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(Formerly two separate policies 216‐97 and 332‐96)
Faculty Members, Faculty Fellows and Investigators (e.g., broadly referred to here as Scholars) engaged in scholarship and research have ethical and legal responsibilities to ensure that their Outside Activities and Interests do not present a Conflict of Interest (COI) with respect to their objectivity as Scholars and researchers or a Conflict of Commitment (COC) with respect to their responsibilities at the University. There are many reasons that Scholars should take on Outside Activities including leadership in professional, community, or charitable organizations; professional consulting; and entrepreneurship. Such activities may enrich the professional experience of Scholars and help broaden both instruction and research at the University. Outside Activities are often vital for the effective transfer of research into products, services, and processes that may offer great societal benefit. Such transfer is often most effective when Scholars act as advisors or consultants to Outside Entities which may include both forprofit and non‐profit companies.
The purpose of this policy is to give guidance to Scholars for responsible participation in a diverse array of Outside Activities. Such pursuits may provide financial and/or personal benefits to Scholars, which may create a COI with research activities. In addition, Outside Activities and Interests can require substantial time commitments that may create a COC by preventing Scholars from meeting their Institutional Responsibilities. This policy provides guidance for identifying these situations, as well as for managing conflicts when they occur, to allow Scholars to participate responsibly and conscientiously in Outside Activities.
A COI may occur when Scholars or their Family Members receive financial or personal benefit from Outside Activities and Interests that are closely related to their research activities. Examples include participation in activities sponsored by for‐profit entities; negotiation with companies; provision of litigation‐support services; founding of start‐up companies; or consulting for companies. Alternatively, even uncompensated activities, such as volunteering on the board of a non‐profit organization, may result in a COI if the organization is impacted by the outcomes of a Scholar's work. These situations may compromise, or may have the appearance of compromising, a Scholar's judgment while conducting research. Such a situation may give rise to the perception of a potential bias affecting the collection, analysis, and interpretation of data; hiring of staff; procurement of materials; sharing of results; protocol choice; and/or data analysis. No area of scholarship is exempt from real or potential COI.
As Scholars engage in Outside Activities and develop Outside Interests, they must protect the reputation of the University; the integrity of its research, scholarship and creative work; the educational interests of the students; the rights and privacy of any human subjects used in research; and the academic freedom and intellectual property rights of the University, faculty, staff, and students.
Conflict of Commitment (CDC}: a situation in which a Scholar's Outside Activities ( e.g., consulting, public service, or pro-bono efforts) may interfere or appear to interfere with the quality and performance of his or her Institutional Responsibilities.
Conflict of Interest (COi}: a situation in which a Scholar may be influenced by considerations of personal gain due to an existing or potential Outside Interest or Activity. Such relationships may affect or might reasonably appear to affect his or her ability to make objective independent judgment in the pursuit of research results, scholarship, or creative work.
Faculty Member: includes all faculty members with tenure and tenure-frack appointments, as well as benefits-eligible non-tenured or non-tenure track faculty members with the rank of Lecturer or above, under University Policy No. 201.
Family Members: the Scholar's spouse, domestic partner, or dependents with financial interests related to the Scholar's Institutional Responsibilities. Scholars should also be sensitive to situations where other family members such as a parent, sibling, or non-dependent children may have a Significant Financial Interest reasonably related to the Scholar's Institutional Responsibilities (such as a significant investment in a start-up company that has licensed the Scholar's intellectual property). In such cases, to avoid the appearance of a financial COi, it may be prudent for the Scholar to disclose such additional interests of which he or she is aware.
Faculty Fellows: individuals holding research positions that are not tenure-eligible, under University Policy No. 327.
Faculty Conflict Committee (FCC}: a committee composed of Faculty Members and staff appointed by the President, and chaired by the Vice Provost for Research (or his or her designee). The role of the FCC is to review, revise as needed, and recommend for approval management of any COi identified. The FCC also has responsibility for monitoring management plans.
