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Cruise Trips: Adventure over Relaxationby Paul Motter, CruiseMates Editor
Despite the relaxing image, a cruise trip can be as adventurous as any vacation, depending on the ship and itinerary.
Real travelers want to visit world-famous sites and experience the local culture, but for many travelers the idea of a cruise trip evokes only visions of sun-soaked tanning time. Au contraire: A cruise ship vacation can be just as culturally fulfilling and adventurous as any other travel option. Arguably, in many ways cruise trips are the best way to see the world.
One misconception about cruise ships is that because they are sea-bound, they don't go to the places sophisticated travelers want to see. Don't you believe it. I have been on cruise trips that visit many places the most ardent adventurers covet. I have seen calving glaciers in Alaska, the mummy of Tutankhamen in Cairo, sharks in the Bora Bora lagoon, the Palace of Versailles, the Great Wall of China, the Moscow Circus and Ipanema Beach in Rio de Janeiro.
Many world travelers feel the only way to really experience a foreign destination is to rely on the local options for meals, accommodations and transportation. But I contend you can experience all those things without sacrificing your personal comfort and convenience. Let's compare the logistics of a typical foreign land vacation to a cruise trip. You'll see that cruise ship vacations have advantages many travelers never realize.
The Local Experience A typical European land vacation is a package deal where you fly into one city -- Paris, Rome, London or Prague, for example -- stay for a week, and return home. If that is all you want, fine; but most people who are flying all the way to Europe want to stay on the continent longer and see as much as they can. Two to eight weeks is far more common.
Typical travel options for European visitors include a car rental; railroad passes good for several weeks' passage; or guided tours by bus. Your choice depends on your budget, what you want to see, and considerations for comfort and convenience.
Most travelers prefer to keep moving in order to see as much as possible, depending on the location; but special cities such as Rome or Venice require several days to take in all the attractions. Other sites worth visiting can be absorbed in a few hours. (I am thinking of Argenteuil on the River Seine, which inspired many of Monet's most famous paintings.)
A Teenager Backpacks Europe As a teenager, I toured Europe with a group of 18-year-olds escorted by three high school teachers. We traveled by railroad, bus, hydrofoil and subway from Rome to London, staying in hotels and eating in restaurants. Every day or two, we packed our bags and loaded them on a bus to the railroad station. Hours of travel later we claimed our luggage again and were shuttled to another hotel. We unpacked, dressed and paid for dinner in a nearby restaurant, and went to bed.
On sightseeing days, we were led around the city on foot until we were exhausted. After paying for another meal, we packed all but our jammies to prepare for an early departure to a new destination. Spending hour after hour on trains, many of us tried to nap or find sustenance from the snack car or whatever food we could hoard away. Food was usually expensive and not nutritious.
Continue Article >> A Teenager Backpacks Europe (Cont.) (Part 2)


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New Mexico State Investment Council
|United States – New Mexico
|US$ 20.9 Billion
|Origin: Oil & Gas*
Profile Directories
|Established: 1958
Transparency Rating: 9
View Sovereign Fund Transaction Data
|Entity Structure: Fund
Fund Details
Main Office
New Mexico State Investment Council
LEGAL NAME: State of New Mexico State Investment Council
The State Investment Council is chaired by the Governor, and includes the State Treasurer; the Commissioner of Public Lands; the Secretary for the NM Department of Finance and Administration; the Chief Financial Officer for a state University; four public members appointed by the Legislative Council; and two public members appointed by the Governor.
The purpose of New Mexico's three permanent endowment trust funds is to contribute recurring revenues for the operating budget of the state and to provide resources to various fund beneficiaries. The fund's investment goals are to preserve the permanent endowment funds for future generations and to provide future benefits by growing the funds at a rate at least equal to inflation.
*The primary permanent endowment funds for New Mexico (Land Grant and Severance Tax Permanent Funds) have oil and gas revenue as their initial and ongoing funding sources.
Historical Assets Under Management on Land Grant Permanent Fund
[ Content protected for Sovereign Wealth Fund Institute Standard subscribers only. Please subscribe to view content. ]
The trust is broken down into four funds:
Severance Tax Permanent Fund
Currently, severance tax revenues first pay the required debt service on severance tax bonds issued by the state, and the remaining (approximately 5% or less – historically it was 12.5%) severance tax receipts are then transferred to the Severance Tax Permanent Fund. The STPF is now a broadly diversified permanent fund, and except for its Economically Targeted Investment, the STPF investment statutes and asset allocations are essentially the same as those in the LGPF.
Tobacco Settlement Permanent Fund
Water Trust Permanent Fund

subset: commoncrawl


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Established in the heart of London in 1992, Legend Footwear has provided high quality branded footwear for 25 years to millions of customers around the world. We have been trading online for 10 years and have over 200,000 positive feedbacks.
We offer the latest and 100% authentic products from over 100 well-known brands. All orders are shipped within 24 hours and every item is inspected before dispatch to ensure that you get your order in a perfect condition.
We have a dedicated customer support team who are available to provide help from placing your order, delivery of your order and return. We offer free UK USA delivery/returns and ship worldwide.
Have a question that you cannot find in the F.A.Q. ? Then get in touch - we'd love to hear from you. We are open 6 days a week!
Opening times: Monday - Friday 8:00am to 5:00pm Sunday: 9:00am to 6:00pm
*All emails are answered within 24 Hours. If the email received after 5 PM Friday or during Saturday will be answered on Sunday .
Legend Footwear Unit 10B Lyon Way London UB6 0BN United Kingdom
Tel: 0207 383 5838 Fax: 0207 380 0627 Email:
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We accept all major credit/debit cards and payments via PayPal and Amazon Payments for customers paying in GBP. Unfortunately, we cannot offer payment by American Express.
PayPal is one of the largest online payment processors in the world. After rising to prominence through its partnership with Ebay, online merchants all across the Internet accept PayPal as one of their accepted methods of payments.
Paypal is preferred payment method. Its easiest and most secure way of making online payments. With paypal you are fully protected.
You can pay with your Credit or Debit card. We use Sage Pay payment gateway and is 100% secure.
Sage Pay makes payments safe and secure
Payment security and fraud prevention are two of SagePay's top priorities. We entrust SagePay with their security because we keen to keep our customer's data secure. All of our transactions are encrypted to the highest global standards. SagePay payment systems are monitored and audited regularly by a world leading Qualified Security Assessors (QSA), so you can be confident our services are completely secure. Transactions processed using Sage Pay go through powerful fraud prevention tools to check if your card details have previously been compromised somewhere else online or to prevent the illegal use of a card by an unauthorised person. SagePay here to give shoppers peace of mind when it comes to payments.
Amazon Pay doesn't share your credit card information, and you're covered by the same buyer protection plan available on Amazon.co.uk, so you can buy with peace of mind.
All the UK orders are delivered in 2 - 3 working days in the UK. All deliveries are subject to stock availability and authorisation of your payment.
Shipping for all UK USA orders is Free. All the orders from UK are delivered in 2 - 3 working days. And USA orders are delivered in 2 - 5 working days.
Next Day delivery to UK £4.99. All the next day delivery orders received by 12:00pm on weekdays will be sent same day and will be delivered the next working day. The order placed on weekends will be delivered on Tuesday.
Shipping to Europe starts from £7.99 per order. It may take up to 5 to 7 workings days to deliver your order.
Shipping for all the countries outside Europe starts from £11.99 per order. It may take up to 7 to 12 workings days to deliver your order
If you are outside UK and buying from Legend Footwear, you are the importer of item and must comply with all laws and regulations of the your country. Orders that are shipped to countries outside of the United Kingdom may be subject to import taxes, customs duties and fees levied by the destination country. The recipient of an international shipment may be subject to such import taxes, customs duties and fees, which are levied once a shipment reaches your country. Additional charges for customs clearance must be borne by the recipient. We have no control over these charges and cannot predict what they may be. Customs policies vary widely from country to country, you should contact your local customs office for further information. When customs clearance procedures are required, it can cause delays beyond our original delivery estimates.
If you are not available at the time of delivery the driver will leave a card in your letterbox in order for you to get in touch with them to arrange a suitable time for delivery. Please be aware that you must get in touch with them as they will attempt to deliver one more time before sending the parcel back to us.
We operate a no quibble 365 day returns policy. Refund will be given provided items are returned back in their original condition with their original unmarked/undamaged box and swing tags. The returned item should be in re-sellable condition.
We offer free returns for all UK customers. Please contact us for your free return label. We do not offer free returns for any customer outside the UK. If you are a customer from outside the UK, please return the item back to the following address. We recommend using a tracked signed for service.
Retruns Department Legend FootwearUnit 10B Lyon WayLondonUB6 0BNUnited Kingdom
* If you are sending the item back and you are outside of the EU you must write (RETURN TO SENDER) this is requested to avoid the order being held in customs. If the item is held in customs we will deduct the amount from your refund when processing your return as we may be billed automatically by customs we are not liable for paying for these extra costs.
If the item is classed as RETURN TO SENDER there will be no charges held and will not be put on hold this makes the return experience easy and fast.
