dp"
                    android:layout_marginTop="2dp"
                    android:layout_weight=".3"
                    android:background="@drawable/com_facebook_profile_picture_blank_square"
                    android:gravity="center"
                    android:orientation="vertical">

                    <LinearLayout
                        android:layout_width="match_parent"
                        android:layout_height="match_parent"
                        android:layout_alignParentBottom="true"

                        android:gravity="bottom"
                        android:orientation="vertical"
                        android:paddingLeft="6dp">

                        <TextView
                            android:id="@+id/textViewMyProfileTitle"
                            android:layout_width="match_parent"
                            android:layout_height="wrap_content"
                            android:layout_gravity="bottom"
                            android:background="#bb000000"
                            android:layout_marginTop="3dp"
                            android:text="5454"
                            android:textAppearance="?android:attr/textAppearanceMedium"
                            android:textColor="@color/white" />
                    </LinearLayout>
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Hopefully it will solve your problem

A: android:layout_alignParentBottom is not a supported attribute of a LinearLayout. If you want to use that, you should convert the parent LinearLayout into a RelativeLayout that supports those relative attributes.
Or, a simpler option would be to just set the parent LinearLayout's gravity: android:gravity="bottom"

A: Also, why don't just set a background color inside a TextView?

android:background="@color/your_color"

Then you would be able to eliminate reduntant LinearLayouts wrapping TextViews

A: I think what you want to do is put android: layout_gravity="bottom" in the Linearlayout that you want to put in the bottom