Institutional Responsibilities: the professional responsibilities of a Scholar on behalf of the University. Institutional Responsibilities include, for example, activities such as teaching, preparing coursework, counseling students, service on departmental and University-wide committees, research, publishing scholarly work, and other work relevant to his or her academic field of endeavor, professional practice, and consultation.
Investigator: for purposes of this policy, any university employee who is a Principal Investigator or coinvestigator on a research project. This broader term includes all Rice professors of the practice, certain research faculty, and any individual to whom Principal Investigator or co-principal investigator status has been provided. It may also include other individuals, including significant contributors, collaborators, consultants and others regardless of position, title or compensation from an award, who are independently responsible for the development, design, conduct, or reporting of a sponsored research project.
Outside Activity: includes leadership participation in professional, community, or charitable activities; self-employment; participation in business partnerships; or employment or consulting arrangements with Outside Entities. An Outside Activity may be either compensated or uncompensated. In general, any service on any board (for-profit, non-profit, advisory, honorary, or otherwise) will constitute an Outside Activity.
Outside Entity: any corporation, partnership, sole proprietorship, or any other organized legal entity other than Rice University.
Outside Interest: the interests referenced in this policy under the subsection titled "Outside Interests and Activities That Must Be Disclosed."
Office of Research Compliance {ORC}: the University administrative office responsible for the management of disclosure, review and reporting requirements under this Policy and federal regulations.
PHS Investigator: an Investigator who is currently or has in the past three years received funding from a PHS (Public Health Service of the U.S. Department of Health and Human Services) awarding agency. PHS encompasses nine agencies that include AHRQ (Agency for Healthcare Research and Quality, the CDC (Centers for Disease Control and Prevention), the FDA (Food an·d Drug Administration), HRSA (Health Resources and Quality Policy and Research), the NIH (National Institutes of Health, and SAMSA (Substance Abuse and Mental Health Services).
Principal Investigator (Pl}: the individual officially responsible for the conduct of any sponsored project, or the individual officially responsible for the conduct of any funded project. On research projects, the Pl is usually a faculty member; on other types of awards, the Pl may have an administrative appointment. The Pl is always an Investigator.
Research: a systematic investigation, study, or experiment designed to develop or contribute to generalizable knowledge. The term encompasses basic and applied· research, as well as product development (e.g., a diagnostic test, a new kind of electrical circuit or drug). It also includes any activity that has sponsored funding, in whole or in part, such as a research grant, career development award, center grant, individual fellowship award, infrastructure award, institutional training grant, program project, research resources award, or other contractual mechanism.
Scholar: for purposes of this policy, this term encompasses the following: Investigator, Faculty Member, and Faculty Fellow.
Significant Financial Interest: a financial interest having a significant monetary value (whether that value can be easily determined or not) that belongs to the Scholar or the Scholar's Family Members, and that reasonably appears to be related to the Scholar's Institutional Responsibilities, as discussed in subsection titled "Outside Interests and Activities That Must Be Disclosed."
There are numerous situations under which COis may arise, and this policy will not attempt to provide an exhaustive list. However, Scholars must, at a minimum, disclose to the University all Outside Interests and Activities that reasonably appear to be related to their Institutional Responsibilities. If there are any doubts about the relatedness of Outside Interests or Activities to Scholars' Institutional Responsibilities, Scholars should err on the side of disclosure. Accordingly, financial interests and activities involving Outside Entities must be disclosed and recorded.
Scholars must disclose a situation where a real or potential COi arises as soon as he or she is aware of it. A Scholar's personal belief that the competing personal interest does not bias his or her actions should not be a factor in the decision whether or not to disclose the interest under this policy. Rice values openness and a robust disclosure process as it supports the institutional priorities of conducting scholarship of the highest caliber premised on objectivity and ethical conduct. Rice places the disdosure responsibility on the Scholar to maintain these standards.
