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Manufacturer Part #: TP2B1
Made from Dinamica®, which is a synthetic suede-like material not unlike Alcantara®, these seats pads marginally increase the seating surface height. They are an excellent choice for cars which are sometimes driven on the road, where the visual look is aided by installation of these pads or where extra protection for the surface finish is desired. The standard black version is a very matte finish and complements the B1 or B2 seat's carbon looks perfectly. Optionally, these can be customized as a special order - see the related products below. The pads are an easy peel & stick self-install and don't raise the seating height more than 1/4" at most.
Made by | Tillett |
Manufacturer Part # | TP2B1 |
Country of Manufacture | United Kingdom |
Weight | 1.98 lbs (0.9 kg) |
Height | 4" (10.2 cm) |
Width | 15" (38.1 cm) |
Length | 17.5" (44.5 cm) |
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CONCORD, N.H. – New Hampshire police say a motorcyclist clocked at 127 mph bragged after being arrested that he had reached 185 mph during the chase.
State police say 31-year-old David J. Fries, of Manchester, was spotted by a trooper on Interstate 93 in Bow at about 2:45 a.m. Saturday.
The first trooper eventually ended the chase, but another trooper saw Fries crash into a guardrail after he exited Interstate 393.
Police say Fries then led officers on an hourlong foot chase in Concord. He was subdued with help from a police dog.
Fries was treated for injuries from the crash and from the dog.
He faces a variety of charges and is being held on $30,000 bail.
It's unclear if he has a lawyer.

subset: commoncrawl


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"We're super happy to be here," he said Sunday night as his NFC champion San Francisco 49ers arrived in the Big Easy for the big game.
"I think this team has the best focus on unity and winning I've ever been a part of."
Considering that Harbaugh was an NFL quarterback for 14 seasons and a successful college coach before joining the 49ers, he knows something about winning.
Under Harbaugh, San Francisco has been to two NFC title games and, now, to its first Super Bowl in 18 years. The Niners (13-4-1) will play Baltimore (13-6), coached by Harbaugh's older brother, John, in next Sunday's Super Bowl.
He is certain his team is ready for the task as the 49ers seek their sixth Vince Lombardi Trophy; they are 5-0 in Super Bowls.
"These are uncharted waters for a rookie Super Bowl coach," Harbaugh said. "But that's exciting. It's a great thrill, and we have a desire to be in uncharted waters. We always strive for that kind of challenge."
Earlier in the evening, with a team flag waving from an open window of their chartered plane, the 49ers arrived in a businesslike manner. The players calmly walked off the airplane - no video recorders or cameras, no waves to onlookers.
Most of the team's veteran players disembarked first, including center Jonathan Goodwin, who won a Super Bowl three years ago with the Saints.
"You get to go to the Super Bowl with your childhood team, so that's something special to me," he said. "So hopefully I can find a way to win the Super Bowl with my childhood team."
Quarterback Colin Kaepernick, wearing a red wool cap sporting "49ers" on it, mouthed the words to a song on his headphones as he walked on the tarmac.
He seemed just as relaxed 90 minutes later as he met the media.
"Pressure comes from a lack of preparation," said Kaepernick, who took over as the starter when Alex Smith got a concussion in November and has been sensational in keeping the job. "This is not a pressure situation. It's a matter of going out and performing."
Harbaugh said the 49ers came to New Orleans on Sunday to simulate a normal week. He likened their trip to his strategy the last two seasons when the 49ers spent a week in Youngstown, Ohio, between Eastern games rather than return to the Bay Area.
He liked the way the players and coaches bonded during that experience.
"Same approach," Harbaugh said. "Enjoy the moment and the preparation. I think our team enjoys that the most: the meetings, the preparation and then, especially, the competition."


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2021-07-31 13:00 Beach Volleyball NYC Club
Location: Pier 25
Fee/Cost Covers the cost of court rentals and lost balls in the Hudson: $21.5
So there you are thinking about playing some beach volleyball but not acting. Maybe your head is in your phone or your binge-watching something. Well, COVID-19 has been put in its place and your body is out of shape and you really need to get it together.
Come out and play beach volleyball with us! Right now we only have an advanced 2×2 and intermediate 4×4 play but we're expanding soon to include beginner and advanced.
Don't think too much about it, just do it! Oh, one more thing, the games only support 12 players and they fill pretty quickly over spring, summer, and fall. If you want to play, you should grab a spot on Sunday during the day.


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- Master the "bistro pelvis." This is from the excellent chapter on posture in Tim Gunn's A Guide to Quality, Taste, and Style. Mr. Gunn, likewise, takes his knowledge from a 1934 guide called Your Carriage, Madam! The author instructed her readers to hold their bodies as though one is walking sideways between tables in a crowded bistro. This means tilting your pelvis slightly forward; or "scooping" your navel to your spine, as it is known in pilates. This tip has been invaluable to me. I didn't realize how strong my tendency is to tilt my pelvis forward, resulting in lower back pain and a rather unsightly bulged tummy, it must be said.
- Shoulders down, not back! (Many thanks to commenter Pammie who brought this tip to my attention.) This is another bit of wisdom from my beloved Tim Gunn. He says that people often think of good posture as throwing one's shoulders back. Well, try this for yourself right now and you'll see it doesn't really work. At least for me, it forces me to arch my back, contributing to the forward-tilted pelvis mentioned above. Instead, focus on keeping your shoulders down, away from your ears.
- Imagine a pole going up through your skull. Hmm, that actually sounds rather grisly, doesn't it? Just imagine you have a metal pole going up through your spine and up through the top of your head, like a skeleton in a science lab. Now try to keep the pole straight at all times. This will cause you to lengthen the back of your neck, rather than scrunching it or straining it. Another helpful bit of imagery here is to imagine yourself as a marionette with a string through your head that you must keep taut and pulled straight at all times.
- Beware the dreaded pigeon toe. Commenter Michael is an Alexander Technique teacher and linked to his post on women, fashion, and the pigeon-toed look. He described seeing women sitting on the subway with their toes pointed decidedly inward, creating poor alignment. And don't you know it? I do this too! I think I do it reflexively on the train as a way to keep my knees knocked together while I'm wearing a skirt. But regardless of reason, it's a bad habit and one I'm striving to break.
Best yet, Tim's trademark wit is on every page. In true erudite Gunn fashion, he summons the philosopher Kierkegaard to dispense style knowledge. You see, fashion is all about finding the authentic self and Kierkegaard "counsels that the unmediated choice is the only choice one will never regret. This means no agonizing over whether or not to keep the jumpsuit. If you have to ask, the answer is: throw it away."
Oh, Tim! You're a national treasure.


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Rio+20 side event: A Green and Inclusive Economy - The Finance Ministers' Perspective (G20 Ministerial Seminar)
21 June 2012
Distinguished Ministers,
Ladies and Gentlemen,
It is a great pleasure me to participate in this Panel, and to say a few words about the kind of measures and policies needed to bring about a structural transformation towards a green and inclusive economy. It is by now evident that a successful transition to a development-led and inclusive green economy will not be automatic, but will require active policy reforms both at the national and international levels. Allow me therefore to briefly address both of these dimensions.
At the national level, an active role for the state is critical in ensuring an accelerated and fair transition. Governments have regulation and incentive-based instruments at their disposal to promote the transition in their domestic economies, in numerous sectors, including energy, water, waste management, agriculture and fisheries.
Let me illustrate the kind of progress being made in just one of these sectors, the energy sector. Policymakers are increasingly aware of the potential benefits of renewable energy, including energy security, reduction of greenhouse gas emissions, job creation, rural development, and rural energy access. Globally, there are more than 5 million jobs in renewable energy industries, and the potential for job creation continues to be a main driver for renewable energy policies, not only in the manufacture of renewable technologies, but also in marketing, financing, installation, maintenance and repair where they are used.
This has meant that targets and regulatory requirements for renewable energy now exist in at least 118 countries, more than half of which are developing countries, and this number has more than doubled since 2005. And today, the number of countries that have enacted feed-in tariff measures to encourage renewable energy has risen to 92. More than US$70 billion of support is provided by governments to renewable energy production and consumption worldwide. And these renewable energy policies are already showing impressive results. Global new investment in renewable power and fuels increased by 17% last year to a record $257 billion, accounting for almost half of all new electric capacity installed globally in 2011. Indeed, when we get the policies right, we can move markets.
But we must not only look at what we can do right to move markets, but also what we must stop doing wrong. We know that well-designed subsidies to renewables and low-carbon energy can generate long-term economic and environmental benefits, but when subsidies are provided for inefficient fossil fuels, the costs outweigh the benefits. The G20 recognized this in 2009 when they agreed to cut fossil fuel subsidies to foster green growth. But instead, subsidies have increased from some US$ 300 billion in 2009 to more than 500 billion today. This means that, worldwide, fossil fuels receive about seven times more government subsidies than renewable-energy. Perhaps nowhere else is policy coherence more needed than in our energy policies. The Rio+20 Summit should adopt an aggressive target to phase-out fossil fuel subsidies.
Green government procurement will also be essential in the early stages of a transition to a green economy. In 2009, global green stimulus spending reached $200 billion. Green procurement makes important contributions to sustainable consumption and production by ensuring a base market to sustain green start-up industries which represent new poles of employment. It is encouraging to see this practice being mainstreamed with both developed and developing countries increasingly applying environmental and social sustainability criteria in their public procurement practices.