text:
Interview by Hugh Weber
Photography by the Corita Art Center
The Legacy of Corita Kent
Artist / Educator / Social Justice Advocate
Corita Kent was an artist with an innovative approach to design and education. She worked in the Immaculate Heart College Art Department, above, c. 1955. (Photo/Fred Swartz, courtesy of the Corita Art Center)
"Sometimes you can take the whole of the world in, and sometimes you need a small piece to take in," says Sister Mary Corita, to a group of art students in footage filmed during one of the classes she taught at L.A.'s Immaculate Heart College in the 1960s. She advises them to gaze through a one-by-one-inch square cut into a piece of cardboard before setting them loose at Mark C. Bloome's, a colorful car and tire shop in Beverly Hills. "I think that's really what a work of art is," she continues. "It's a small piece that you can digest which gives you a kind of idea of the richness that is in the whole." Corita Kent called these cardboard cut-outs "finders," and this exercise is just one indelible part of her legacy, which is relevant as ever, and continues to inspire.
As a devout Catholic nun, Kent was a seemingly unlikely force in the American pop art movement of the '60s, but her vivid screen prints, which married aesthetics and activism, along with her progressive teachings that centered social practice, endeared her to the high-brow art world and general public alike. (Though the same cannot be said for the local conservative Catholic leaders at the time.) Kent continued pushing boundaries and making waves until she took a dispensation from vows, effectively leaving her formal life as a nun in 1968. After that she moved to Boston, and continued making art until she died from cancer in 1986 at the age of 67. The continued proliferation of her 10 rules, created with her students for the Immaculate Heart art department, attest to the endurance of Corita's art and teachings. "Consider everything an experiment," states rule number 4. And that's what this is as well—a conversation about Corita's ongoing relevance and influence with Nellie Scott, director of the Corita Art Center; L. Frank, a Tongva-Ajachmem artist and one of Corita's former students; and Lukaza Branfman-Verissimo, an artist and educator deeply influenced by Corita's work.
To get us started, can you each introduce yourself and tell a bit about your work?
L. Frank: I'll give you the official hello: irresponsible artist, responsible activist. When I was about nine, I started shooting photos. Then I started drawing. Now I'm teaching myself animation and Illustrator. I'm also teaching myself how to edit film. I really like casting silver, I really love painting. The reason that I do a lot of different things is because my people of Los Angeles—the originals—we are considered extinct. So my focus is for us to not be extinct. And the only way to make that happen is to become visible. I made the first stone bowl by someone in my tribe in 200 years because I found out, "Oh, holy heck, we made stone bowls. I guess I better make one." So I became a stone worker. Then I worked with wood. It's piecing back together a culture in order to see who we are. I spend a lot of time doing research and then I just make and make and make some more.
One of the callings of artists is to be a mirror to what's happening in the world." —L. Frank
Lukaza Branfman—Verissimo is an artist and educator who has been deeply influenced by Corita's approach and her messages of peace and social justice.
Lukaza: As an artist and educator and storyteller and curator, my work prioritizes the archiving and telling of black and indigenous queer or trans and gender-nonconforming folks of color in my own world. I make work in a collective model. I always think about this web of stories, and this web of holding each other, and this collective way of surviving, and thus making, in the world. The medium is discovered as the collaborators are brought in and the stories that need to be centered are figured out. With roots in printmaking, whatever medium I choose I often think about the way that I make a print. I use paint, I've made murals on walls and on glass, I've made protest banners and spaces to be together. And all of those feel like these imprints or shared ways of collecting and thinking about, How do we survive? How do our people survive and thrive and sustain each other?
Nellie: As the director at the Corita Art Center, one of my favorite parts of the position is either introducing people to Corita, who are like, "How did I not know this?" Or meeting those people that very much knew who she was, that are like, "Corita was the cat's meow." What makes this organization so unique, especially in the landscape of artist's estate, is that Corita left hers to the Immaculate Heart Community for the benefit of people. This was her family. Over time, they recognized how important their role was in keeping that memory alive and they founded the Corita Art Center in '97. My time here has been building a team of really incredible professionals. And asking, How do we lengthen the table to bring more people to it? How do we keep passing that torch and that legacy and invite people in, in a very structured way? It feels like there's a blossoming happening. When I think about the future of the Corita Art Center, we have an opportunity to build an institution, this type of model, that doesn't exist yet.
Corita Art Center director, Nellie Scott has been fighting to save the studio where Kent taught screenprinting from demolition, and return it to a community space for art and learning.
Corita with serigraphs, c.1960.
What's your Corita origin story?
L: Well, I had no idea who she was [laughs], I was just going through the late '60s. But a friend of mine from high school went to Immaculate Heart, and I went to a party in the dorms, which were actually at the convent. We used to jump up and down and make the elevator stick in between floors—the fire department would come get us out, and the nuns would be mad. But that was my introduction to Corita, I mean when I turned around and looked. I realized that this was the place I needed to be, my brain fit this place, it fit this person. Little did I know that I would fall madly in love with printmaking.
Lukaza: I learned about Corita when I was in high school, in a printmaking class. I grew into myself as an artist through printmaking and that called me to Corita's work—print as a collaboration between social justice and activism and a more visual practice of understanding the world. I immediately felt so seen within her color choice and graphics and ways of reflecting the world. And as an artist who also identifies as an educator, and a story collector and listener, it also hit me in the heart to learn about the breadth of Corita's practice. Not only was she making these prints that were such reflections of this world and hopes, she also was an educator and was learning with her students.