If you are a UK customer and the size of the item you ordered does not fit, you can get a free return and exchange for a different size. If you want to replace your item for a different style, we can provide a free return service but your payment will be refunded and you will need to place a new order for the replacement pair. Please note that our return policy applies to all exchanges. For a faster exchange of your item, please fill in the returns form stating the size you wish to exchange for and include it with the return parcel. If you haven't indicated on your returns note that you'd like an item exchanged or the new size required, then we'll automatically issue a refund for the returned item.
What if I cannot find my size?
If you cannot find your size please contact us as we have full range of sizes in our shops which we can list for you or we can order them from our supplier.
Can I add items to my order?
Yes you can add as many items as you want. You can combine your order if you want to buy two or more items.
How can I cancel or amend my orders?
Yes you can cancel or amend the order but have to contact us to do so. Please let us know if you want to amend or cancel your order before we despatch you order
Where is my order?
Once your order has been despatched we will send you an email confirmation. If you want to track the order please contact us we can provide the tracking number for the order.
Can I track my order?
Yes you can track your order please contact us if you require a tracking number. Please note for international orders you can only track them till they leave the UK. You will have to contact your local postal service for further information.
What payments methods do you accept?
We accept following payment methods: Paypal: Paypal is preferred payment method.Its easiest and most secure way of making online payments.With Paypal you are fully protected. Please note using e-cheques is not instant and will take 7-10 working days to clear.
Credit/Debit Card: You can pay using your credit or debit card using our Sage Pay Checkout.
Do I need to pay custom duties outside EU?
Custom charge or import duty may apply if you country is outside EU. The courier will contact you before delivery if any charges apply to your order. For details on the charges please contact with your tax or customs office for further details. Please note that we cannot mark your orders as Gift.
How do I pay with Credit or Debit card?
You can pay using your credit or debit card via our Sage Pay checkout.
When will my order will be shipped after I pay for it?
All the orders are sent same or the next working day after your payment is cleared.
Where do you deliver and how much does it cost?
We ship worldwide:
UK: Delivery for UK is Free and the order is delivered with in 2-3 working days
Europe: Delivery for Europe starts from £7.99.
Rest of the World: Delivery for Rest of the world starts from £11.99.
How long does delivery take?
It takes two working days to deliver in UK. For Europe it takes 3 to 5 working days and rest of the world it takes 7 to 9 working days. Please note that these are estimated delivery times and are is not guaranteed.
What if I don't receive my order in estimated delivery time?
If you don't receive your order within the estimated delivery time please contact us we will track your parcel and will update you with the location of the parcel.
How will I know my order has been despatched?
We will send you an email as soon as your order is despatched.
Can I change delivery address?
We cannot change the delivery address of an order after its placed. If you wish to change the delivery address you will have to place a new order with the correct shipping address.
What is your returns policy?
We operate a no quibble 30 day refund/exchange policy. Full refund will be given provided goods are posted back within 14 days of receipt, as new, unworn and the buyer pays the return postage costs. If you send the shoes back for refund after 14 days of receipt the initial postage will be deducted from the refund. Please be advised that we have to refund the Standard delivery cost only (which was incurred in getting the goods to you in the first place). It means if you opted for Express or Expedited service, we are only liable to refund the cost of Standard service. For further details on our returns policy please visit our Returns page.
Where do I send my return back?
Please send your returns including the item number and reason of return to the following address:Legend FootwearUnit 10B Lyon WayLondonUB6 0BNUnited Kingdom
What if I change my mind or the shoes do not fit?
if the shoes do not fit or you change your mind you can send the shoes back for exchange or refund. Please note that the shoes should not be worn and should be sent with the original package.
What happens with my return?
We contact you as soon as we receive the shoes back and will refund your payment.
Who pays the return postage?
We offer free returns for all the UK customers. The international returns are not free and you will have to pay for the postage cost. If you receive damaged or receive wrong shoes we will pay for postage cost.
What if the shoes are returned back undelivered?
If we receive your shoes back undelivered we will email you and will ask if you want to get them shipped again. You payment will be refunded if no reply is received. Please note that you will have to pay for the postage for the order to be shipped again.
Legend Footwear is the trading name of Fleetmill Limited and is the data controller of the information you provide us with. This privacy policy explains how we use any information about you when you use our website.
Data protection
We are committed to protecting your privacy. The only information we collect is what you voluntarily give us when you fill out forms on our website. We do not collect any information without your consent.
What information we collect
We collect the following information about you. We never collect any data that is not necessary for providing our service to our customers.
What we use your information for
We use your contact details so that we can deliver your order to you and to send you information regarding the status of your order. We also use your details to protect against fraud and to ask for feedback on our services. If you contact our customer services team, we will use your information to investigate your query. For every piece of information we collect about you, we have applied a Lawful Basis.
Should you opt into our direct marketing, we may contact you to send you emails about products and services that we think you may be interested in. You may unsubscribe from these emails at any time by clicking on the "Unsubscribe" link at the bottom of each email.
Third parties
Your information will never be sold or leased to third parties. We do not distribute your information to third parties except for the purposes described above. We do not store any payment details you input into our website and we take measures to ensure that your data is always secure. Any third parties we do pass information onto are GDPR compliant.
By registering with us or placing an order to purchase goods you consent to the information you provide us being used for any of the purposes described above. You have the right to withdraw consent at any time. Please contact us if you wish to do so.
We are committed to ensuring the security of your information and to prevent any details from reaching unauthorised parties. We have appropriate technical and organisational measures in place to secure any information we collect about you. No information relating to your debit/credit card details will be stored by our website and we take reasonable measures to hide your information from unauthorised individuals.
Controlling your information
Your information belongs to you, and you have several rights you may exercise in order to control it. You may request details of any personal information which we hold about you. If you would like a copy of the personal information we hold about you, please contact us. Additionally, you may object to the use of your data for certain purposes. You also have the right to request for your personal data to be transported to any other organisation.
If for any reason you believe that any information we hold about you is inaccurate or incomplete you may contact us to correct any information you think needs changing. Your data will be kept for a period of time that we believe is necessary for us to carry out the services you expect from us. In the event that you want us to delete your data, you may contact us at any time to request removal of all personal data we possess about you.
A cookie is a text file that, with your permission, gets stored on your computer when you use our website. Our website is built using Magento, a commerce platform that uses a number of essential cookies to work properly and to provide you with a better user experience. For example, when you click on the "Add to cart" button on our website, a cookie is used to temporarily store information until you proceed to checkout. You can change your browser settings to disable cookies, although some of the website's features may not function properly as a result. For more information about how we use cookies including a full breakdown of the cookies we collect, please see our Cookies Policy .
Links to other websites
Our website contains links to other websites. When you click on these links, you will be leaving our website and entering another website. This website may collect different information to our website and use this information for purposes different to those described in this privacy policy. We recommend that you check the privacy policy of the website you enter as their policy may differ to our own.
Changes to this privacy policy
From time to time we may need to update this privacy policy. Any changes we make will appear on this page and, in the event of any significant alterations to our privacy policy, we will send a notification by email to provide you with further details. We will always seek your consent before making changes to the rights you possess under this privacy policy.
If you have any further questions about this privacy policy or about the information we hold about you then please contact us by sending an email to [email protected] or calling us on 0207 383 5838.
The present document (Terms and Conditions) establishes the conditions for the sales made between any individual wishing to make a purchase from the Legendfootwear.co.uk website, hereafter referred to as "the customer," and Legend Footwear also referred to as Legendfootwear.co.uk.
Use of the website and the placement of an order implies full agreement with these terms and conditions.
Title in Goods supplied by legendfootwear.co.uk shall pass to the buyer upon payment of the purchase price in full.
Our Agreement to supply the Goods is made on the date we deduct payment from your credit card the details of which you provided on the Order form or any other means of payment.
Our Agreement includes all correspondence from us to you and the descriptions of the Goods as provided by us on our Website or otherwise.
All item prices are given in pounds sterling and are inclusive of all taxes. Item prices do not include delivery charges (see paragraph 4, Dispatch and delivery).
Legendfootwear.co.uk reserves the right to modify its prices at any time without prior notice.
The items will be invoiced according to the prices in effect at the time the order is completed.
Legend Footwear reserves the right to withdraw and/or modify any items on its website at any time.
The customer may order online from the Legendfootwear.co.uk website at any time.
Note: Legendfootwear.co.uk reserves the right to cancel or to refuse any order from a customer with whom there exists a dispute relating to the payment of a previous order or who appears to present a risk to Legend Footwear.
All orders imply acceptance of the prices and item descriptions available at the time of sale.
Legendfootwear.co.uk undertakes to honour all orders received on the website, subject to item availability. If one or more items ordered are not available, Legendfootwear.co.uk will strive to inform the customer as soon as possible. In a situation where a customer wishes not to accept an alternative offer, the customer's order will be cancelled and the corresponding payment amount will be refunded.
Legendfootwear.co.uk stores the contract's content and will send the customer the details of his/her order via e-mail.
In some cases, Legend Footwear customer service may contact a customer to request additional information before his or her order is processed. For orders placed with next day delivery or express shipments we require any additional information before 12 pm on the day the item is due to be despatched.
This is standard security procedure and the information provided will not be shared with any outside parties.