Increasingly today, the private sector is a major source of investment in public infrastructure. Regulatory and institutional frameworks in infrastructure sectors must not only support environmental and social objectives, but they must also create an enabling business environment in these sectors to encourage private investment. Reforms needed to encourage and support public-private partnerships should be promoted.
Beyond regulation, incentives and government procurement, information dissemination campaigns to facilitate the choices of consumers and businesses will also be essential in enabling the transition. Governments can also institute labeling requirements to help consumers identify more efficient, less polluting products. They can also encourage workers to opt for jobs in new green businesses by providing training opportunities.
While policies and actions are needed at the national level to drive a green economy transition, they are also essential at the international level to steer the transition and spread it globally. The latter requires addressing the significant challenges facing many developing countries that lack the required financial, technological and human capital needed to transform their economies. To fill these gaps, international cooperation will be essential in providing capacity building, facilitating technology transfer and coordinating financial assistance.
Promoting a green economy will depend largely on open markets in world trade. No one country is positioned to supply all of the goods and services needed in a green economy. Trade thus has a unique and central role to play in ensuring an inclusive transition to a green economy. In this context, I must say a word about protectionism. Indeed, countries' national green economy policies involving grants, subsidies and other favorable treatment to national firms, may reduce foreign access to their markets. So too would the application of more stringent environmental regulation on traded products. Here we need to better be able to distinguish what constitutes a legitimate measure and what is protectionism. It is not clear to what extent green economy policies and regulations will give rise to green protectionism, but UNCTAD will be playing a central role in monitoring green protectionism should it emerge in world markets. We hope that UNCTAD's soon to be launched Global Forum on the Green Economy and Trade can also make a contribution to better understand the interface between legitimate environmental measures and trade.
The dynamic growth of markets for green economy goods, such as efficient and renewable energy technologies, cleaner production technologies, sustainably produced agricultural, biodiversity including timber and fisheries products, as well as for green services such as ecotourism, is already creating new export opportunities. However, not all developing countries are take advantage of these opportunities. Capacity building and some degree of financial support will be critical in building an inclusive global green economy that ensures the full participation of developing countries in greening world trade. Initially, financial support may be needed to raise rates of returns for green business ventures and thereby leverage investment in green sectors.
To date, there is no international financing mechanism to assist developing countries to advance their own national green economy transition. In this context, we could explore an expanded role for national and regional development banks, as well as the new Green Climate Fund and other existing funding mechanisms as sources of financing for green technologies and related capacity building. But these and other international mechanisms that may be agreed upon must refrain from imposing new conditionalities. They should also avoid imposing a 'one-size-fits-all' template that fails to account for countries' different starting points and diverse development priorities.
Ladies and Gentlemen,
Far beyond the difficulties arising from the ongoing fallout of the Global Financial Crisis, mitigating climate change will truly be the challenge of this century. In addressing it, cooperative solutions will not only be required to have an effective environmental impact, but will also help to lower the economic cost and allay concerns about competitiveness. Rio+20 is the place to make a start.
Thank you.


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Audra McDonald: Shaping 'Bess' On Broadway
The actress is nominated for her fifth Tony Award for the Broadway musical Porgy and Bess. "There's very few quiet moments for Bess," she says. "They're all very big, very emotional. ... And to commit to that night after night is very difficult.
Related Topics
May 15, 2012
Guest: Audra McDonald
TERRY GROSS, HOST: This is FRESH AIR. I'm Terry Gross. My guest, Audra McDonald, is nominated for a Tony Award for her performance as Bess in "Porgy and Bess." This new Broadway production is up for 10 Tonys. New York Times theater critic Ben Brantley said this about McDonald's performance: And when she sings, ah, it's a God-touched voice that turns suffering and ugliness into beauty.
"Porgy and Bess" is an opera by George and Ira Gershwin, and DuBose Hayward, who wrote the novel and the play that it's based on. Although it's an opera, "Porgy and Bess" was first brought to life on Broadway in 1935, and, although it's an opera, it's given us songs that have become standards, like "Summertime," "It Ain't Necessarily So," "There's a Boat that's Leaving Soon for New York" and "I Love You, Porgy."
"Porgy and Bess" is set in a fictional, poor, African-American fishing community named Catfish Row on the South Carolina coast. Three characters disrupt the order of this hardworking community: Bess and her man, a stevedore named Crown; and Sportin' Life, a pimp and drug dealer.
When Crown kills a man in a fight and hides out from the law, Bess needs a man. So she takes up with Porgy, who's crippled, and thinks of himself as less than a man. It's an act of convenience for her, but she falls in love with him. Here's the song in which they declare their love for each other. It's from the soon-to-be-released Broadway cast recording, "Bess, You Is My Woman Now."
Singing with Audra McDonald is Norm Lewis, who plays Porgy.
AUDRA MCDONALD: (As Bess) (Singing) Porgy, I's your woman now. I is, I is, and I ain't never goin' nowhere 'less you shares the fun. Dere's no wrinkle on my brow, nohow, 'cuz I ain't goin'. You hear me sayin', if you ain' goin', wid you I'm stayin'. Porgy, I's your woman now. I's yours forever, mornin' time and evenin' time, summer time and winter time.
NORM LEWIS: (As Porgy) (Singing) Mornin' time and evenin' time and summer time and winter time. Bess, you got yo' man. Bess, you is my woman now and forever. This life is just begun. Bess, we two is one now an' forever.
AUDRA MCDONALD AND NORM LEWIS: (As Bess and Porgy) (Singing) (unintelligible).
MCDONALD: (As Bess) (Singing) Mornin' time and evenin' time, summer time and winter time.
LEWIS: (As Porgy) (Singing) Mornin' time and evenin' time, summer time and winter time.
GROSS: Audra McDonald, welcome back to FRESH AIR. Congratulations on your performance. Congratulations on the Tony nomination. It's such a magnificent score. I know so many of the songs as pop songs. It's really so wonderful to hear them performed in the context of the opera. Would you just tell us, like, your personal history of "Porgy and Bess," what this opera, what the songs from it mean in your musical and personal autobiography?
MCDONALD: Well, Terry, my experience with "Porgy and Bess" goes back to when I was a child, and my parents had the Leontyne Price, William Warfield record with Leontyne being very sassy on the cover in her red dress. And I listened to that a lot. And they also had the Houston Grand Opera recording with Clamma Dale and Donny Ray Albert.
And then I went to Juliard, and while I was studying there, I was very depressed because I was studying classically, classic voice, and I was missing Broadway and thinking that's what I wanted to do. I wanted to do musical theater, but here I was studying classically and feeling like I was missing something.
And then I happened upon the Glyndebourne performance of "Porgy and Bess" that had just been released, the recording had just been released with Cynthia Haymon as Bess. And I listened to it incessantly. I memorized it from top to bottom and thought wow, well, if I have to sing opera, here's one I'd love to sing, and here's a role I'd love to play.
And I had a friend who was in that particular recording - in that production and on the recording - and he was a teacher's assistant at Juliard in my ear training class and was married to Cynthia Haymon, and I asked - he played Mingo. And I asked him about it, and he told me all about working with Simon Rattle and how incredible the experience was.
And I said: What about Bess? And he said it's a voice-killer. He said it's a very difficult role and a voice-killer. And I remember hearing that, and just going oh, oh.
GROSS: Is he right? Is it a voice-killer?
MCDONALD: It's pretty close. It's very difficult. There's very few quiet moments for Bess. They're all very big, very emotional and very rangy, and to commit to that night after night after night is very difficult.
GROSS: Can you just give us an example of one of the twists in one of the songs that makes it so difficult?
MCDONALD: As a good example, I would use "What You Want With Bess," where she's singing with Crown, and she's on Kittiwah Island, and she's trying to get away from him so she can catch that boat and get back to Catfish Row. And she's struggling to get him off of her, and she has been singing in her middle voice, like (singing) now and forever, he can't live without me, he would die without me. Crown, won't you let me go?
And it's fairly loud, but it's in a duet moment. And then after all of that struggle, at the very, very end of the duet, she has to hit her highest, hardest moment. And there's been so much physical struggle that has happened up and to that point that by the time you get to that moment, for me I feel like I have run a marathon, and that's when I have to hit my highest, you know, longest sustained note, and it about kills me every night.
And I always wonder am I going to get there, am I going to hit some note a fourth lower? I never know. It makes the moment exciting for me because it's a challenge.
GROSS: Have you ever missed that note in a performance?
MCDONALD: Oh yes, it happens. Doing a Broadway show eight times a week, everything happens.
MCDONALD: And yes, I have missed the note. I've gone too high.
MCDONALD: And I've not gone high enough. And then on other nights, I actually hit the note.
GROSS: Well, you know, I love that song, and I love the performance of the song on the new cast recording. And, you know, it's interesting because this has become one of my favorite songs from the show, again this is a duet between you and Crown, and Crown is the man you've been with for several years at this point, and he's this, like, really hulking kind of guy.
I mean, he's a big man, a really strong man and a very tough man. And I think it's probably fair to say your character's been a prostitute over the years, and she's kind of getting older and feeling kind of used up. And so she's - she at this point wants to get back to Porgy, but Crown, who has committed murder and is hiding out from the law, wants Bess to come back with him, with Crown.
So your character Bess is trying to get away from Crown. He's trying to grab her. And eventually you give in.