Nellie: Like every single person that's introduced to her, I'm absolutely enchanted by her. The heart of Corita was something I was really drawn to. We all have an educator that we can point to in our lives, you can feel their hand on your shoulder saying, "You can do this, anything is possible." [For me,] I really credit Harrell Fletcher, who is a social practice artist [I learned from at Portland State University]. The idea of challenging the hierarchy of knowledge, that we are all students and we are all educators and the way that we sink our teeth into the idea of collective community and experience, that's something I carried with me, especially as I went into the very commercial side of the art world, moving to New York.
I was the first exhibition coordinator for Nathan Sawaya's first show of sculptures. What struck me when I was working with him on that was the guest experience. People who had never been into a museum before were lined up because it was a medium they were familiar with. I loved that—the shared experience of, "This isn't a white wall experience, let's make this open and accessible." Through that tour I had the opportunity to build out curriculum. That spawned this love for nonprofit work, but also just thinking of art from a very mass perspective. I felt really drawn to Corita and the opportunity to keep pulling on the thread around message and the common good—this idea of creating a new type of community and collective practice, and finding gratitude.
(Left) Corita Kent, e eye love, 1968, serigraph, 22.75 x 22.75 in. (Above) Corita Kent, with love to the everyday miracle, 1967, serigraph, 23 x 35 in. (Photos/Arthur Evans, Courtesy of the Corita Art Center)
Nellie, can you talk about the responsibility of shepherding Corita Kent's legacy, looking back on a body of work, but also what you've called the embedded call to action in her work?
Nellie: It's important to think of her legacy as a living legacy—she's a real human. She's not this monolith, she's not a saint, either. It felt really important that we're representing her as a whole person, as an artist, as an educator. Her work is the foundation. That's the platform for us to be a champion in the work that's happening today and to keep it current. Our North Star has always been education, because to reach these goals of social justice and of messaging that are so profound in Corita's artwork, you have to center education. And through that, we center artist-educators. When we think of our mission, it feels like engaging with her, but without centering her. If we're talking all about Corita every single day, then we would be missing the opportunity to lift up the voices that are inspired by this type of social practice, and the dialogue that can happen between artwork that happened 50 years ago and artists today.
"Our North Star has always been education, because to reach these goals of social justice and of messaging that are so profound in Corita's artwork, you have to center education. And through that, we center artist-educators."
Lukaza and L., in the context of Corita Kent's work, where does that balance and that tension between artist and activist live in your own practice?
L: One of the callings of artists is to be a mirror to what's happening in the world. I always felt that way, but reaching Immaculate Heart and seeing what Corita was doing—one day, we just picked a lot of flowers and put them in the hands of all the statues of all the women on campus, and that was even an activist act. Everything was. But softly, not, "I am an activist." It thrilled the hell out of me. It meant that I didn't have to be abrasive in order to be an activist. In the '60s, there were a lot of things going on politically. I grew up watching dogs and water hoses being set on people, and soldiers dying in front of my eyes. And here was this beacon of a sane way to approach anything heavy—a really gentle, amusing, thoughtful way. And that was the kind of activism I was attracted to. I'm [part of] this large organization that's helping save the coastlines in L.A. and Orange County. The person who started it is a lawyer, and I said, "You're gonna need to write a letter." And she says, "Oh no, you just make a piece of art. Your art has cleared the way more than any of my letters." That's the activism.
Lukaza: I think of art and activism as mirrors to each other too, they are each other and need each other. I've done a lot of prison abolition work and work with critical resistance. I remember a talk between Angela Davis and Ruthie Wilson Gilmore about the importance of art in movements and how throughout every campaign and every movement that they do, artists are always at the table. I think that there's a different lens, a different way of digesting this complicated, beautiful, hard, terrible world we live in through artists and through art making. In many ways activists are thinking about the future differently, cropping the frame differently in the ways that artists are.
In Lukaza Branfman—Verrisimo's book, Slow Looking: These Views Are Our Tools, she offers prompts, coloring pages, and 2 diecut viewfinders, as tools for slowness and an invitation to practice a different way of seeing.
A paper maché piece L. Frank made in response to the canonization of Junípero Serra is symbolically burned in San Francisco after it was displayed in the mission. (Photo/Laura Esquer)
Nellie, how does Corita Kent's religious background factor into her legacy, especially in our ever-more secular culture?
Nellie: We talk really openly about her spirituality. From an art historical perspective, it could be argued that all work is religious, right? [laughs] But with Corita, there's an intersection of faith and social justice and art and activism—it's all rolled up in one. And you can't unweave her core spirituality because it's felt in her work. I'm not Catholic, but I have found my own type of spirituality thanks to Corita. And I don't think I'm the only person that aligns with that type of thinking—finding gratitude in the moment and meditating on your own output into the world.
It's so hard to take in the world right now. Every day, you're bombarded, especially on social media, with everything that just breaks your heart and you don't know where to start to help. And thinking of Corita's "finder," a one-inch-by-one-inch square, as social practice, it's so much easier to say, "Okay, I'm gonna take this part in so I can get an idea of the bigger whole." We can't solve all problems, but we can solve this one here in this little moment. And if we start there, then we can keep expanding. There's a reason why, when we were trying to save her former Immaculate Heart studio in Los Feliz from demolition, and people called in with their support, they weren't talking about just the product that happened in that space, the artwork that was created. It was about what occurred there in a very spiritual way. And isn't community in itself an act of spirituality and faith?