Legend Footwear makes every possible effort to update the website to accurately reflect our stock levels. However, in circumstances where you have ordered an item that is out of stock at the point of picking, our Customer Services Team will be present you with an alternative if possible. If these alternatives are not acceptable, you may cancel your order at any time.
Under the Distance Selling Regulations, the Customer has a legal cooling-off period of fourteen working days to cancel the contract without providing any reason. This cancellation period begins the day the order is received.
To exercise this right of withdrawal, the Customer must inform us of his/her decision to withdraw from this contract by an unequivocal statement.
Returns, exchanges, and refunds are subject to certain conditions, which may be found below in the section entitled "Exchanges, Returns Refunds".
All items supplied to the customer remain the property of Legend Footwear until final payment of all sums owing in respect of those goods has been received in full by us.
At this time, Legendfootwear.co.uk delivers to the following countries:
Delivery may be delayed in the event of a natural disaster or force majeure beyond Legendfootwear.co.uk's control.
Legendfootwear.co.uk is not responsible for postponed deliveries in such circumstances.
In the event that a customer is absent and does not contact the carrier after two/three delivery attempts (depending on the courier), then his/her package will be returned to Legend Footwear.
Standard Delivery - UK
We endeavour to deliver the goods you have offered to purchase from Us within 1-2 working days from receipt of your order. If there are any delays we will notify you of such delays as soon as possible.
Standard Delivery
We endeavour to deliver the goods you have offered to purchase within 7 working days from the receipt of your offer. If there are any delays, we will notify you of such delay as soon as possible. terms.
We will either give you an exchange (UK customers only) if this is what you want (pending stock availability) or we will refund your original purchase price. The initial postage charge will be refunded if the goods are returned within 14 days of receipt. If a return is made after 14 days, initial postage will not be refunded. International customers need to pay the postage to send the parcel back to us.
Pack the shoes carefully in their original box with a secure outer wrapper. Include the returns form in the package.
The customer must retain the proof of postage of the package given to him/her by the accepting post office. If the package is lost, no refund will be given without the proof of postage..
Legend Footwear bears the shipping cost for all returns and exchanges for UK customers. Legend Footwear does not offer free returns for any customer outside the UK.
If your shoes are faulty or damaged when you receive them or if we have sent you the wrong shoes, we will meet the cost for you to post them back to us and we will offer you an exchange (pending stock availability) or refund (whichever you want, unless the shoes were a present to you – when the refund can only go to the original purchaser). All of this is in addition to and does not affect your statutory rights.
The item(s) returned must be new, unused, and in the perfectly intact original packaging.
All returned items (shoes, original packaging, accessories etc.) must be returned intact. Legendfootwear.co.uk will determine whether the items are in perfect condition upon receiving the package. No returns will be accepted if the returned items have been visibly used or damaged by the customer and if this use or damage has rendered the items unsuitable for sale. If the return is refused by Legendfootwear.co.uk, then the items can be returned to the customer at the customers' expense. The customer may not demand any compensation, nor is he/she entitled to any refund, unless he/she subsequently exercises his warranty rights for sold goods.
The same requirements apply to exchange items. In the event of an exchange, if the returned items have been visibly used or damaged by the customer and if this use or damage has rendered them unsuitable for sale, then Legendfootwear.co.uk may exercise all corresponding actions of recovery from the customer.
Customers may pay for their purchases with a debit/credit card (Visa or MasterCard) or via PayPal.
The payment will be confirmed upon receipt of any additional information requested (in case of payment by debit or credit card that requires further verification).
Legendfootwear.co.uk reserves the right to verify the personal information given by the customer and to adopt any measures deemed necessary to ensure that the person whose bank account is being debited is the same person who placed the order. This is to prevent any fraudulent payments. This verification may take the form of a request for proof of identity and/or address and/or bank documents (BBAN or void cheque). If the customer fails to respond to such a request within three days of the request made by Legendfootwear.co.uk, the order in question will be automatically cancelled, with no option to make a subsequent complaint.
Legendfootwear.co.uk is also entitled to directly cancel an order that presents one or more risk factors of fraudulent bank card use.
Legendfootwear.co.uk organises item sales on its website, www.legendfootwear.co.uk.
These reductions cannot be combined with any other offers and are automatically applied to the customer's basket. Procedures for ordering, payment of items, delivery and returns are still as described in these Terms and Conditions.
Should the customer require any information or have any questions, the Legendfootwear.co.uk customer service team may be contacted by telephone from Monday to Friday between 8 am and 5 pm and Sunday between 9 am and 6 pm (GMT) at +44 203 6177 856 or by email at [email protected]
Legendfootwear.co.uk has an obligation to use its best endeavours throughout all stages regarding accessing the site, the ordering process, delivery, customer service or after-sale service.
Legendfootwear.co.uk cannot be held liable for any damages or inconveniences inherent to using the Internet network, specifically a disruption of services, an external intrusion or computer viruses, or for any event considered to be force majeure, as established by case law..
Legendfootwear.co.uk may not be held liable for a Customer's misuse and / or intensive use of items. Legendfootwear.co.uk may not be held liable for the return of a competitor's product and / or a product not sold on Legendfootwear.co.uk. It is the responsibility of the Customer to return the correct item. Consequently, Legendfootwear.co.uk will not refund any item returned to Legend Footwear in error.
Whether you call it a "gut feeling," an "inner voice" or a "sixth sense," intuition can play a real part in people's decision making, a new study suggests.
For the first time, researchers devised a technique to measure intuition. After using this method, they found evidence that people can
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to make faster, more accurate and more confident decisions, according to the findings, published online in April in the journal Psychological Science.
The study shows that intuition does, indeed, exist and that researchers can measure it, said Joel Pearson, an associate professor of psychology at the University of New South Wales in Australia and the lead author of the study. [
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Intuition is a popular topic in psychology these days, and generally refers to a brain process that gives people the ability to
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, the researchers suggest. Despite widespread acceptance of this idea by psychologists and the public, scientists have lacked a reliable test to gather objective data on intuition and even prove its existence.
Previous studies didn't actually measure intuition because researchers didn't really know how to quantify it, Pearson said. Instead, these studies relied on information from questionnaires that asked people how they were feeling while they made decisions , which is more of a reflection of people's opinion of their intuition than an actual measurement of it, Pearson said.
In the new research, however, Pearson and his colleagues came up with a series of experiments to determine whether people were using their intuition to help guide their decision making or judgment. The researchers defined intuition as the influence of "nonconscious emotional information" from the body or the brain, such as an instinctual feeling or sensation.
In the experiments, the researchers showed small groups of about 20 college students black-and-white images of dots moving around on one half of a computer screen. The researchers asked the students to decide whether the dots were generally moving to the left or to the right. As the participants made this decision, on the other side of the computer screen, they saw a bright, flashing square of color.
But sometimes, the researchers embedded an image into the colorful square that was designed to trigger an emotional response from the participants. For example, each image was aimed at eliciting either a positive emotion (a puppy or a baby) or a negative emotion (a gun or a snake). However, the participants were not aware that they were being shown these emotional images because they flashed at speeds too fast to be consciously perceived.
Cohen disguises himself as Ali G for an interview with The Apprentice's Donald Trump, where he unconvincingly tries selling him a business idea. The former TV personality fires back by bragging that he was one of the few guests to ever leave the interview. At the time, he tweeted, "I never fall for scams. I am the only person who immediately walked out of my Ali G interview."
When Ryan Seacrest interviews "The Dictator" star at the Oscars, he spills an urn filled with what appears to be Kim Jung Un's ashes. Trump does not find it to be comical. "If that ever happened to somebody with real security, Sacha Baron Cohen would not be in good shape right now. He'd be in a hospital. I only wish Ryan took a swing at him."
"Da Ali G Show's" character appears as a guest on the "The Late Late Show" with James Gordon. In response to whether or not Trump knew he was being fooled, he says: "He claims that he saw through the interview. But actually he was there for about seven minutes." Which, apparently is a long time to wade out his pranks.
Baron starts incorporating Trump's presidential proposals into his comedy. "The only person who would ban muslims is someone with a brain like a female chicken. It is clearly a parody of a rich American racist," he says on Jimmy Kimmel Live!. In Cohen's latest movie, "The Brothers Grimsby", a satirical news headline reads: "Trump has aids." We've yet to hear anything besides for crickets in response.
As viewers heard word of Sacha's more serious upcoming role in Netflix's Israeli spy film, it became impossible to think of a world without him in the comedy spotlight. When he released a trailer over July 4th centered on mimicking Trump, we breathed a sigh of relief. Any comedy aimed at Trump, prevails.
Bonnie Azoulay is an intern at the Forward.SUPPORT FEARLESS JOURNALISM
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ScarJo, no!
Scarlett Johansson has faced massive criticism this week for taking on a role as an apparently transgender man. Johansson will play Dante "Tex" Gill, an iconic massage-parlor kingpin who dominated Pittsburgh's illicit pleasure centers in the 70's and 80's in the upcoming movie "Rub and Tug." Johansson is a cisgender woman. Gill presented and identified as masculine.