A COI arises when the design, conduct, outcomes, and reporting of a Scholar's research or scholarship have a real or potential connection to the interests of an Outside Entity; and the Scholar has a Significant Financial Interest or personal interest in the entity. Examples include:
The Provost will make an annual request for such disclosures to all Scholars; this request will typically coincide with the annual report process. Scholars must disclose the requisite information required for Outside Activities and Significant Financial Interests relevant over the preceding twelve months prior to the specified annual disclosure date. Scholars must also submit updated disclosures: (a) if their circumstances change; (b) at the time at which they submit sponsored research proposals and/or receive awards; and (c) within 30 days of discovering or acquiring income or interests in the circumstances described below. The COi procedures document describes the disclosure mechanisms.
The following are considered Significant Financial Interests and must be disclosed when they reasonably relate to a Scholar's Institutional Responsibilities:
The following forms of remuneration do not ordinarily need to be reported by Scholars:
Information pertaining to real or potential COi situations must be disclosed both annually and when required throughout the year due to a change in circumstances, proposal submission, award receipt, or receipt of income. This information will be first reviewed by the relevant divisional dean. The dean will provide a preliminary assessment of any potential COi. This assessment will determine whether a true COi exists, and whether this COi is manageable or not. The dean's assessment will then be revi??wed by the ORC and the FCC. In case of disagreements, the Provost will make the final decision.
The FCC is a faculty committee whose members are appointed by the President. At least seven voting members shall compose the FCC, and a quorum for meetings consists of a majority of the voting members (e.g., four voting members if the FCC has seven voting members). The faculty members will be selected to broadly reflect the research, academic interests, and activities of the University. The Vice Provost of Research shall, on behalf of the President, consult with the divisional deans and the Speaker of the Faculty Senate on appointments to the FCC. The FCC will be responsible for: (a) affirming or disputing identifications of COis; and (b) recommending whether COis can be managed or must be eliminated. This standing committee will operate in a manner similar to the other research compliance committees.
The Vice Provost of Research or his or her designee will serve as one of the voting members and the FCC.Committee Chair. The FCC Chair may request, at his or her discretion, non-voting members to participate in the work of the FCC as required by the cases under consideration. The FCC will be supported administratively and advised professionally by the ORC.
The preliminary assessment of a potential COi will be the responsibility of the divisional deans; however, Scholars are encouraged to independently identify situations they feel may present a COi.
If the divisional dean or his or her designee identifies a potential or actual COi that had not been previously reported, he or she may request additional information.
The dean will make a recommendation as to whether any of the possible COi cases are unmanageable, taking account the advice of the ORC and subject to review by the FCC. This assessment will occur on a case-by-case basis. Generally, however, the designation of an unmanageable COi will be reserved for rare circumstances. For instance, this would occur when the relatedness of a personal or financial interest is overwhelmingly apparent and irremediably connected to the scholarship and/or Institutional Responsibilities of the Scholar.
Manageable COis identified by the dean will be reviewed by the ORC, who reviews all disclosures.
FCC will consider all relevant data and either affirm or dispute a COi finding from the divisional deans and the ORC. In order to expedite review and consideration, the FCC may consider the existence of a COi and a proposed management and monitoring plan simultaneously. In some rare circumstances a COi.may be determined to be unmanageable. In such circumstances, Scholars will need to either eliminate the COi or remove themselves from the research project. The list of potential COis and the recommendations of the divisional deans and the FCC will be forwarded to the Provost. Should the dean, the Scholar and the FCC not agree on whether a conflict exists and whether it is manageable, the Provost will make the final decision. If the Provost's views are in conflict with the views of the FCC, then there must be a face-to-face meeting between the Provost and the FCC to explain this reasoning.