MCDONALD: Bess gives in for a couple of reasons. Of course there is a huge sexual attraction to Crown. There has been from the beginning. And also, Crown is someone who has, you know, for better or for worse taken care of her. But she spends the entire scene trying to get away from him. The whole song is saying won't you let me go, I belong to Porgy now, I'm for him.
And physically, and just through argument, she's been trying to get away from him, and she finally just gives in because she's fought him off. She realizes the boat has (technical difficulties), and she's given up basically. So she just succumbs out of hopelessness, actually.
GROSS: OK, so let's hear an excerpt that will include the ending of "What You Want With Bess," and this is my guest Audra McDonald, and Phillip Boykin is Crown from the new Broadway cast recording of "Porgy and Bess."
MCDONALD: (As Bess) Crown, let me go. You can get plenty of other women.
PHILLIP BOYKIN: (As Crown) (Singing) What I want with other women? I got a woman, and that's you, see.
MCDONALD: (As Bess) (Singing) What you want with Bess? She getting old now. It takes a fine young gal for to satisfy Crown. Look at this chest, and look at these arms you got. You know how it always been with me, dese five years I been yo' woman.
(As Bess) (Singing) You could kick me in the street, and when you wanted me back, you could whistle, and dere I was, back again, lickin' yo' hand. There's plenty better lookin' gal than Bess.
BOYKIN: (As Crown) (Singing) What I want with other women? I got a woman, and that is you, Bess.
AUDRA MCDONALD AND PHILLIP BOYKIN: (As Bess and Crown) (Singing) (unintelligible).
MCDONALD: (As Bess) (Singing) What you want with Bess? Let me go, Crown, the boat.
BOYKIN: (As Crown) You ain't goin' nowhere.
MCDONALD: (As Bess) Take your hands off me. Take your hands off me.
BOYKIN: (As Crown) Come on, Bess. Bess.
GROSS: That's my guest Audra McDonald as Bess with Phillip Boykin as Crown in the new Broadway cast recording of "Porgy and Bess," and both of them are nominated for Tony Awards.
You know what I've been wondering? Like when you're singing, you know, at full throttle in a duet, like you do with "What You Want With Bes" in "Porgy and Bess," and you and Crown are singing opposite each other, I just think, like, the airwaves must be pulsing so much because you're very physically close together, and you're both singing full-out, heavy volume, and, you know, it fills the theater.
Can you, like, physically feel each other's voices?
MCDONALD: Absolutely. Not only that, it's a strange sensation because your head is filled with so much sound, and there's so much sound - I mean, for me when I'm singing with Phillip it's because he's got such a big, ginormous, rich voice. This is going to not make sense, but I can't hear. It all becomes sensation. Like I physically cannot actually hear what's going on. It becomes just what's the sensation in my body and around me.
But because of all that sound, and then the blood is pumping, and you're, you know, you feel the sound vibrating, a normal sense of hearing kind of goes out the window, and it becomes more about sensation.
GROSS: My guest is Audra McDonald. The cast recording of "Porgy and Bess" will be released next week. More after a break. This is FRESH AIR.
GROSS: My guest is Audra McDonald. She's nominated for a Tony for her performance as Bess in "Porgy and Bess." Now, in our previous interview, which was recorded I think around 2000....
MCDONALD: Oh, it's been that long?
GROSS: Yeah, too long. So you were saying that when you really young, you wanted to audition for "Showboat," and your parents said to you no, the characters in that are stereotypical African-Americans. The songs are very nice, but you shouldn't be a part of that production.
MCDONALD: Yes.
GROSS: And so you didn't audition. And it is a great show.
MCDONALD: It's a beautiful show, absolutely.
GROSS: Yeah, with magnificent songs. But anyway, you know, I understand what they meant by that. Did you have any of that feeling at all about "Porgy and Bess," or are you, like, completely - obviously the show means so much to you and always has. Any reservations at all about the way the characters in it are portrayed?
MCDONALD: Well of course, and I'm not the first person to say this that, you know, regardless of the fact that DuBose Heyward - and he did do something incredibly revolutionary by portraying, especially at that time, when the novel was written, these characters in a way that was considered incredibly humane and three-dimensional and, you know, really trying to be an insider's look at this life and not just having African-Americans as an outsider that comes into, you know, a story that's based on Caucasian people, just as servants or whatnot.
He really tried to get into their mindset and their daily lives and their hopes and their dreams, and so that was an incredible feat at that time period. But it was still written at a time where blacks and whites were not commingling. It wasn't even legal.
So even though he researched as much as he possibly could, there were still just some aspects that he couldn't possibly know. He didn't live it, and it wasn't a time when blacks and whites could commingle so he could really experience it.
But people through the history of this piece have come down on both sides saying, you know, this is stereotypical, and this is archetypes. Sidney Poitier had an issue with having to do this, to play Porgy in the movie. Famous social historians have talked about it, Harold Cruse.
Grace Bumbry, who was the first person to sing Bess at the Met, when the Met finally did "Porgy and Bess" in, I think 1985, with Simon Estes, and she had issues with it, as well.
So yes, I saw that there were issues that I had concerns with, but at the same time, I thought there was a lot to work with and help sort of fill in, I guess, to make these characters as human as possible and not just stereotypes. And for me, the manna was going back to the novel.
I found so much information about Bess that was left out of the opera...
GROSS: Yeah, we should explain that DuBose Heyward wrote a novel called "Porgy" that - and then did a play called "Porgy" and then...
MCDONALD: Yes because of his wife Dorothy. Dorothy was the one who pushed him to turn it into a play, and she co-wrote the play with him. And the play was very successful, and then George Gershwin got a hold of the play and the book and said I want to do this. But a lot of stuff was left out of the opera that was - a lot of historical information about these particularly characters, you know, that I thought was incredibly useful.
It was actually very helpful to go back to the novel.
GROSS: So give us an example of something that you thought that was maybe a little problematic or stereotyped or, you know, not fully formed in the opera that you feel you were able to bring something to and be more expansive about because you read the novel so many times and got to know Bess as she was described in the novel.
MCDONALD: Bess just kind of pops on the scene, and we know very little about her history. We know very little about Crown's history. But in the novel, DuBose Heyward gives us a lot more sort of clues into Bess, for example that she has a scar, this ugly scar on her left cheek.
When we first see her, she - I don't know the exact quote, but it's something about, you know, the eyes of utter degradation, the acid of utter degradation was in her face. Throughout the novel, we find out that she's been struggling with her, you know, addiction to happy dust for a while. In the novel, she gets into a fistfight with the women of Catfish Row because she gets high on happy dust.
She gets thrown into jail. While she's in jail, they say that they've seen her before in that jail, the white cops, like we've seen her before. It's hard to tell with these women, but we're pretty sure we've seen her before. A lot of these things, for me it was just, like oh, well, that's a bit of a background. We see that she's very haughty in her carriage even though she's a dog in the way she's treated. There's still a haughtiness to her carriage.
So all of that just gave teeny, tiny little clues, you know.
GROSS: I'm glad you mentioned the scar on her face because as I recall, I saw the opening night of the previews in Boston, and then I saw it on Broadway about, I don't know, a few weeks after it opened. And I didn't remember seeing a scar in Boston; I did remember seeing it on Broadway, but I think I only saw it, like in the first act. Did it fall off one night?
MCDONALD: Oh, that's interesting. No, no, it's a solution. No.
MCDONALD: It's a solution that you wipe on your face that then dries and grabs your skin and pulls it together. So it looks like your skin has been indented and cut. So it's - we experimented with different placement in Cambridge, and we found that in Cambridge, we were placing it in a place that was too in line with my cheekbones. So it just looked like, you know, like I had really great cheekbones or something.
MCDONALD: So we had to change the placement to make sure that it read more as a scar. And throughout the show, I start out very heavily made-up, and I take lots of my make-up off as the show goes along. So maybe it starts to look a little lighter because the rouge comes off, the heavy eye make-up comes off. So by the end, Bess has no makeup on at all, not even any lipstick.
She goes - as she's sort of transforming into, you know, a softer woman, she loses all that harshness.
GROSS: Ah, OK.
MCDONALD: The solution is really hard on my skin. So I have to keep switching it. So people who have seen the show a couple times say wait a minute. It's like the hump. What hump? That hump was on the other side. The scar keeps kind of switching cheeks.
GROSS: Audra McDonald will be back in the second half of the show. She's nominated for a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." The new cast recording will be released next week. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross. Let's get back to our interview with Audra McDonald. She's nominated for a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." She's won four Tonys for her performances in "Carousel," "Ragtime," "Master Class" and "A Raisin in the Sun." The cast recording of "Porgy and Bess" will be released next week.
This production has been, you know, relatively controversial, as these things go. And one of the reasons why, in the previews in Boston, the intention was to change the ending of "Porgy and Bess." In "Porgy and Bess," at the end, Bess leaves with Sportin' Life to go to New York, where she's probably going to become a prostitute, and, you know, just get super-addicted to drugs. And she leaves behind Porgy. And I'm not going to get into the reasons why. But in the production in Boston, at least the very first night of previews, that was changed. So instead of leaving Porgy, she invites Porgy to come with her to New York.
MCDONALD: Yes.
GROSS: And instead of rejecting the happy dust that she's addicted to, she kind of shoves it aside, and her willpower overtakes the weakness to succumb to that. Now, I saw the opening night of previews in Boston. So I saw...
MCDONALD: Our very first performance...
GROSS: Yeah.
MCDONALD: ...ever.
GROSS: So I saw those changed endings, those controversial changed endings. And I think you all abandoned that, maybe, by the next night.