There was a significant discrepancy between mineral profiles and the mechanical properties profiles at each time point. The lesions measured by mineral profile appeared shallower, particularly in the outer zone as compared to mechanical properties profiles using E
and H. This suggests that the main difference was in this outer zone and depended on the difference in detection of the two methods. It is likely that the lesions appear deeper by nanoindentation because a critical mineral level must be reached before the indentation force can be resisted. In addition it should be noted that the two methods utilized on the same specimens do not measure exactly the same locations or tissue volumes as illustrated in
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Within the limitations of the present experiments, the following could be concluded: functional remineralization of partially demineralized human dentin occurred with recovery of mechanical properties, with progressive intra- and extra-fibrillar mineralization initiated in the depth of the lesion. The degree of remineralization increased with time over the 4 week treatment period. Approximately half of the lesion depth (in a total depth of 140 µm) recovered to normal levels of E, while the outer portion recovered about 50% of its mechanical properties during the remineralization period, even though normal mineral recovery was achieved. Results suggest that functional remineralization through shallow lesions is possible within 2–4 weeks, demonstrating the clinical translation potential of the proposed mechanism.
a). Specimen containing lesion in a micropipette tip filled with water. b). Specimen within the micropipette shown at a higher magnification. Inset illustrates lesion with widened tubules due to demineralization of peritubular dentin that form funnel shapes that transit into normal tubules with depth (see
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a). Specimen containing lesion in a micropipette tip filled with water. b). Specimen within the micropipette shown at a higher magnification. Inset illustrates lesion with widened tubules due to demineralization of peritubular dentin that form funnel shapes that transit into normal tubules with depth (see
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Hardness changes as a function of treatment time from 0–28 days shows the changes in hardness (H) at each of the remineralization periods as compared to the starting lesion (grey). Trends were similar to those seen in the modulus values. Between 0 and 7days (green) most of the changes occurred in the depth or inner part of the lesion. The following 7 day period (blue) showed increases mainly in the outer zone and the final 7 day period (red) contributed only minor additional increases in the mechanical properties. This suggests that initially functional remineralization resulted in mineral being deposited in the inner portions of the lesion and this deposition gradually moved outward toward the surface.
Movie illustrates progressive virtual sections from the external surface to the deeper portions of the demineralized specimen. Widened dentin tubules due to demineralization of the peritubular dentin forms funnel shapes that transit into normal dentin with depth.
The authors thank Professor John D.B. Featherstone for helpful discussions regarding the artificial caries model and Dr. Megan Pugach for evaluations of the demineralization kinetics of the acetate buffer system.
Conceived and designed the experiments: LG SH SM GM. Performed the experiments: AB TT YC MK. Analyzed the data: AB MK SPH GM. Contributed reagents/materials/analysis tools: AB JC NC SG SPH. Wrote the paper: AK LG GM SM SPH.
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text:
The Moose Hub necesitaba un nuevo diseño de logotipo y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 156 diseños de 28 diseñadores freelance.
Eco Nicki
Eco Nicki is a new online and retail eco store as well as an individual 'eco' identity. Nicki is a professional sustainability industry person who presents and writes about all things 'eco' and 'green'.
The business focusses on product sustainability as well as style. The two elements - the store and the blog, require a logo which can be used for the retail business as well as the blog identity.
We will sell a range of clothing and home/giftwares, with each product telling the story of its production and highlighting its social and environmental attributes. While products will be selected on style and 'wow' factor, their sustainability - eg: manufacturing method, recyclability or reuse, packaging, social impact or input, material selection, etc is critical, and this will be reflected in the operation and design of the business.
Mainly female, online savvy people seeking sustainable products and information. Also referred to as 'LOHAS' people. They know about sustainability and are particularly seeking products that reflect their values. They also value style and function and consider that 'green is the new black'.
We are completely open to your brilliant concepts, designs, fonts, colours and layouts, however, our thoughts to date are:
We use the following tag and would like to separate 'Eco' and 'Nicki' with a tree-like or other environment type design. This could also be done with colour change.
Eco Nicki
Sustainable. Style. Store.
Colour needs to be attractive to females but not to the exclusion of males. Green should be included and we would prefer 'earthy' colours but also needs to be stylish. Green+blue is too common in the industry. No metalics, block or background colour.
Fonts need to be simple, modern and stylish. Not too many, not too thick, not to thin! A byline font that reflects a personal touch, such as a script, could work. Open to both lower or upper case ideas, eg: eco nicki or Eco Nicki.
Sustainability and use - sustainability of all designs will be a key consideration - eg: amount of ink required, colour saturation, etc. The logo will be printed with vegetable based inks on post-consumer recycled card - never bright white and often quite brown. The logo will be used for business cards, shopfront, signs, swing tags, t-shirts and website banner.
Descubre cómo funciona un concurso de diseño u obtén más información sobre nuestros servicios de diseño de logo.


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Angewomon (Digimon World 2) – Cosplay of the Day
Today's cosplay is pretty cool because it hearkens back to the PlayStation One era. Let's give a warm welcome to Angewomon, from Digimon World 2.
Angewomon is an Ultimate-level Digimon with the appearance of a woman and eight angel wings, classifying her as an archangel. This Digimon is all about justice and laying down the law, which she happily enforces with her bow and arrows. She's got the look of a valkyrie from Norse mythology, making her one of the more badass humanoid Digimon out there.
Here is DarkTifaStrife, a Peruvian cosplayer who has a love for anime, manga and video games. She was a fashion design student who also dabbled in plastic arts. Considering these facts, it would only make sense that she could come up with the kickass Angewomon cosplay you see before you. We have no idea how she can see through that helmet, but we give her props for staying true to the character.
See more of her great cosplay work, which includes numerous Final Fantasy costumes, on her deviantART. Let us know what you think of this angelic cosplayer.
Want your Cosplay to be seen? Send your info to firstname.lastname@example.com and we may feature you in our Cosplay of the Day!


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The third annual StarNews Media Wilmington Theater Awards will take to the Thalian Hall stage on Jan. 23, and to get everyone warmed up for the big act – and to introduce some of our nominees – I've organized a series of roundtable discussions.
This week I'm talking to four (of the 10) nominated directors, to be followed next week by six nominated actors and a Q&A with our director and host, Jeff Phillips. The week after that, I'll talk to some of our nominated technicians.
The big show is being co-presented by Thalian Hall with much help from our community theater partner, Opera House Theatre Co., and musical director Lorene Walsh.
Check back next week for more information about the show itself, which will feature performances from the Best Musical nominees, comedy from the Pineapple-Shaped Lamps troupe and a photo
booth from red carpet sponsor Land Rover Cape Fear.
Now, let's talk some theater.
Tom Briggs, artistic director of the Thalian Association, nominated for Best Director of a Musical for "Xanadu"
Nicole Farmer, nominated for Best Director of a Play for "William and Judith," Browncoat Theatre
Nick Basta, nominated for Best Director of a Play for "The Lieutenant of Inishmore," City Stage
Norman Aronovic, nominated for Best Director of a Play for "Morning's at Seven," Big Dawg Productions
I've heard it said that a good director is like a good umpire in baseball. If they do their jobs well, you never notice they're there.
Tom Briggs, 'Xanadu': I think that's true. When you go to see a play you don't want to see the director's work. You want to see a good story well told. You don't want gimmicky stuff standing out, I don't think.
Nicole Farmer, 'William and Judith': On New Year's Eve, I was watching Yo-Yo Ma and he's an amazing performer, the emotion with every note that he gives you. He likened leading an orchestra to being like a parent, and I kind of like that analogy (to directing), of feeling sometimes with a cast as if you're the parent. And if your parenting skills are good, when your children go out into the world they have good manners and intelligence and whatnot, and you're not given credit for it (laughs).
Briggs: I've always thought dealing with actors is like dealing with children (in that) every kid needs something different. You've got the kid who need the gentle encouragement and then you've got the kid who needs to be grabbed by the collar and (told), "Shape up!" It's the same with actors.
How do you handle it when an actor or a member of the crew comes up with something that might not be quite how you want it?
Nick Basta, 'The Lieutenant of Inishmore': It's really difficult when someone's not doing their job, because then you gotta do it and you've just more responsibility. It just gets completely tiring, at least it was for me. In ("The Lieutenant of Inishmore"), we had a lot of trouble with the (prop) cats and it was just an endless thing. And it's pretty important. Cullen (Moss, the play's lead actor) and I were going to make them ourselves, but we don't know anything about that, so we're in Joanne Fabric's one day and this woman says, "Well, my sister makes cats."
Farmer: What a lucky break.
Nick: By opening night we had weighted, dead-looking, kinda cool cats.
Farmer: I think what's interesting to me here in Wilmington is that you have a huge range of experience when you cast a show. So when you read a review that says, "Oh, the casting was brilliant," that makes you think that your job as a director is just to cast well and then the actors do everything themselves. Well, that's just the beginning. Then there's coaching and there's teaching if someone is not experienced. And there's this complete variety here of people with all of this experience and then there's complete novices … There's so many ways to get different results out of actors … Sometimes you have to take them aside and say, "Look, when you're trying to get that moment, I want to you to think that your boyfriend is in the back room (having sex with) your best friend." And – pffft! – you see it in their face. That's not what the play's moment is, but you give them an as if, and then all of a sudden this reaction happens and you get this reaction on stage … There are tricks to getting a reaction, are there not?