I think so. It's where I find it. One of my transitional life moments was in 2016 when I came across Harrell Fletcher's work and saw for the first time the work I do in community as sustained social practice. I would suggest that Corita Kent's 10 rules—in the way that students were fully engaged in contributing and even the intention of evolution over time—was also a social practice endeavor.
Nellie: The rules are so beloved. They're a structure that everybody—even some politicians have them hanging in their office—can point back to. One rule will speak to you more than another on a different day or in a different context. My understanding of the rules creation is that it was asked of [the students] as a group, What makes a good student? What makes a good educator? Everyone contributes in that scenario. From there, Corita curated these rules. There are actually a few different versions. Barbara Loste, a student of Corita's, did the first layout of the ten rules. Then David Mekelburg, a celebrated calligrapher, did the layout that's the most recognizable today. So while it's really easy to say, "These are Corita Kent's 10 rules," it's like, yes and no. She curated the social practice and it got documented, but by no means would we want to interfere with the dissemination of these rules by claiming ownership. We really approach it as a very educational tool.
"The rules are so beloved. They're a structure that everybody—even some politicians have them hanging in their office—can point back to. One rule will speak to you more than another on a different day or in a different context."
L: I foist these rules on anyone I come in contact with. I coached women's rugby; I gave them these rules. I talked to little kids; I gave them these rules. Especially the line at the end that says, "There should be new rules next week." Because by having strict discipline and devotion, there's a freedom at the end of it, that there are new rules. All of that devotion is going to give you something really exciting back, something really fulfilling back, 'cause even if you don't sell your art, there's something about making something and then having people react to it, and understand where it's coming from.
Lukaza: I love the idea of [the rules] being this map for life for everyone. Those are the rules that we should live by. And also they are beyond rules, they're how we hold each other…
L: …devoid of religion or politics. It's just human.
L., what do you mean when you say there's freedom in these rules?
L: This set of rules, they set me free because each one of them is a gift. It's a pathway, a light in the darkness. When I follow these rules there's illumination. That's my freedom, because if I'm not thinking this way, if I'm not considering everything an experiment, if I'm not really thinking about being a good student, then nothing's going to really benefit. It's all going to be superficial. And there's no freedom in that. You're still trapped by mundanity [laughs]. Once these were shown to me I felt like anything was possible. and what's more free than that?
Lukaza: It's so beautiful to think about the power of this list of words and all the ways that it's seeped into our bones. I think of each rule as its own tool to be used to support us or guide us at different points. Whenever I'm in a classroom setting, before I hand out a syllabus I hand out these rules—but also in other spaces, like organizing spaces. Like, let this be our groundwork and then let's see where things go. It's such accessible language in a way that art making isn't always. Corita's language is people's language. "Consider everything an experiment." Okay, that means a million things. And that's the work, to know that the million things that means is the experiment of life.
Nellie: I think each rule could probably be broken down to its own mantra of sorts. We've seen them applied in so many different ways to people's practice. When we think about Corita's pedagogy overall, and the Learning by Heart book she co-authored with Jan Steward, there is this idea that there is always room for flexibility and for your own hand. She didn't want people to copy her work. She wanted people to make their own work. I've never seen a Learning by Heart book that's not well worn and well loved. I think that's very similar to the 10 rules, people come back to them. I was very fortunate to have a copy of Learning by Heart with me at the start of the pandemic. And I jokingly said, "It feels like she wrote this in quarantine." Look at the shadow. Look at the shadow move. It's like, "Were you in quarantine, too?" [laughs] But [the book's practices] were so applicable to centering. She's a printmaker, it's a very democratic medium. So those lessons, they're very accessible, you don't need all these tools to practice. It's about the practice itself and the process of making, which gets to her quote: "Doing and making are acts of hope." That's the goodness. You don't need expensive materials to get creating. You just need a pencil and to look at the shadows in your room. [laughs]
Nellie, can you speak to the difference between hope and optimism in terms of how they rest in Corita Kent's work or the way you look at her art?
Nellie: I don't know if anyone can speak for Corita on what hope meant to her. But there's a work called "a passion for the possible" from her Heroes and Sheroes series that I reference often because I think the text is so beautiful. At the core of it, it's hope, not optimism. These are two different things. Hope is hard work. You have to show up every single day to make hope a reality. I think, more specifically where we can cite Corita is on the notion of love and what love really means. She had been commissioned by the USPS to make the love stamp—which eventually sold over 700 million copies. USPS chooses to have the launch at the Love Boat. And Corita is like, "No" [laughs]. She didn't attend because that was not the love that she meant. She had envisioned it being unveiled somewhere like the United Nations. In response, one of the last pieces she made says, "Love is hard work." I think it's a good message to sit with. And for her, it was always about humanitarian love.
"Tú importas. You matter" was the message selected by the youth of Casa Esperanza during a multi–week workshop inspired by Corita and Jan Steward's Learning by Heart, taught by educator Desiree Sanchez.
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