MCDONALD: Before we even officially opened. Yeah, we were experimenting, and the actual ultimate ending was not - is not any different. Bess leaves Catfish Row, and then Porgy leaves Catfish Row to go after her. It was never that they walked off into the sunset hand-in-hand. But Suzan-Lori Parks and Diane Paulus were looking to experiment with certain things, and the Gershwin estate had said, you know, be bold. Let's, you know, see where we go with this, and we'll shape.
And that was the whole point of being an out-of-town tryout, to experiment to experiment with certain things. And certain things felt right, and other things didn't. And so we continued to experiment on a daily basis. And then even after we came to our, you know, how they say you freeze a show, by the time the critics came for our opening, our actual official opening night - just not our official preview first opening, but our opening night, which happens, you know, some weeks after all the previews have gone - we continued our run, but took a break but knew that once we got to New York, we were going to experiment with other things, as well.
GROSS: So let's get to this famous Stephen Sondheim letter.
GROSS: Before the show even started previewing, there was a feature story written in The New York Times about the show that quoted you and the writer and the director - you know, the writer who adapted it, and the director. And Stephen Sondheim wrote this, like, scathing letter in response. And you're not supposed to review a show before it opens. He said: I'm not reviewing the show.
MCDONALD: Mm-hmm.
GROSS: I'm just talking about what the creators of this adaptation said about the show.
MCDONALD: Mm-hmm.
GROSS: And so let me quote something that he said. He said he found dismaying, quote, "the disdain that Diane Paulus, the director, and Audra McDonald," -you - "and Suzan-Lori Parks" - who wrote the adaptation - "feel toward the opera itself." And he criticized you personally for saying that Bess is quote, "often more of a plot device than a full-blooded character."
And he wrote: Often? Meaning, sometimes she's full-blooded, and other times not? She's always full-blooded when she's acted full-bloodedly, and she was, by among others, like Clamma Dale and Leontyne Price. Ms. McDonald goes on to say the opera has the making of a great love story that I think we're bringing to life. Oh, well, who would've thought there was a love story hiding in "Porgy and Bess" that just needed a group of visionaries to bring it out?
And then he went on to describe...
MCDONALD: I'm loving your line readings. They're really good.
GROSS: Thank you.
GROSS: And then he went on to describe your voice as one of the glories of the American theater. So he obviously, you know, loves you in spite of not loving these quotes. But how did you first find out about this letter, which was the talk of everybody who loves Broadway?
MCDONALD: Mm-hmm. My agent called me and told me that this letter had...
GROSS: Bad news
MCDONALD: Yeah. You know, when you get certain calls, you know, the phone rings in certain ways, and you go: That ring just doesn't sound good.
MCDONALD: And that was one of those times. And, you know, I was shocked. I knew how much Steve loves "Porgy and Bess." He's never shied away from how much - how passionate he is about this particular opera. And, you know, I think he is, you know, he's a genius. He's, you know, one of the great composers of, you know, American musical theater. And I respect his passion. But I know how I feel about this opera. I know how I've always felt about this opera. And I have never had anything but the greatest love and respect for this opera.
So I know in my heart that even if that's how it came across within the piece, or whatever - that's how it came across to Steve within the piece, there is not one iota of great disdain, any sort of disdain for this opera in my heart. And I think that's apparent by just my obsession with it over the years.
GROSS: Did you feel personally betrayed? This could have so damaged the show. Like, you all survived it.
MCDONALD: Yeah.
GROSS: But it could have just, like, killed it, because everybody, myself included, has such respect for Sondheim.
MCDONALD: Sure.
GROSS: So, you know, like, who wouldn't be interested and value his opinion?
MCDONALD: Sure.
GROSS: And but it was just so, not only dismissive, but rejecting of the entire idea of what you were trying to do. And you performed in a tribute to Sondheim. It's on his songs for years.
MCDONALD: I've sung "Happy Birthday" to him more times.
GROSS: And, obviously, he didn't call you first and say, hey, be prepared. Don't take it personally...
MCDONALD: No. No not at all. No.
GROSS: ...but here's this letter I'm sending to The Times. So did you feel betrayed?
MCDONALD: Well, I mean, it didn't feel great to get, you know, kind of slapped around by Sondheim in such a public fashion. But at the same time, I know my relationship with Steve, and my relationship with Steve is, you know, despite this letter, still, I think, a positive one. And I adore his work, and I will continue to sing his work. And this is obviously something he feels very passionate about and I feel very passionately about this opera. And, in the end, if it gets people talking about theater, that's fine. I mean, it got people talking about it.
In the way yes, it could have been very damaging to us. I mean, we had people coming to review the show on the first preview, which is just unheard of - not opening night, the first preview. You're not supposed to review a show on the first preview. That's just unfair, and that's not how it's supposed to work. But because of his letter - you know, and then people would come to the show with the letter and his - a couple of people came to the show with Stephen Sondheim's letter in their hand asking questions afterwards, shaking the letter at us, too, which you just sort of go, OK. All right. If we're going to be passionate about it, that's great. And, you know, everybody has their, you know, their opinions, and they're all passionate and wonderful. That speaks to the glory of the piece, I think.
But, at the end of the day, we made it to Broadway. And, you know, I'm still singing Sondheim, and we move on, you know.
GROSS: My guest is Audra McDonald. She's nominated for a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." The cast recording of "Porgy and Bess" will be released next week.
We'll talk more after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Audra McDonald, and she's nominated for a Tony for her role as Bess in the new Broadway production of "Porgy and Bess." The cast recording is about to be released.
Let's hear another song from the new cast recording of "Porgy and Bess." And this time, I think we should hear, like, what's probably the most famous song as a pop song with a life independent from the opera or show, and that's "Summertime."
Now, "Summertime" is first sung by the character of Clara, but you get to reprise it later in the show. And you sing it quite beautifully. And as we'll hear, in this production, there's an accordion behind you, which I think is very effective.
MCDONALD: Mm-hmm.
GROSS: This show - this song has been sung so many, so many, so many, so many times...
MCDONALD: Yes. It's I think it's the...
GROSS: ...in every context imaginable.
MCDONALD: It's the most-covered song, I think...
GROSS: Absolutely. Yeah.
MCDONALD: ...American song we have.
GROSS: And I'm sure you want to bring something fresh to it when you're singing it, you know, in this production. How did you approach the song so that...
GROSS: ...you know, seriously, so that...
MCDONALD: No. No. No. I'm laughing because, yes, I did want to bring something fresh to it. But in terms of, like, being another very difficult moment for me, I've been doing an entire night of heavy, heavy, heavy, heavy, hard, hard, hard, full-throttle singing. And then the last, sort of, melody that I have to sing in the show after an entire night screaming and being raped and being kicked and beaten and all this stuff is "Summertime," and it's a lullaby and it's high and it has to be quiet and pretty and sung to a baby. And it freaks me out every night, because like, oh, after all this I've got to sound high and pretty and fresh...
MCDONALD: And I'm always, you know, right before the moment, holding onto that baby, going OK, I know you're just a doll, but help me.
MCDONALD: But yeah, you know, it's - I love it because, you know, it's a moment, it's a happy moment for Bess. It's a tentative happy moment for Bess, where she's embracing motherhood. She now has this child. She really feels like she's going to be able to have the happy ending. She thinks Crown is dead. She...
GROSS: And it's another woman's child, another woman who has died. Yeah.
MCDONALD: It's another woman's child who has died. But that woman has handed the child to Bess and said you take care of my baby until I get back - actually, a side note. This is something that we borrowed from the novel, as well. So in the opera, of course, we hear Bess, take care of my baby for me till I get back. In the novel, a couple of days, I think, after the storm, where the young lady is lost and Bess now has the baby, some of the other ladies of Catfish Row try and come and take the baby from Bess.
And Bess says to them: Has Clara come back from the dead? No, she hasn't. What were her last words? Her last words were for me to take care of this baby. So until she comes back from the dead and says someone else take care of this baby, this baby belongs to me.
We thought that was a really powerful thing. And so Suzan-Lori Parks added that to our show, which is not - those words, or that scene, is not in the opera, but we thought that was a very powerful and an important thing to add, to see that, you know, Bess says no, no, no. This is mine - which I think really shows that she wants this and she's going to hold onto this.
So "Summertime," for me, is knowing that she's got to quiet this baby and trying to bond with this baby and making sure that Porgy feels a part of this family, and just really trying to create her little family now. She's got this family for the first time in her life. It's something safe and warm, and that's kind of how I'm approaching the song when I sing it to the baby.
GROSS: So is it - was...
MCDONALD: And it all goes to hell.
MCDONALD: Crown comes back. It all goes to hell.
GROSS: Was it easier to sing "Summertime" on the cast recording, because it's not the end of a really long, hard night of singing?
MCDONALD: No, because we did it after the end of a very long, hard night of recording the album. We recorded the album in two days, so...
GROSS: Oh, gosh. OK.
MCDONALD: But, you know, in some sense, yes, it was, because I could just stand there in the booth and focus, you know, in my mind and stand still and not have to worry about, you know, anything else but the moment. And I could do three or four or five or six or 5,000 takes until I got it right.
GROSS: OK. So here's Audra McDonald singing "Summertime" from the new cast recording of the Broadway revival of "Porgy and Bess."
MCDONALD: (as Bess) (Singing) Summertime, and the livin' is easy. Fish are jumpin' and the cotton is high. Oh, your daddy's rich and your ma is good-lookin'. So hush, little baby. Don't you cry. Don't you cry.