Norman Aronovic, 'Morning's at Seven': Sometimes you lie and cheat and steal to get them to do what you want, because you've gotta do what you've gotta do to get the show going. I remember I was doing a production of "Cuckoo's Nest," and three of the main characters were just weak, not intense enough. I told them I was dying. They knew I was sick because I'd had an operation recently, and I told them I was dying and this was the last play I was going to direct. (All laugh.) And it worked.
There's that old saying that casting is 90 percent of directing. True?
Briggs: I really do believe that. If you start out with a strong cast you're more than halfway home. If you have to cast somebody who isn't right for the role, you're in trouble right from the jump.
Farmer: But if you can't find the person that you're looking for – and you spend months with the play before the actors ever walk in the room so you're hopeful for this, that and the other – you have to compromise. "Well, this person's not quite right but they're the right age or whatnot." I'm going to be frank, I've had a difficult time finding the right person here.
Is that because you've built up an idea in your head from having the play with you for so long?
Farmer: It's because most of the good actors do film, and they need to be able to do that, so they don't come to your audition. And a lot of younger actors are students so you can't pull them away from their studies, and there's a limited amount of time they can give you.
Aronovic: Or a lot of them do musicals, and musicals are performed in larger venues that are more attractive, and I can understand that. Or they're working for some small project that pays. Or who knows what else, but it's hard to find a cast for a straight play around here.
Briggs: It is. My situation is that I can only get Thalian Hall for one weekend for a straight play. Tony won't give it to me for two weekends. And a lot of actors don't want to go to all that work for four performances. And I can't blame 'em. Now, at the Red Barn I won't have that problem because we're running the show for three or four weeks. But at the Hall it's a real problem to get really good actors to commit for four performances.
This isn't really a directing question, but why do you think musicals are so much more popular in Wilmington that straight plays?
Basta: It think it's like corporate food. You trust Pizza Hut when you go to a foreign country because you know what you're gonna get. No one's going to take a chance, especially for a large ticket.
Briggs: Musicals are just more populist entertainment. It's the same in New York, musicals get a bigger audience and run longer than the straight plays do.
Farmer: Raleigh, Durham, Chapel Hill, there's a lot of straight theater, so it was kind of surprising to me moving here that (musicals) were the main play that was done. I've seen more musicals since I moved here 18 months ago than I'd seen in my entire life. I'm not a musical theater person. What I've realized from watching musicals here is that the acting style is really different. It's much more presentational. So if you cast an actor who's done predominantly musicals into a straight play, you've got some instruction to do, because it's totally different. It's not about selling a song.
Let me ask Tom, because I know he's directed both. Is it harder to do a musical, a straight play or is it just different?
Briggs: It's just different. I mean, musicals are harder in that you've got more elements: You've got the music, you've got the lyrics, you've got the musicains you've got the choreography. Usually musicals are bigger, so you have to be traffic cop – get 'em on, get 'em off, move 'em around. So you've got more elements to deal with than you do in a straight play. But, you know, the storytelling technique is really the same. You're trying to honestly tell the story in the style of the play. If it's a broad comedy, I mean, there are straight plays that are broad comedies. The style of acting I don't find that different. It depends on the material. You know, you don't direct "Xanadu" the same way you'd direct "Next to Normal" just like you wouldn't direct "The Odd Couple" like you'd direct "Long Day's Journey (Into Night)."
How long do you live with a play before you even have the first audition?
Briggs: At least six months
Farmer: Depends on the play. Sometimes you've loved a play for 20 or 30 years and you finally get the opportunity to direct it. Briggs: That's how it is for me with "Of Mice and Men."
Basta: It was six years for me (with "Inishmore").
Have any of you ever come to loggerheads with an actor over certain choices? Do you fire them? Try to convince them? Give in?
Aronovic: All of those things. I've fired a number of actors. In (one show) I did with all experienced actors, that was more difficult than having a younger cast, because they were pretty set in their ways. It was a challenge to come to agreements and move on.
Farmer: I say this because I was an actress for 30 years and I've been a director for a less long time. I think an actor's job is to be malleable. Not that you have to be a puppet, but you should be willing to have the open mind to try it. Then if it doesn't work you can come to an agreement. It really should be a collaboration. Obviously, if you're cast you have a quality that the director thinks will work. I don't think any director wants to have to fire an actor. One of the complications in Wilmington is that none of the actors are being paid. It's community theater. So to demand a lot of time is really difficult. You get to a point where someone is not coming to rehearsals, you want to fire them, but there's no other choice. You have to work around it.
Briggs: "You'll never volunteer in this town again!" I think it's our job to show the actors off to their best advantage. We're trying to make them look good. It's going to take something different with each actor. Are they well cast, or were they the only person who showed up who was remotely close to being right?
How faithful do you feel like you should be to the script?
Briggs: 100 percent.
Aronovic: Right.
Briggs: That's our job, to tell that story. Not to reinvent that story, not to rewrite that story.
Farmer: It depends on what you're doing with it. Directors reinvent the classics a lot, and so when you're dealing with a dead playwright, if you want to being Shakespeare alive in a new way, I think that is your choice to cut things or alter or make it fresh so that a modern audience can relate to it. But if you're doing a new play, absolutely, your job is to honor the playwright.
Aronovic: Sometimes a script is beautiful. Sometimes the words are not just words with definitions. They're poetry. And many actors feel comfortable explaining how, "This script was just dictated to a stage manager during rehearsal and the author doesn't really care," and other stories to explain the fact that they can't seem to learn the lines.
Does it bug you when actors paraphrase?
Briggs: No paraphrasing. I paid too much for those words. I want to hear them in the order they were written.
Aronovic: And it's not just that, which is really important, but the tech people need to know a cue, and the other actors need to know a cue. If you've got a cast of 15 people, and everyone's got a different take on the lines, what happens to the show? It gets slow, because somebody's got to decide whether that was their cue or not.
Briggs: The author has written the play in a way that has a rhythm and a pace, and if you're not saying the lines the way the author wrote them, you're going to lose that.
Farmer: Particularly some writers. Pinter. It's music. Mamet.
Briggs: Williams. Inge. Arthur Miller. All of those classic playwrights. A lot of actors think it doesn't matter. This word, that word, they mean the same thing. No, they don't. This word has two syllables and this one has three and it makes a difference in how the line lands.
Farmer: Move anywhere you want on stage. But say the right words.
Basta: On the other hand, too, if something magical happens you want to keep it.
Briggs: Oh, you look for those unexpected moments where, "Oh, I hadn't imagined that."
Basta: And it might be a little off the script, but, "Let's keep that," you know. I think you have to work with what you have. In "Inishmore" the guy was supposed to hang upside down. That just wasn't going to happen. City Stage is old and it would've been dangerous. So what do you do? You adapt. We finally devised, after a series of challenges, to have him hanging 45 degrees. And we were lucky enough to have a carpenter who could do that.
Briggs: And it worked like a million bucks.
Basta: On Broadway the guy was upside down for five minutes. It was pretty cool.
Is there directorial choice in a show you've done that you like to go back and do differently?
Farmer: This one we don't have to talk about. (All laugh.)
Briggs: I look back at casting choices through the years and think, No, I should've gone with that other guy when I did "Lil' Abner" back in '83. I went with the wrong girl on that play. I look back and regret casting sometimes.
How do you get an actor to go somewhere that you aren't sure they can go?
Aronovic: Many actors are very shy off stage, but if you give them the words they need they can erupt or be very violent on stage. And vice versa. You just don't know. The excitement of seeing someone you could never imagine in that role doing a really great job is great.
Farmer: And many actors get typecast but they're just waiting for a role where they can do something different.
Briggs: The most terrifying thing is casting an actor you've never laid eyes on before. Because you have no idea of who that human being is, what they're going to be like to work with, what is their bag of tricks? It's much easier to cast somebody you've worked with before, somebody you've seen before, but when somebody walks in off the street and absolutely captivates you, you're like oh my God, who is she? She's amazing, but is she going to be this nightmare from hell?
Farmer: Is she going to have a good work ethic, come to rehearsals?
Aronovic: Or any work ethic.
Briggs: So you have to go with your instincts.
Aronovic: I'm vulnerable to that. I get sucked in. I see a great audition I say, "I want this person." And later on, it's good or bad or in between.
Briggs: I try to work with them at callbacks as much as I can. See if they take direction. Even if they're reading it exactly the way you want, tell them to change it.
Farmer: Just to see.
Aronovic: Sometimes they're tied to their technique and if you don't know their technique it's like you're talking to a brick wall until you find the right words for them.
Briggs: Sometimes I've gotten really lucky with somebody new, and it's like, "Yes, my gut was exactly right," and they're great to work with. And sometimes two rehearsals in, it's (puts head in hands), "It'll never be better than it was at auditions."
Aronovic: Sometimes it's a particular role, like, a child's role. I did "The Bad Seed" a long time ago and you need a really good kid. And somebody shows up and they're amazing,
they're like adults in little bodies. But it's weird, it's frightening to have a role be so pivotal.