GROSS: That's Audra McDonald on the new cast recording of "Porgy and Bess," from the new Broadway production, which is nominated for lots of Tonys. And Audra McDonald is nominated for a Tony for her performance.
So after the show opened, you were on "The Colbert Report."
GROSS: And you sang a duet of "Porgy and Bess" with Stephen Colbert.
MCDONALD: Yes.
GROSS: And I'm just going to play a little bit of that.
STEPHEN COLBERT: (Singing) One of these mornings, you're going to rise up singing.
MCDONALD: (Singing) Ooh.
COLBERT: (Singing) Then you'll spread your wings...
MCDONALD: (Singing) Spread your wings.
COLBERT: (Singing) ...and you'll take to the sky.
MCDONALD: (Singing) Ooh.
COLBERT: (Singing) But until that morning...
MCDONALD: (Singing) Tell your story, whitey.
COLBERT: (Singing) ...there's nothing can harm you.
STEPHEN COLBERT AND AUDRA MCDONALD: (Singing) Ooh, with daddy and mama standing by. Oh, standing by.
GROSS: OK. So that's Audra McDonald and Stephen Colbert on "The Colbert Report." That was so much fun. So how did you and Stephen Colbert work out how you were going to do "Summertime"?
MCDONALD: Well, it was not planned. That's the funny thing. I went in to do a sound check. And it was on my day off, so it was a Monday, and I was feeling a little exhausted after singing eight shows and knowing that I had to come in and sing "Summertime" on TV in a pretty dress. And I love "The Colbert Report." I love Stephen Colbert, and I watch "The Colbert Report" religiously.
So, in the sound check, you know, I was singing. And then he came in during the sound check and he listened, and then he was very complimentary afterwards. And I just said, man, I wish you'd sing this with me. Come on. He was, like, what? I was like come on. He was like, uh - because he kind of started singing along a little bit as a joke. I was, like, seriously. You want to sing this with me?
He was, like, well, what would I do? So I was, like, you will? You will? So I said, just come in and sing. He's like all right, all right. So he's talking to the pianist like, OK, tell me what to sing. Tell me what to sing. And so it just kind of happened on the fly in the sound check, and then he said, OK. I'll do it.
But the whole tell your story, whitey, that just kind of came out in the moment in the interview, because you don't really do a pre-interview with Steve, you know. You just start the interview. And so in the interview he had said to me, in talking about what's politically correct, he's like, you know, making a joke about saying, you know, we don't like to be called that.
You can call us - I can't remember what he said - or white or whitey, but that's what we like to call each other. You can't call me whitey, but, whatever. So then I just ran with it and said it when we were singing.
GROSS: Well, that was very funny.
MCDONALD: He's such a fantastic man.
GROSS: That was very, very funny.
MCDONALD: It was so much fun. Yeah, it was fun.
GROSS: My guest is Audra McDonald. She's nominated for a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." The cast recording of "Porgy and Bess" will be released next week. We'll talk more after a break. This is FRESH AIR.
GROSS: If you're just joining us, my guest is Audra McDonald. She's starring as Bess in the Broadway production of "Porgy and Bess." The new cast recording is about to come out and Audra McDonald is nominated for a Tony for her performance. So, changing the subject, here, one of your accomplishments is that you sang at the first legal gay wedding in New York. Mayor Bloomberg, I think, helped preside over it.
MCDONALD: Yes.
GROSS: How did you get the honor of singing at that first legal gay wedding?
MCDONALD: A friend of mine who is a Broadway producer contacted me, and I had read the beautiful story in the New York Times about the couple that was getting married, and that Bloomberg was going to preside over their wedding at Gracie Mansion. And this friend called me and said: They'd love to have you come and sing.
And I was floored. I was so honored. And I cried like a baby at that ceremony. And I brought my daughter. And it just - it was a very moving moment. It was a teachable moment for me, too, to have my daughter there. And as far as she was concerned, it was just another wedding. You know, she doesn't really see the issue, which is great. But - so that's how it came about. It was a beautiful day.
GROSS: So how did marriage equality become an important issue for you?
MCDONALD: For me, it's a civil rights cause, and I'm obviously a child of the civil rights. I'm a benefactor of the civil rights movement. You know, I'm getting married in October, and as recently as, you know, 1964, it would have been illegal for me to marry my fiancee because, you know, he's Caucasian and I am not.
So it just seems like, you know, something that I just didn't feel like I could sit idly by. And I have so many friends, so many dear friends that are in loving, committed relationships, you know, that have families, that have children. And I have family members that are homosexual. And I just see it as a civil rights issue. And so it just seemed to be a very important thing to fight for.
GROSS: And your reaction when President Obama decided to support gay marriage publicly?
MCDONALD: Yes. Yes. I lost it. I was - we were - I'll never forget it. It was a Wednesday, and we were in the middle of doing, you know, our first show of the day, a matinee. And I burst into tears, I was so happy. And I was in the middle of changing, doing my intermission changeover. And I started to think about gay youth and how the gay youth in North Carolina must have been just despairing, you know, on the day previous.
So when Obama made this announcement because of the marriage ban that was passed in North Carolina and just thinking about all these, you know, spate of suicides we've been having, teen suicides and young kids killing themselves over being bullied over, you know, being afraid to be gay and being taught that it's wrong and they're bad, and now they don't have any civil rights as far as it's concerned. And so I just started thinking about all the lives that have potentially been saved because the president came out, kind of like a superhero in their corner, and said, no. I'm with you. I'm with you. I support you.
So as soon as I got my wig on, I ran downstairs. They just made the five-minute call to places for act two, and I ran downstairs and I grabbed the intercom and I said: You guys, you guys, you guys. Obama just came out in support of marriage equality. And then I was the happiest victim in act two.
MCDONALD: It was going to be hard for me to stay in character, because I'm going to be thinking about this. Bess is smiling an awful lot when she shouldn't be. So...
GROSS: Well, you said you broke out into tears in intermission...
MCDONALD: Yeah.
GROSS: ...when you got the news. Did that affect your voice or your makeup?
MCDONALD: Always. At that point, Bess doesn't have much makeup on, anyway. But yes, absolutely it did. It always - you know, if you're crying and you're singing, your chords tend to swell up and, you know, you get a lot of - can you say mucus on NPR?
GROSS: You can say that. Yes.
MCDONALD: Sure you can.
MCDONALD: Mucus flies everywhere. So it's - you know, you just learn to sing around it, you know.
GROSS: Well, it's great to have you on Broadway again.
MCDONALD: Thank you.
GROSS: Congratulations again on your Tony nomination...
MCDONALD: Thank you, Terry.
GROSS: ...and on your performance in the show in general. One more thing: You mentioned your fiancee. I imagine you're getting - you'll have a wedding soon, large or small.
MCDONALD: Yeah.
GROSS: Will somebody be singing at your wedding? If so, who, and what will they sing?
MCDONALD: We have lots of very, very, very talented friends, so there's a few that we are in touch with. So we're still working on that. We're going to have the kids sing, but they're charging us. Our children are charging us.
MCDONALD: They're 11 and eight, and their first quote was $100 apiece. I can't believe them.
GROSS: That's so funny. Are you going to let them get away with that? Are you going to pay them?
MCDONALD: No. We talked them down. We're, like, what do you mean? We pay for your music lessons.
MCDONALD: They're like, no, $100. And so it was like, look, Mommy. People pay you to sing. So we talked them down to $30 apiece and a root beer float. So that's what they get.
GROSS: Well, congratulations on the forthcoming wedding.
MCDONALD: Thank you.
GROSS: Thank you so much for coming back to our show.
MCDONALD: Thank you, Terry. It's such a pleasure. I love listening to you as I'm commuting back and forth to Westchester. You make the afternoons go easier. Thank you.
GROSS: Audra McDonald is nominated for a Tony for her performance as Bess in the Gershwins' "Porgy and Bess." Here she is with Norm Lewis singing "I Loves You, Porgy" from the new cast recording which will be released next week.
MCDONALD: (As Bess) (Singing) I loves you, Porgy. Don't let him take me. Don't let him handle me and drive me mad. If you can keep me, I wants to stay here with you forever, and I'd be glad. I wants to stay here, but I ain't worthy. You is too decent to understand. So when he seen me, he hypnotize me when he take hold of me with his hot hands.
Transcripts are created on a rush deadline, and accuracy and availability may vary. This text may not be in its final form and may be updated or revised in the future. Please be aware that the authoritative record of Fresh Air interviews and reviews are the audio recordings of each segment.


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The daily lowdown on books, publishing, and the occasional author behaving badly.
-- Mary Ingalls, the older sister of Laura Ingalls Wilder and a central character in her Little House series, famously went blind — supposedly from scarlet fever. But a study (paywall protected) published Monday in the journal Pediatrics suggests it was actually due to viral meningoencephalitis, and that Ingalls Wilder changed it to scarlet fever to make it easier to understand.
-- There's a lovely and cryptic new short story from NW author and Orange Prize winner Zadie Smith in The New Yorker.
-- Kitty Kelley, the notorious celebrity biographer who Joe Klein once called a "professional sensationalist," has a deal with Grand Central Publishing for a book about women in Congress. Kelley is responsible for, among other rumors, the story about Nancy Reagan's supposed affair with Frank Sinatra. Women of Congress, watch your backs.