Briggs: I love working with kids, but, boy, you've got to cast them carefully … I'm so lucky that we have a children's theater company and I see a lot of kids, because just casting kids off the street … And then you've got the parents.
Aronovic: That's the hardest part.
Briggs: I've not cast kids because of your parents. It's like, "Honey, I love you, but I can't deal with that mother of yours." (All laugh). It's really a shame.
You've all been performers. How did you experiences on stage shape you as a director?
Basta: I think it just makes you want to do it right, finally takes the reigns and say, "That's the way I see it."
Farmer: I fought it for a long time, I thought that I would not be able to do the work I wanted to do as an actress, that it would be distracting. And this was really just foolish of me, but now, of course, age – age has determined that I will direct (laughs), because there aren't that many roles for women my age.
Briggs: I think having been an actor really
helps a director because you know the actor's process. You know what the actor needs, you know how the actor works, you know the language to speak to an actor because you've been on the other side. I think that's why a lot of directors were actors earlier, because eventually you get to the point where you're like, you know what, I've worked with so many bad directors, I want to be on the one to tell everyone what to do. I stared acting as a kid, and by the time I got to college I was already becoming more interested in directing. I've worked with some great directors, but I've worked with some really sloppy ones, too. And that's informative, too. You can learn as much from a bad production as you can from a good one. You learn what not to do.
Farmer: And how to work on your own, because you're not getting the direction.
What are some of the plays you've always wanted to direct?
Briggs: "Of Mice and Men." I've got auditions in less than a month.
Farmer: "Hedda Gabler." And I'm not in a theater so I can say, not the Scottish play, I can say "Macbeth." I've always wanted to direct Macbeth.
Briggs: You go, girl. You take that one.
Why have you always wanted to direct 'Macbeth'? Is that play the ultimate challenge?
Farmer: I think Shakespeare is the ultimate challenge in itself, but that play in particular, I don't know. Because I come from an Italian family, revenge resonates with me? I don't know. Lady Macbeth is a really fascinating character to me, how you deal with tragedy through insanity. Greed, lust, there's just so much. And it's dark. I like the dark underbelly of humanity (laughs).
Aronovic: Luckily for me I was in charge of picking plays for a number of places and I've gotten to do what I wanted to do. I always wanted to act in a play that I'll never get to (do). I always wanted to play the cowboy in "Bus Stop," Beau. Unless I do it in a nursing home, it's not going to happen.
Briggs: "Old Bus Stop." (All laugh.)
Basta: I always forget how much work theater takes, and after just coming off (playing) Willy Wonka, I need a break. I'd like to act in "Death of a Salesman," or direct it. But I think you always think of numbers now, or money, and something's really got to grab me for me to spend time away from my daughter. She's 6, and saw "Willy Wonka" three times, so that was special.
When I interview the actors next week, I'm going to ask them what bugs them about directors. So I'll ask you all now, what are your pet peeves when it comes to actors.
Farmer: Not learning your lines.
Basta: I can't stand being late.
Farmer: Just text or call and say your're running late at least because you hold up the whole company.
Aronovic: The rehearsals here are pretty short here, and that's great, but if you're not going to be on time, and you figure that there's like, 30 rehearsals, or 20 rehearsals, and you miss five minutes at each rehearsal, that starts adding up. That's like a scene that you could've rehearsed again. Then, you come up to the director later and say, "Well, we didn't have enough rehearsal time." We'd have had five more rehearsals for your scene if you'd been on time. People don't consider that, they don't consider the overall production.
Briggs: Get off book. You can't start the real work of pacing the show, of moving it, of building it, when they're carrying the paper in their hands.
Farmer: It takes thinking ahead. Obviously everyone works a day job, so you've got to make time to meet another actor at dinner and run lines before rehearsal and that kind of organization. It's your job to get off book. It's not the director's job to help you get off book by rehearsing it 15 times. Sleep with it under your pillow, get up an hour earlier, whatever works.
Aronovic: I was a sports person, and still am, and references to sports sometimes irritate actors, but if you're practicing to play a sport, you practice every time, full out, as best you can to get better. It's the same thing in a play. You should be better at every rehearsal. Oftentimes it requires practicing on your own. It can't just happen at rehearsal. That's only part of it. If you haven't touched the script, we can tell. We can all tell when somebody hasn't worked on their lines, or their blocking, or their energy, whatever notes you've given them. And they haven't, often. They need to be coached, and coaxed. It's like, they don't really enjoy the process so much, they just like getting applause at the curtain call. But getting there, it takes more work.
Basta: Young actors certainly think they can cheat. It's just like a painting, you can tell when someone put the time in and when someone didn't.
Briggs: Also, use your time at rehearsal wisely. If I'm blocking a scene (you're not in), you shouldn't be over there texting. You should have your script open and be learning your lines.
Aronovic: They would rather sit there and watch other scenes and redirect them in their heads.
Farmer: "Can I watch again?" I don't know, can you? Are you off book for your scene?
Aronovic: The other thing is, they take roles knowing full well that they have a conflict in the run and they can't make one performance.
Briggs: Oh no, I've never had that.
Aronovic: That happens all the time to me.
Briggs: Cast a show and have someone come up and say, "Oh, by the way, I can't do the Saturday night." What?! I'd have a stroke!
Farmer: But it does happen.
Briggs: No!
Farmer: Yes! I won't even mention the particular play. And you say, OK, and then you go to the artistic director …
Briggs: And say, "Can I cancel the Saturday night?"
Farmer: No, and have some other actor fill in.
Briggs: I've never heard of anything like it in my life.
Farmer: Well, I won't mention …
Aronovic: And I won't mention.
Briggs: You certainly will, after that recorder's turned off you'll tell me exactly who! (All laugh.)
Who are some of the directors who've influenced you, either who you've worked with or who you've admired from afar?
Briggs: I would go to New York to see a play just because Mike Nichols directed it. He's another one I admire because he does comedy, he does drama, he does musicals. You know, that's the career I want … When you think that he's directed "Annie" on Broadway, and "(Who's Afraid of) Virginia Woolf" and "Spamalot."
Basta: I worked with Peter Sellers – not the "Pink Panther" (one).
Briggs: He is crazy.
Aronovic: He is insane.
Basta: He does a lot of opera. At ART we did an American premiere of "Children of Heracles" and I got to understudy the lead on that. To me, he's just full of a lot of love.
Farmer: I worked with Sam Anderson in Los Angeles and he taught me so much about directing well. I guess I was also old enough to understand that, too. I've been reading a lot about Elia Kazan, and he was a maniac, but what a brilliant director he is. Not the person I would like to share my life with or maybe even be directed by, but what a vision.
What do you aspire to as a director?
Briggs: Tell the story as honestly as possible. That's it. All I want actors to do is look at each other in the eye and tell the truth. That's all I want. I don't need histrionics, I don't need big acting, I don't need fake-fake pretend-pretend, just look you in the eye and tell the truth.
Farmer: As a director, I hope to help actors realize what their action is. There is no play without an action, and so in every moment, what is it you want? And this is how the story gets told, because, you can't just walk through it and speak the lines. There must be something you want. Acting is not just acting, it's reacting, and you are nothing without your scene partner, without the other people on stage, living that life in that moment together. To me, that is the detail, from moment to moment in a play, that makes it resonate and makes the audience feel, "Yes, I have lived that, I have felt that, that moment." Otherwise we're just observing instead of really feeling it.
Basta: I can say this too, 80 percent of the fame goes to the actors, but if you don't have a good stage manager, you're (screwed).
Briggs: You do want a good stage manager. Especially if you're directing a big-ass musical.
Norman, you've directed so many plays, what have you learned over the years that's worked for you?
Aronovic: That anything I'm certain of probably isn't true. Sometimes it's just being kind to an actor. Sometimes it's being mean as hell to an actor. Sometimes it's giving them more room and sometimes it's giving them less room. It's having a framework, but being very open to the surprise of something you didn't know.
Farmer: Each play is its own adventure, its own journey.
Briggs: Those are the magical moments when something comes that you didn't anticipate that's so right and so wonderful. That's what you're just praying happens every time you walk into a rehearsal.
Farmer: Rehearsal's my favorite part.
Briggs: Oh, I love the process. Once the play's up and running, I'm bored.
I've heard stories about directors who, once the show is up and running, you never see them again. How far into the run do you go?
Briggs: I've been known to give notes after the final matinee.
Farmer: I go to every show. Because it changes every night and I want to know what the play was like that night.
Briggs: Also, in this town we don't have previews. I'm used to living in New York, you have previews. So down here, by the final matinee, we're ready to open.
The third annual StarNews Media Wilmington Theater Awards are 8 p.m. Thursday, Jan. 23, at Thalian Hall, 310 Chestnut St., downtown Wilmington. $15. 632-2285 or www.ThalianHall.org
Jan. 16: Roundtable discussion with nominated actors and actresses and Q&A/event preview with host Jeff Phillips of Opera House Theatre Co.
Jan. 23: Roundtable discussion with nominated technicians
14 Comments
Great article! The annual Wilmington Theater Awards are a TERRIFIC addition to our cultural scene; thanks SO MUCH, Star-News!
Thanks Kazu!