-- "Its stores were designed to keep people parked for a while, for children's story time, for coffee klatches, for sitting around and browsing. That was a business decision — more time spent in the store, more money spent when you left it — but it had a cultural effect. It brought literary culture to pockets of the country that lacked them." — The New Republic's Mark Athitakis on why Barnes & Noble helped to democratize literary culture.
-- Bookish.com, a fascinating experiment in digital book recommendations funded by Simon & Schuster, Penguin and Hachette, launched Monday night.
-- Meanwhile, competitor Goodreads bans "sexual roleplay" from their book recommendation website because people apparently had been misbehaving. (Now, you pretend to be a casual reader looking for a good beach read ... )
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As well as constructing the long jump runways in Lubinvullin IV27 4 we carry out the full installation of long and triple jump runway area http://www.longjump.org.uk/area/highland/lubinvullin/ in a number of different surface types. We can also offer a range of other athletics facility services to keep the area clean and safe once the initial construction has been completed. The main specifications we install are needle punch synthetic turf and polymeric rubber surfacing, each of these has different qualities which are better suited to individual projects.
The needle punch surfacing specification is commonly used for primary schools and leisure centres as it is soft for kids to land on if they fall, and the polymeric rubber is usually installed for professional athletic sports clubs and high schools.
A number of athletics clubs and also universities have begun to have more cost-effective sports facilities constructed for athletics. We are compact athletics pit specialists and can carry out various services to meet your needs A lot of young children do not get the chance to participate in particular sports and athletics simply because schools and colleges struggle to have a high-quality sports facility fitted.
This could be because of a shortage of budget or even not a sufficient amount of external space for the school to construct on. Styles and specs could be adjusted to suit distinct spending budgets and requirements. FUNdamental skills in Lubinvullin can also be developed with the help of these compact athletic facilities, due to the fact youngsters could enhance their running, throwing along with jumping.
By installing different athletics equipment, kids are capable of getting involved with several different activities for a far more varied encounter. A few widely chosen facilities include -
To make a multi-use sporting area, a basic 60m long jump track could also be used for sprinting, baton racing along with hurdles to help make the most out of your area. For more info on long jump runways please click here http://www.longjump.org.uk/runway/highland/lubinvullin/ In primary and secondary schools that cannot have a full-size running track, this makes a fantastic alternative that is much less expensive and also occupies much less room.
we offer free no obligation quotations
SPEAK TO OUR TEAMIf a person completely enjoys performing a particular activity just like long jump or discus, they are able to progress onto qualified clubs inside the United Kingdom. One problem that's affecting young children's involvement in athletics in Lubinvullin IV27 4 is a shortage of facilities that are directed at a beginner in addition to entry-level athletes.
Many experts have recommended these athletics should be made available to kids from who are only in primary school KS1 up to KS4. A brand new set of criteria has been created by UKA to make sure that sports and athletics features are more available to young people. The new design may be constructed in bright colours to catch the attention of young children and is more cost-effective, making it a great entry-level facility for educational institutions. You can find out more about children's sporting activities by speaking to our team. Simply fill in the contact box provided and we shall get back to you as soon as possible.
Compact sports and athletics facilities http://www.longjump.org.uk/athletics/highland/lubinvullin/ can be made to fit almost any dimensions and budget requirements, and also enable crucial sports and athletics skills to be taught, enjoyed and developed. A lot of companies decide to get triple jump runways in addition to high-jump fans put in within their compact facility. For each and every different project the design and also area dimensions could be altered to meet all the needs and requirements, creating a totally personalised end result.
Local compact facilities are versatile, which allows them to be utilized for a number of organisations. Present sport and play provisions in primary schools, high schools, colleges and universities can be developed by setting up the compact athletics facility. By making it easier for kids to join in a wide array of events, a lot more skills may be learnt and built on for improved enhancement into later life. One reason you should improve your facility would be to encourage kids to engage with such sporting activities.
In the event a school or college is looking to get a more cost-effective beginners level product, the compact facilities are good for lowering costs in the event you just need recreational surrounding areas. If you would like the young children at your closest establishment to build up physical education abilities, it is recommended that you have a smaller sized facility installed as FUNdamentals are presented. Get in touch with a member of our team today if you would like to receive more information and ask any questions regarding sand pit installations and their dimensions.
The introduction of a large network of compact sports facilities is a major factor of UKAs goal to capture the interest and need in the sports activity. Since the IAAF and IPC World Championships are being hosted in London in 2017, it is likely more and more children will get involved. By enabling kids to utilize the nearby compact facilities, there's an improved chance for sports athletes to boost their abilities and move into professional clubs because of this.
You may come across the AAA when looking into the track and field industry; this is also known as the Amateur Athletic Association. The AAA are the beginners' athletic organisation. Previous to UKA, the AAA was the governing body in control of athletics. Rather than governing athletics, the group now stands for the volunteer section.
A variety of academic institutions in Lubinvullin IV27 4 and also other establishments throughout the UK work alongside the Amateur Athletic Association. Many different tournaments and activities are made available to younger sports athletes by the AAA to help them improve their sports abilities. These events for younger athletes made by the organisation are respected as developing equipment for grass root and children for the future.
The history of sport has been guarded by using AAA. Valuable medals and trophies are handed out by the association to the best sports athletes. Lots more people are getting involved in athletics due to the Amateur Athletic Association. The AAA runs National Championships to boost the involvement in children's athletics. Money is often given to such events as a way to pay for sponsorships as well as athletic equipment. UKA and British Athletics are the governing authorities to this sport but AAA stand for the volunteering area.
Contact us today by filling out the enquiry form above if you would like to find out more information and talk to one of our professional experts.
Amateur Athletic Association Standards Scheme is an acknowledgement of sports athletes in Lubinvullin, grading them with regards to times or distances with track and field activities. These kinds of requirements depend on the outcomes of earlier events and produce 4 different grades that the very best athletes get classified into.
Databases of information which have been added to throughout the years are employed to create the overall performance requirements criteria. Certificates and badges are given to young people that adhere to these kinds of requirements. Plaques will also be given away, by the AAA performance standards, to youngsters which attain Grade 1 which improves the number of people who participate in sports. Small grants are offered to young people wishing to take up a career in sports by the AAA Charity for the Young.
To find out more details about the long jump pit in Lubinvullin IV27 4 and runway specifications and construction as well as the funding opportunities available for schools, please take a look around the rest of the website or feel free to get in touch with us.


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If you're just learning how to bake your own bread, you might find my Ten Tips on How To Bake Better Artisan Breads at Home helpful.
I also explain how to shape bread dough into sandwich loaves and offer some more bread baking tips in this post. And you'll find links to more bread recipes in the Farmgirl Fare Recipe Index.
I also included a lot of the helpful little things I've learned during the many years I've been baking and perfecting this bread. Enjoy!
It's a traditional loaf that's nice and soft, but not too soft. It's great for just about any kind of sandwich and brings peanut butter and jam (a staple in our house) to a whole new level. It's wonderful toasted, smells heavenly while toasting, and makes an awesome BLT.
Once you're comfortable with the basic formula you can, if desired, go on to experiment by adding other ingredients to the dough. This can be a lot of fun, as even a slight change will often give you a completely different loaf.
Keep in mind that whole grains absorb more liquid than white flour, so you may want to increase the milk by 1/2 to 1 cup when using them. I usually start with 5 cups of milk when adding whole grain flours to Farmhouse White.
A cake or pie pan will give you a nice circle of rolls that looks lovely on the table or presented as a host/hostess gift.
In The Breakfast Book, author Marion Cunningham states that milk, along with sugar and butter (or other fat) "give the loaves keeping qualities which help preserve flavor and moistness." Baking bread is a perfect way to use up milk that has gone a little sour.
Just like with pizzas and free form loaves, you need to preheat your baking stone so that it's very hot when you put the bread in. Never put a cold baking stone into a hot oven.
4 cups (1 lb, 4 oz / 566 grams) organic all-purpose flour
Mixing and Fermentation (first rise)
As you're kneading, sprinkle a little more flour at a time as needed to keep it from sticking to your hands or the work surface. You want the dough to be as soft as possible without being sticky; you may not need the entire six cups of bread flour, or you may need a little extra.
It's easy to check the temperature of your dough and ingredients with an inexpensive waterproof digital thermometer (which I also use to check everything from roasted chicken to the hot water for our beloved aeropress coffee/espresso maker). 2017 Update: Last year I finally switched from the instant read dial thermometers pictured here to this digital version, and I'll never go back!)
I love my Chicago Metallic commercial 1-pound loaf pans. If I want shorter, more square shaped bread, I use my Chicago Metallic commercial 1½-pound loaf pans, which are approximately 10"x5"x3". In the loaf shaping post mentioned above, you can see how much the shape varies when two loaves that weigh the same are baked in different sized pans. Both size pans are also great for baking quick breads, like my Beyond Easy Beer Bread, and cakes, such as this Orange Yogurt Loaf Cake.
January 2013 update: Looking for a commercial loaf pan that's exactly 9"x5"? Last year I bought this heavy gauge USA Pan, and it's really nice too.


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This page documents common bugs in Fedora 15 and, if available, fixes or workarounds for these problems. If you find your problem in this page, do not file a bug for it, unless otherwise instructed. Where appropriate, a reference to the current bug(s) in Bugzilla is included.
Release Notes
Read the Fedora 15 announcement and the Fedora 15 release notes for specific information about changes in Fedora 15: known issues, and other general information.