[…] In an effort to introduce some of the nominees at this year's Wilmington Theater Awards, I led a discussion last week with four of the nominated directors. […]
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[…] Wilmington Theater Awards Roundtable Discussion, Vol. 1: The Directors – The third annual StarNews Media Wilmington Theater Awards will take to the Thalian Hall stage on Jan. 23, and to get everyone warmed up for the big act – and to introduce some of our nominees – I've organized a series of roundtable discussions. […]


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By Claire Porter
Capital News Service
RICHMOND – Gov. Bob McDonnell on Tuesday recommended changing some of the requirements in legislation requiring voters to show identification on Election Day. His suggestions would make it somewhat easier for people who don't have proper IDs to have their ballots counted.
McDonnell announced that he was recommending changes to 130 laws approved by the General Assembly and that he was vetoing seven bills. The assembly will reconvene next Wednesday to consider the governor's actions.
Last month, lawmakers passed House Bill 9 and Senate Bill 1, requiring voters to present valid identification to cast a regular ballot. Otherwise, they would cast a provisional ballot, which would be counted only if the voter provides proper ID by the day after the election.
Supporters said the bills would prevent voter fraud and ensure integrity of the voting process. Opponents likened the legislation to Jim Crow-style suppression of the minority vote.
"Ensuring the security, fairness and openness of our elections are cornerstones of a strong democracy. For people to have faith in their government, they must have faith in their elections. This legislation passed by the General Assembly attempts to increase the security of our elections by lessening the risk of voter fraud," McDonnell said.
He added, "In reviewing this legislation, I want to preserve this goal of preventing illegal voting while promoting voter participation, and making sure we do not stand in the way of legitimate voting. I also want to ensure that this legislation complies with the requirements of the Voting Rights Act of 1965."
The governor proposed four changes to the legislation. Under his recommendations:
• Officials would compare the signature on a voter's provisional ballot with the signature on file with the State Board of Elections. This means provisional voters would not have to present an ID to their registrar after the election, although that option would exist.
• Provisional voters would have more time to send or present ID to the local electoral board. McDonnell would give provisional voters until the Friday after the election to show ID or validate their signature.
• Community college identification cards would be an acceptable form of ID to cast an official ballot. (The bills specified an ID card from "any four-year institution of higher education.")
McDonnell also proposed removing a provision in the legislation that says an election official can waive the voter ID requirements if he or she recognizes a voter who does not have valid identification. The governor cited concerns about the "subjectivity and lack of uniformity" in making such determinations.
Currently, Virginians who don't have valid IDs can vote if they sign an affidavit swearing that they are registered voters.
"Under Virginia's current voter ID law, approximately 0.25 percent to 0.30 percent of voters vote without identification and signing the affirmation," McDonnell said. "Under this legislation, the number of people subject to the non-ID voting provisions will decrease with the addition of several acceptable IDs."
Under existing law, acceptable forms of identification include a voter registration card, a Social Security card and a driver's license. Under the legislation, a voter also could show a utility bill, bank statement, government check or paycheck.
The Republican governor also acted on bills on several other topics.
As part of his "Opportunity to Learn" agenda, McDonnell signed SB 131 and amended a related measure, HB 321, giving tax credits to companies that provide scholarships for low-income students to attend private schools. His change would require scholarship foundations to allow an eligible student to attend any eligible private school.
The bills raise a contentious issue. Republicans believe such proposals can improve an underprivileged student's education, but Democrats say they take away from the public school system.
Among his seven vetoes, McDonnell rejected SB 471, which would have required the State Board of Education to create physical education requirements for public schools.
Public Employees' Retirement
McDonnell signed HB 1130 and made amendments to SB 497 and 498. SB 497 requires that local government employees pay a 5 percent contribution to the Virginia Retirement System, the public employee pension fund.
The governor proposed giving all local governments five years to phase in the 5 percent employee contribution requirement. SB 497 allowed only school boards to phase in the requirement.
McDonnell's changes to SB 498 would make the sickness and disability coverage for local employees under the state's new hybrid retirement plan mandatory, with an opt-out provision for localities that offer comparable disability coverage.
"Over the last few years, we have taken a number of important steps to help ensure that employees' retirement is secure. This year, the General Assembly passed historic legislation to further improve the long-term solvency of the Virginia Retirement System," McDonnell said.
McDonnell amended two key pieces of his transportation agenda – the Comprehensive Port of Virginia Promotion and Reform Bill (HB 1183 and SB 578) and the Comprehensive Virginia Commercial Space Flight Authority Promotion and Reform Bill (HB 813 and SB 284).
Specifically, he recommended increasing from $7.5 million to $9.5 million the amount of annual funding for the Commonwealth Space Flight Fund. The fund would support efforts to develop Virginia's commercial aerospace industry.
Capital News Service is a student news-gathering program sponsored by the School of Mass Communications at Virginia Commonwealth University.


text:
Swank refuses to reveal donation details
HILARY SWANK has refused to release details of worthy causes which benefited from her controversial attendance at Chechen president RAMZAN KADYROV's birthday party.
The Oscar-winning actress issued a grovelling apology in October (11) amid a storm of criticism of her presence at the event, and she promised to hand her personal appearance fee to charity.
Exiled former Chechen leader Akhmed Zakayev has written to the Boys Don't Cry star demanding she provide details of her payment and the charities she's handed it to - but Swank has declined the request.
A spokeswoman for the actress tells The Hollywood Reporter, "Over the last four months, Hilary has been working directly and privately with various human rights organisations and other charities - giving both her time and financial resources.
"At the request of such organisations, and consistent with Hilary's longstanding practice of donating anonymously, she will not be publicly acknowledging her contributions and efforts."
Swank was slammed by officials at Human Rights Watch for partying with Kadyrov in October (11) amid claims he is responsible for torturing his citizens.


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After a brief reprieve in April when up to 10 inches of rain fell in parts of the state, Louisiana producers are back to scanning the horizon longingly for rain clouds.
"May has been as dry as a bone," says Barry Keim, Louisiana state climatologist. "Farmers are right to be worried."
Conditions are so dry that David Lanclos isn't overly concerned with reports of Asian soybean rust in Mexico.
"We're doing weekly scouting trips by the Texas border and, thus far, we've seen nothing in the sentinel plots," says the LSU AgCenter soybean, corn and milo specialist. "We'll continue checking them. But in my opinion, the environment isn't conducive for (ASR). We're extremely hot with little to no moisture. The state is burning up."
While the April rains dumped a lot of water, it must be put in context.
"We've been in a drought for a while. Those April rains did allow us to plant the crop or get one up. Unfortunately, that rainwater was absorbed quickly or ran off."
In truth, say the men, the April rains only provided several weeks of reprieve.
"If we don't get a rain on dryland fields (by June 1), the situation will be very bad," says Lanclos. "Yields will definitely be impacted. Long-term, there are some 30 to 40 percent rain chances into early (June). But that's on paper, man. We need it on the ground."
Asked to compare the 2005 drought with conditions so far this year, Lanclos says things are similar. Louisiana crops are already showing much drought stress and it's causing secondary problems.
"The most impacted crop is corn. We're going into kernel fill in a week or so. We're also seeing problems with the beans prematurely flowering and lack of growth. They aren't putting on a lot of biomass; without water soon, that could translate to less yield. Our earliest beans are approaching R-2/R-3. That means we need moisture in a big way.
"We have some irrigated corn that looks fantastic. But we also have some corn that's only 6 feet tall and fully grown. That's due to lack of water. Will that translate to a yield loss? I think we'll be impacted but I'm not going to be a solid pessimist yet. There are some good root systems. But we must have a replenishing rain or (the pessimism) will emerge."
In recent years, Louisiana's once pervasive afternoon showers have all but disappeared. Asked if this has been seen during El Niño/La Niña shifts in the past, Keim is unsure.
"I've been meaning to do a study on that, to see if the distribution of rainfall has changed even though the means haven't. Granted, last year was a dry one, but in terms of the effective precipitation it was much drier than the record even showed. That's because we were in a drought interrupted by two major rainfall events. One, Rita, dropped a lot of water across Louisiana. Katrina was more limited to the southeastern part of the state.
"I agree that the afternoon, summer shower patterns don't seem to be what they were back in the late 1980s and early 1990s. Back then, you could almost set your watch by those showers. Now, we're lucky to get anything at all.
"Whether or not this is a more sinister, long-term problem, I don't know. And I've not heard anyone really digging into it."
Lanclos says it seems the state is in a pattern "where we'll see four or five days of extreme rain events. That means a lot of the water runs off and doesn't have time to seep into the soil. Then, another holding pattern of 15 to 20 days of zero rain with strong winds arises. That saps the soil of moisture and isn't conducive to maximizing yields. The typical, soaking afternoon showers are done. They haven't been around in a long time."
There have been studies on the impact of El Niño, especially in the late winter/early spring. Last year, a mild La Niña was most prominent.
"That affects the subtropical jet stream which, in turn, influences whether we get storms in the Gulf of Mexico. With a La Niña, that subtropical jet is weakened. Since we don't get the gulf storms, we miss out on a substantial portion of the winter/spring precipitation. That's basically what played out this past season."