My bug is not listed
Not every bug is listed in this page, but Bugzilla should be a comprehensive database of known bugs. This page is a sampling of the bugs most commonly discussed on our mailing lists and forums.
To see if your bug has already been reported, you can search Bugzilla. If it has not yet been reported, we encourage you to do so to help improve Fedora for yourself and others. A guide to Bugs and feature requests has been prepared to assist you.
If you believe an already-reported bug report should be added to this page because it is commonly encountered, you can:
- Add it yourself, if you have wiki access. Please follow the style and guidelines explained in the comments in the page source.
- Or, add the CommonBugs keyword to the bug report. Someone from the QA team will then inspect the issue to determine whether the bug should be listed as a common bug. To expedite your request, please add a comment to the bug that includes
- a summary of the problem
- any known workarounds
- an assessment on the impact to Fedora users
For reference, you can query Bugzilla for bugs tagged CommonBugs:
- CommonBugs? (bugs with CommonBugs keyword, but do not yet have a link to this page)
- CommonBugs+ (bugs with CommonBugs keyword and contain a link to this page)
Resolved issues
System fan runs constantly on laptops with Intel integrated graphics
link to this item - Bugzilla: #703511
On some laptops with Intel integrated graphics, a bug in the intel_ips kernel module may cause the system load to appear permanently high, resulting in the system fan running constantly at high speed. The system load reading is in error, so the system is not in any danger of temperature-related damage, but the constant fan noise may be annoying.
This issue was fixed in the updated kernel-126.96.36.199-27.fc15 package. To solve the issue, update your Fedora 15 installation as usual and reboot. You should no longer encounter this issue after updating to that version or later of kernel
Installation issues
Unable to retrieve FTP repodata
link to this item - Bugzilla: #679709
Due to a bug in the installer, when adding FTP-based package repositories during installation, the installer may report a failure while attempting to access FTP-based repository. No fix is available at this time. To workaround the problem, users are advised to first add an HTTP-based package repository URL (such as http://download.fedoraproject.org/pub/fedora/linux/releases/15/Fedora/x86_64/os). Once added, you may edit the newly created package repository, and change the repository URL to the desired FTP-based repository URL.
For additional guidance on installation package repositories, consult the installation guide.
AttributeError: 'NoneType' object has no attribute 'rfind
link to this item - Bugzilla: #706542
There is a known failure that may occur while partitioning your system during installation. A manual workaround may be required if you encounter a failure similar to
AttributeError: 'NoneType' object has no attribute 'rfind'
The problem will be fixed in future releases of Fedora, and an updates.img
is available to resolve this issue for Fedora 15. For additional guidance on using an updates.img
, consult Anaconda/Updates.
Installation failure when using ksdevice=bootif without bootif=
link to this item - Bugzilla: #704188
When installing Fedora 15 while using the boot argument ksdevice=bootif
, the installer will fail abnormally if no BOOTIF=
value is provided by the PXE server. Future versions of Fedora will not exhibit this failure. In the meantime, ensure your PXE server is making proper use of the IPAPPEND
configuration variable. This variable controls what networking arguments are passed to the kernel, and is typically responsible for providing a BOOTIF=
For additional guidance, consult the syslinux IPAPPEND
Installation requires more memory
#installer-requires-more-memory link to this item - Bugzilla: #682555
The installer in Fedora 15 has undergone some changes in Fedora 15, a side effect of which it may require more than 512 MB and upto 768 MB may be required to finish the installation. 1 GB is recommended. A number of changes are being done in the installer to reduce this requirement but the amount of changes are too intrusive and hence won't be done in the Fedora 15 branch. Installer team is working on lowering memory requirements again for Fedora 16.
repomd.xml file reported missing or broken
link to this item - Bugzilla: #703025
When adding Fedora 15 to a PXE server and using a PXE boot menu to upgrade, the installer will complain about a bad or missing repomd.xml file. This happens when the PXE upgraded machine has no internet connectivity (for example because it is crosscabled to a PXE server). You can hit the "edit" button, and then fix the url to your local http server (usually running on the PXE server). Then you will hit the same issue again, as the installer also searches for the "updates testing" repo. Just point it with url to the same "base" f15 repo on your PXE/http server. Don't forget to unselect the "is mirror URL" tickbox.
Unclear how to reboot after installing from desktop live image
link to this item - Bugzilla: #705189
If you install Fedora 15 from the 'desktop' - GNOME 3 - live image, when the final screen of the installer prompts you to reboot your system, you may find yourself asking 'yes, but how?' The GNOME 3 interface does not offer shutdown or reboot options at first glance. To shut down or reboot, you can either log out from the User menu (top right hand corner of the screen) and then shut down or reboot from the login screen, or open the User menu and then hold down the 'alt' key: the Suspend entry will turn into a Power off... entry as long as the 'alt' key is held down, which when clicked will give you the option to shut down or reboot.
Systems using EFI BIOS are unsupported
link to this item - Bugzilla: #717605
Many systems using EFI (Extended Firmware Interface) do not work with Fedora 15 due to bugs in their EFI implementations. Either disable EFI in the system BIOS settings or boot the system with the "noefi" option. Note that some systems may simply hang at boot time without any error message.
Issues when upgrading from previous releases
Service not enabled after upgrading from Fedora 14
link to this item - Bugzilla: #703234, #703221, #703227, #703230, #703236, #703235, #703233, #703232
In Fedora 15, upstart has been replaced by a service called systemd. Due to improper rpm package upgrade scripts, some system services previously enabled in Fedora 14, may not be enabled after upgrading to Fedora 15. To determine if a service is impacted, run the systemctl status
command as shown below.
# systemctl is-enabled foo.service && echo "Enabled on boot" || echo "Disabled on boot"
To enable a service on boot, run the following systemctl
command (where foo
is replaced with the name of the service):
# systemctl enable foo.service
Corrected packages may be available in the Fedora 15 updates repository. Depending on how you upgrade your Fedora 14 system (DVD-upgrade, or network upgrade), if the updates repository is included, packages with corrected upgrade scripts will be included and properly transfer your Fedora 14 service configuration to Fedora 15.
Graphical login does not start after upgrade
link to this item - Bugzilla: #698654
Depending on how Fedora 14 was initially installed, your system may not select the appropriate systemd boot target after upgrading to Fedora 15. The problem is caused by the %postinstall
rpm script from the Fedora 14 package systemd-units
. Since systemd
isn't the default in Fedora 14, the problem will not manifest until you upgrade to Fedora 15.
If you change the Fedora 14 default runlevel at any time by modifying the file /etc/inittab
, those changes will not affect the configured systemd default target. After upgrade, you may need to manually adjust the configured systemd default target links using the following procedure.
To configure systemd to start a graphical login menu on boot (similar to runlevel 5 in Fedora 14):
# ln -sf /lib/systemd/system/graphical.target /etc/systemd/system/default.target # ln -sf graphical.target /lib/systemd/system/default.target
To configure systemd to start a text login prompt on boot (similar to runlevel 3 in Fedora 14):
# ln -sf /lib/systemd/system/runlevel3.target /etc/systemd/system/default.target # ln -sf runlevel3.target /lib/systemd/system/default.target
USB 3.0 ports not working anymore after upgrade from F14
If The USB 3.0 ports have been enabled in F14 using the guide in Common F14 bugs, USB 3.0 may not be working anymore after the upgrade to F15.
To enable the ports again, revert the changes made for F14: Remove the kernel parameter xhci.enable=1 (or xhci_hcd.enable=1) and remove the file /etc/pm/config.d/xhci
, if existing.
Hardware issues
Poor transfer speeds with Atheros-based wireless chipsets
link to this item - Bugzilla: #702722
Several users have reported very slow transfers with Atheros-based wireless network adapters using the ath9k driver. It seems to be possible in many cases to work around this issue by creating a file named /etc/modprobe.d/ath9k.conf
with the contents:
options ath9k nohwcrypt=1
This disables the use of hardware encryption; it will result in slightly higher CPU usage as the system CPU will be used to handle encryption of the wireless connection.
Software issues
Add-ons (extensions) disappear after update to Firefox 7.0
link to this item - Mozilla: #680802
Firefox 7.0 contains a bug which means that any add-on (extension) that has a pending update (automatically downloaded, but not yet installed) when Firefox is updated to 7.0 will apparently disappear from Firefox.
This issue will be resolved in Firefox 7.0.1, which should arrive as an update shortly. In the meantime, you can try installing this extension as a workaround: it should cause the 'missing' add-ons to return.
Live USB overlay (persistent storage) not mounted on boot
link to this item - Bugzilla: #706122
Due to a defect in dracut
, overlay (persistent storage) is not properly mounted on boot. An updated dracut-009-11.fc15 is available to resolve the issue, however this update will not correct existing Fedora 15 live images.
To temporarily workaround this problem with Fedora 15 live media...
- When booting live media, press
at the bootloader screen - Add the following boot arguments
- When the boot process stops and presents a shell prompt, type the following commands
mkdir /overlayfs ; exit
- When the boot process stops again and presents a shell prompt, type the following command
For a permanent fix, you may rebuild the Fedora 15 live media to include the updated dracut
package following instructions at How_to_create_and_use_a_Live_CD.