The long-range forecast for June and into the summer is for warmer than normal conditions with normal precipitation.
"We're in a deep hole moisture-wise," says Keim. "While 'normal' sounds good, it won't pull us out of that deficit. Of course, at this point, if promised 'normal precipitation,' I imagine most farmers would accept it in a heartbeat."
While the long-range forecast doesn't bode well for agriculture, Keim says such forecasting is largely a guessing game. "Some indicators do suggest this is way things are headed, but if I were a farmer, I wouldn't put all my chips on it."
The long-range forecast also says to expect an "above normal" hurricane season.
"Of course, it would be hard to beat last year when record after record was broken. But still, we're staring at an above-normal season. Where (the storms will) go, though, is anyone's guess."
The pattern of the last two years is for the storms to be pushed toward landfall.
"In the mid-1990s, we had some very active years, as well. But the steering currents kept them offshore. I've heard people say, 'It's the east coast's turn.' But we're not in any position to make such claims.
"It's kind of odd to think of it from this perspective, but it would be a good time for a small, weak tropical to come up and provide a nice, slow rain. We don't want to wish for too much tropical activity, but a weak system would provide welcome relief."
e-mail: firstname.lastname@example.com


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Microsoft is to kill off MSN Messenger for Mac, replacing the IM software with a new product. The company last night also released its latest software update for Office 2004 for Mac.
Microsoft revealed its IM plans during a presentation at the Georgia Institute of Technology's IEEE Student Branch. The company plans to ditch its existing IM solution for Mac in order to develop and deliver a more advanced client.
While details are scarce at present, the new Mac software is expected to appear by the end of next year and will support AIM, Google Talk and ICQ and be compatible with Windows Live Messenger 9.0.
The Microsoft Office 2004 for Mac 11.3.9 update fixes an issue that causes Word 2004 to quit unexpectedly when users print a document.
Microsoft notes that this update is recommended for Office 2004 Standard Edition, Office 2004 Student and Teacher Edition, Office 2004 Professional Edition, Word 2004. The update weighs in as a 2.49MB download.


text:
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Inside, El Bambi does not disappoint - it's like a scene from a movie. But in a good way. And with 50c cups of coffee.
Utah is a state located in the westcentral region of the United States of America. Utah is the 13th largest state by area, ranks 34th by population and 10th by population density of the 50 United States. Utah was the 45th state to be admitted into the Union, on January 4, 1896. Utah is landlocked, being bordered by the states of Idaho to the north, Wyoming to the northeast, Nevada on the west, Colorado on the east and Arizona to the south. Utah is very mountainous and is a popular outing destination of the outdoorsman. The state population is about 2.82M with 95% being Caucasian, 2.4% Asian, 1.7% Native American and 1.3% Black. The state capital and largest city is Salt Lake City.Source: wikipedia


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New York Junior League's 2006 Spring Auction
Thursday, April 20, 2006, from 7:00 p.m. - 11:00 p.m. at The Racquet & Tennis Club, 370 Park Avenue, New York City-- New York Junior League 2006 Spring Auction "Bid it out of the Park": Silent Auction, Live Auction, delicious hors d�oeuvres, open bar and music. This years Spring Auction benefited the 15th annual Playground Improvement Project at the Jackie Robinson Park. Named after the first African-American professional baseball player in the major leagues, this park was acquired by the City of New York and opened as a playground in 1911. The evening featured a Live Auction with items such as a 2-night stay at The Breakers Palm Beach, The Skip Barber Racing School and a Night on the Town package. The Silent Auction featured sports tickets and memorabilia, fashion and jewelry, health and beauty items, gift certificates for delectable restaurants and more travel packages. Proceeds from this auction will benefit the New York Junior League's charitable programs. PHOTO CREDIT: ©Manhattan Society.com 2006 by Gregory Partanio |tel:718.614.7740 |e-mail: email@example.com More


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text:
Home Design The St. Lucia
- 4
- 2
- 198.06m2
The St. Lucia makes seemingly impossible use of its 198m². An expansive living and dining area still manages to leave space for an activity room and alfresco. This, along with four bedrooms and two bathrooms provides a family sanctuary fit for all occasions.
Get Started Today
To make an enquiry, fill out the form below or call us on
(08) 9249 4455
Mark: 0408 676 517
Neil: 0400 207 807
Floor Plans
900mm Stainless Steel Oven
900mm Stainless Steel 5 Burner Gas Hotplate
900mm Stainless Steel Flumed Rangehood
Stone Benchtops in Kitchen
Soft Close Rollers to Drawers
Dual Flush China Toilet Suite with Soft Closing Lid
Handheld Showerhead
Ceramic China Basins
Chrome Flick Mixer Tap to Basins
45L Inset Stainless Steel Trough
Floor Tiling in Wet Areas
Weather Resistant Front Door with Timber Frame
• WA owned builder with over 50 years experience
• Quality service, products & tradespeople
• HIA Fixed Price Building Contract
• Housing Indemnity Insurance
• Full working drawings
• 6 Star energy efficient home
• 12 month maintenance period
• 25 years structural warranty
• Engineers site report
• Contour survey & re-peg
• Engineered footings & concrete slab
• Certified termite treatment to slab & perimeter
• European House Borer Protection (in applicable suburbs)
• Standard shire fees (excluding headworks, planning fees & shire bonds)
• Security sensor lighting to front façade
• Deadlocks to all external doors
• Keyed aluminium windows & sliding doors
• Obscure glass windows to Ensuite, Bathroom & WCs
• Hard wired smoke detectors (as shown on plan)
• 2 RCD electrical safety switches
• 10m power run allowance
• 10m sewer run allowance (past last connection point)
• 6m water connection allowance
• Allowance for gas run-in (provided by Alinta)
• Rinnai instantaneous hot water unit
• 2 external garden taps
• Double power points throughout (where applicable)
• LED lights throughout
• 5 external lights
• White light switch plate covers
• Flumed exhaust fans to Ensuite, Bathroom & WCs
• Technology package (1 phone point, 1 data point & 2 TV points with coaxial cable)
• NBN ready communication package
• Hardwall plastered internal clay brick walls
• Metal corner beads
• 28c plasterboard ceilings throughout
• 75mm cornice to ceilings
• Hardiflex ceilings to Garage
• R4.0 insulation batts to House & Garage ceilings
• Walk-in or built-in robes in all Bedrooms (as shown on plan)
• Doors to built-in robes
• Melamine shelving with chrome hanging rail to all robes
• Metal internal door frames with redicote flush panel doors
• Satin chrome aluminium lever door handles
• Privacy lock to Master Suite
• Full painting to ceilings, doors & door frames (excluding internal walls)
• Full house clean
• Melamine cupboards with ABS edging to all cabinet doors, drawers & exposed edges
• Bank of 4 drawers on soft close rollers
• 20mm stone benchtops
• Stainless steel 1¾ bowl sink & drainer
• Chrome flick mixer tapware
• Dishwasher recess with power point & cold tap
• 900mm stainless steel 5 burner gas hot plate
• 900mm stainless steel rangehood
• 900mm stainless steel oven
• Pantry with 4 melamine shelves
• 200 x 400 ceramic tiled splashback to underside of rangehood with 2 rows everywhere else (up to $44/m2 allowance inc GST)
• Vanity cupboards with tiled hobs
• Laminated benchtop with post form or square edge
• ABS edging to all cabinet doors & exposed edges
• Frameless vanity length mirrors
• 2m high semi-frameless glass screens & pivot door to shower
• 1525mm acrylic bath
• Ceramic china basins
• Dual flush china toilet suite with soft closing lid
• Chrome flick mixer tap to basins
• Chrome flick mixer tap with handheld shower head
• Double chrome towel rails
• Chrome toilet roll holders
• Ceramic soap dish holders
• 200 x 400 ceramic wall tiling (up to $44/m² allowance inc GST)
• 200 x 200 ceramic floor tiling (up to $44/m² allowance inc GST)
• One row of tiling above vanity
• 2m high tiling to shower recesses
• Skirting tiles to walls
• Chrome floor wastes
• Privacy locks
• ABS edging to all cabinet doors & exposed edges
• 45 litre inset stainless steel trough with sudsaver & melamine cupboard with laminated benchtop & choice of post form or square edge
• Chrome flick mixer tap to trough
• Automatic washing machine taps
• Linen cupboard with 4 white melamine shelves
• 200 x 200 ceramic floor tiling (up to $44/m² allowance inc GST)
• 200 x 400 ceramic tiling above benchtop (2 rows)
• 200 x 400 ceramic skirting tiles to walls
• Chrome floor wastes
• Builders standard door
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• Double clay brick construction with 2 course face bricks
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• Colorbond® fascia, downpipes & gutters if Colorbond® colour selected
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• Hardiflex ceilings
• Weather resistant front entry door with timber frame
• Draft weather seals to all external doors
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• Natural grey concrete hardstand to Garage
• Tempered solid door to Garage
• Modern designed sectional garage door
• Vista granite brick paving to Driveway, Porch, Path, Portico, Verandah & Alfresco (as shown on plan)
• Painted sand render to front elevation (as shown on plan)
• Full painting to woodwork, eaves, meter box & plumbing
• Full site clean