General buggy or missing functions in GNOME Shell network applet
GNOME Shell features an integrated NetworkManager configuration interface, provided by an applet in the top panel and a configuration interface in System Settings. However, as of Fedora 15 Beta, these tools have not yet achieved feature parity with the configuration interface from GNOME 2, provided by the old nm-applet. Some features are still missing and there are known bugs with others. Major ones will be listed individually here, but as a general principle, if you encounter problems or missing features trying to configure your network using the GNOME 3 applet and System Settings interface, you can run the standalone nm-connection-editor
tool, which makes all the operations not yet implemented in the GNOME 3 interface available. You can launch nm-connection-editor
from a console, from the alt-f2 Run dialog, or from the overview (type nm-connection-editor or search for an entry named Network Connections).
GNOME 3's fallback mode uses the old nm-applet, and is not subject to this issue.
Laptop screen dims when switching to battery power or idle mode but never brightens again
link to this item - GNOME Bugzilla: #650405
Due to a bug in the screen brightness control logic in gnome-power-manager, laptop screens will dim as expected when switching from mains to battery power and dim further when the system is idle in battery mode, but will never brighten again when the system is no longer idle, or when you connect back to the mains. Eventually the screen will end up at its lowest possible brightness and be stuck there.
The only workaround is to disable screen dimming via the control center, or to manually reset the brightness to 100% via the keyboard (if you have brightness keys) or the control center every so often.
An updated gnome-power-manager package has been submitted to the updates-testing repository for testing. Users experiencing this problem are encouraged to test this update and report to Bodhi whether it solves the problem. To test the update, run this command:
su -c 'yum --enablerepo=updates-testing update gnome-power-manager'
System memory in use rises constantly (memory leak) when using GNOME Shell
link to this item - Bugzilla: #672117
Some users have noticed memory leaks in GNOME Shell; that is, when Shell is running, the system memory in use by the gnome-shell process rises constantly. The severity of the leak can vary from system to system, but it usually starts out using around 60-70MB of system memory, and rises to over 200MB after a day or two. To work around the problem, simply restart the Shell when its memory usage gets too high: run killall gnome-shell
, or from the Run dialog - triggered by the key combination alt-f2 - simply type the single letter r and hit enter.
Cannot log in to GNOME 3 with Iranian (fa_IR) locale selected
link to this item - Bugzilla: #703060
A bug in GNOME Shell makes log in to that environment fail if the fa_IR (Iranian) locale is selected as the system locale. Various errors related to Argument 'text' (type utf8) may not be null will be present in the ~/.xsession-errors
You can work around the issue by using a different locale, or by removing these lines from the file /usr/share/gnome-shell/js/ui/environment.js
Date.prototype.toLocaleFormat = function(format) { return Shell.util_format_date(format, this.getTime()); };
Cannot select language or keyboard layout at login screen
link to this item - Bugzilla: #681750
In previous Fedora releases, the login screen (when using the gdm login manager, as is the default from a network, DVD or desktop live image install) had menus for selecting the language and keyboard layout to be used in the session. In Fedora 15, these menus are removed from gdm. To set the system language and keyboard layout you will need to open the User menu (at the top right hand corner of the screen), click on System Settings, and then click on Region and Language in the window that opens up.
"could not add package update for fedora-release-rawhide-15-3(noarch)updates: fedora-release-rawhide-15-3.noarch"
link to this item - Bugzilla: #716752
A bug in PackageKit (which does not affect updating via yum on the command line) prevents easily updating to fedora-release-15-3. Other updates can still be applied using PackageKit if the update for fedora-release-15-3 is unchecked first. To update fedora-release-15-3 itself using PackageKit, first click on the + sign next to "fedora-release-15-3 (noarch)" to see both of the associated package updates (fedora-release-15-3 and fedora-release-rawhide-15-3), then uncheck fedora-release-rawhide-15-3, then click "Install Updates". It asks to confirm removing "Rawhide repo definitions". Click "Continue" and it will then work. (Note that the fedora-release-rawhide package is only needed in order to upgrade to Rawhide, and can still be installed manually for this purpose.)


text:
Animals can be great fun, but it's important to know how to be safe when you're with them. Both indoor animals and outdoor animals need to be treated kindly all the time. This means different things depending on the animal and the situation.
Stepping outside can mean a world full of great animals to see — from squirrels in trees to birds in flight. In some parts of the world, kids may see slithery snakes, black bats, or even cool coyotes. And don't forget raccoons, skunks, and other critters that come out in some places at night.
The rule in the great outdoors is simple: Don't touch or go near an animal. Although some of these animals may look cool or even cute, leave them alone. These animals aren't like regular pets. They're not used to being around people and may bite or attack if you come near them. They also might have rabies.
Don't ever try to feed a wild animal. Bird feeders are OK, but other animals, even if they look hungry, shouldn't ever be fed. When it comes to these animals, it's better for everyone if you stay away and check them out at the zoo, on the Internet, on TV nature shows, or in books.
Pets can't tell you if they're upset or scared, so they show you. They might do this by biting or scratching.
To avoid bites and scratches:
When you're at a friend's home, the same rules apply — plus one more. Always ask your friend if it's OK to pet or hold his or her pet. If your friend says OK, move slowly and be sure to let the animal sniff your hands first.
Coming home from school and hoping you won't see the dog who always barks like crazy and runs around? You're not the only one. Kids often get scared of a dog they don't know, especially if that dog is loud and doesn't have an owner nearby.
To keep your cool around dogs:
A final word on felines (say: FEE-lines), also known as cats: Although most kids aren't as scared of strange cats as they are of strange dogs, it's still a good idea to stay away from cats you don't know. Never pet or touch a strange cat, even if it seems friendly.
Save your love for your own dogs and cats. You know they'll love you back!
Reviewed by: Elana Pearl Ben-Joseph, MD
Date Reviewed: Feb 4, 2019
By using this site, you consent to our use of cookies. To learn more, read our privacy policy.


text:
Also of interest in the paper is the authors' work on the rest of the Y-chromosome tree (see Figure on the left). As always with age estimates, the details matter. From the paper:
It is worth to point out that
recently, Wei et al. published a similar study about Y chromosome sequencing of 36 individuals (mainly Haplogroup R1b and E1b), in which 3.15 or 8.83 Mbp range was sequenced 19, and they achieved a time of out-of-Africa at 57 – 74 kya using various methods, which is slightly older than our result (54 kya), although the same mutation rate of 1×10-9 substitution/base/year were employed. The difference could be ascribed to the regions chosen for date estimation; we compared the regions that Wei et al. and we studied, and found that in their study, the SNP density in the region that was sequenced only in their study is significantly higher than that in the region that both studies have sequenced (P less than 0.005) (Table S3).
It thus seems that the time estimates may be lower than true. An interesting new finding from the paper is the near-simultaneous D/CF and C/F splits. The authors comment:
It remained mysterious that how many times the anatomically modern human migrated out of Africa, since that among the three superhaplogrous C, DE and F, Haplogroup F distributes in whole Eurasia, C in Asia and Austronesia, D exclusively in Asia, while D's brother clade E distribute mainly in Africa 62, so there are two hypotheses, 1) haplogroups D and CF migrated out of Africa separately; 2) the single common ancestor of CF and DE migrated out of Africa followed by a back-migration of E to Africa. From this study, the short interval between CF/DE and C/F divergences weakens the possibility of multiple independent migrations (CF, D, and DE*) out of Africa, and thus supports the latter hypothesis 63 (Fig. S2 a).I have argued for haplogroup E back-migration into Africa before in this blog, so it's nice to see that this idea is gaining some supporters.
arXiv:1310.3897v1 [q-bio.PE]
Y Chromosomes of 40% Chinese Are Descendants of Three Neolithic Super-grandfathers
Shi Yan et al.
Demographic change of human populations is one of the central questions for delving into the past of human beings. To identify major population expansions related to male lineages, we sequenced 78 East Asian Y chromosomes at 3.9 Mbp of the non-recombining region (NRY), discovered >4,000 new SNPs, and identified many new clades. The relative divergence dates can be estimated much more precisely using molecular clock. We found that all the Paleolithic divergences were binary; however, three strong star-like Neolithic expansions at ~6 kya (thousand years ago) (assuming a constant substitution rate of 1e-9/bp/year) indicates that ~40% of modern Chinese are patrilineal descendants of only three super-grandfathers at that time. This observation suggests that the main patrilineal expansion in China occurred in the Neolithic Era and might be related to the development of agriculture.


text:
Radio Button
3rd Party (Free)
EE Version Support
- ExpressionEngine 1.x
If an item is crossed out, it might be untested, not applicable or incompatible. Contact the developer to be sure.
- Updater
- Multi Site Manager
- Stand Alone Entry Form
- Low Variables
- Content Elements
- Better Workflow
- Matrix
- Grid
- Webservice
- Publisher
- jQuery for the Control Panel
Add-On Type(s)
This extension adds a new custom field type for radio buttons.
Radio Button Links
Hooks Used
If the add-on is an extension, and ties into ExpressionEngine's core files, it will use ExpressionEngine hooks. We are listing any hooks the add-on uses for developers to have an easier time locating other add-ons that they can reference for their own work.
This entry was created November 6, 2008, 6:10 pm.
This entry was last updated November 30, 2009, 6:25 am.
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Blackman, Abraham
Ref: KBba1907
Status: Located
Edmonton Western Jewish Cemetery , London, 1. England, UK
Notes: Opened after 1889, the land was originally part of the Federation grounds and was sold to the Western Synagogue. In July 1906, the Western Synagogue granted an area of the cemetery to the North London Beth Hamidrash, later the Adath Yisroel Synagogue, for the burial of their members. General views of the cemetery can be found here Status Headstone photos: COMPLETE.