Once a COi is identified, a COi management and monitoring plan will be prepared by the dean, department chair, the ORC, and the Scholar. Typical elements of the plan include communication with graduate students, required disclosure on publications, or external review of proposed research reports. An example of a management and monitoring plan is included in the procedures document. The proposed management plan will then be submitted to the FCC and the ORC.
The.lee will then review proposed management and monitoring plans for all COi cases and either approve the plan or send it back with recommended revisions to the dean and the Scholar. For changes in circumstances, or new COis that occur outside of the annual disclosure process, this committee may meet as required to evaluate COi cases and their proposed management and monitoring plan. For conflicts that arise or relationships that change substantially during an active grant or contract, an acceptable management and monitoring plan must be developed in a timely fashion and in accordance with federal and University guidelines. The final version of the management and monitoring plan shall be approved by the Provost. No federal funds can be expended until a management plan is approved by the Provost.
As stipulated in their management and monitoring plan, but at lea??t annually, Scholars must submit a report to their deans detailing their compliance with the management and monitoring plan. The deans will record this information and forward it onto the ORC for review. The content for the report will be defined in detail within the original management and monitoring plan.
The FCC will review monitoring plans submitted by Scholars no less than annually. If additional information is required, or actions required by the plan were not completed, Scholars will be given a reasonable amount of time to correct the submission. The FCC or other appropriate University officials may request an interview with Scholars, students, or staff as part of their review.
Scholars who receive sponsored research funds must complete training in management of COi at least once every four years, or when either of the following circumstances apply: 1) institutional policies are revised; or 2) Scholars are found to be out of compliance with this policy. Additionally, new Scholars must be trained prior to submitting or being awarded sponsored research. This training will provide information that helps Scholars identify and proactively manage potential COis.
Federal regulations pertaining to COi extend to subgrantees and/or subcontractors (including commercial entities). Accordingly, Rice will require appropriate certification from subrecipients both at the time of proposal submission and award acceptance. The written agreement terms between institutional partners shall establish which institution's COi policy applies. See University Policy No. 307 on subawards and subcontracts.
Outside professional activities are an important and valued part of academic life. Engagement with the community outside of Rice can improve both teaching and scholarship, facilitate the transfer of knowledge to society, and turn research into commercial ventures. Such opportunities also create the potential for a conflict of commitment between outside interests and commitments and responsibilities to the University. Even the appearance of a conflict can be harmful to both the faculty member and the University.
Full.time Rice University faculty members owe their primary professional allegiance to Rice University. Their primary commitment of time and energy is to the teaching, scholarship, and service missions of Rice University. These responsibilities differ across schools and departments, but should be based on a general understanding between the school dean or department chair and the faculty member. A conflict of commitment arises when faculty members undertake external commitments that burden or interfere with their primary commitment to Rice University.
Specific standards for defining such conflicts are not feasible, and faculty with any question about conflicts of commitment should consult with their dean as soon as they arise. As a general rule, a conflict of commitment exists if full-time faculty members spend more than one day a week on average on outside activities such as consulting, public service, or pro bona work on behalf of any outside organization. Any paid activity that crosses this threshold must be disclosed. Participation in outside activities beyond this level must enhance the professional development of faculty members (e.g:?? serving on an editorial board and advisory panels, performing, attending conferences) and enhance the public recognition and prestige of the University. However, when these professional duties involve a particularly heavy commitment of time, faculty members should consult with their dean.
Travel to professional meetings and conferences are desirable but must not conflict with the primary duties of the faculty member at the University. See University Policy #806-93.
Significant public service may contribute to the recognition and prestige of Rice University. In cases of extensive service (e.g., a lectureship, Governmental policy committee work, service to a professional society, running for public office), department chairs and deans must be notified and appropriate arrangements made.
For faculty receiving full-time grant and contract support any time during the year including the summer, the equivalent of one day per week on average for outside activities remains acceptable unless prohibited by the terms of the sponsor's agreement. If questions arise about what is permitted by a particular grant or contract, clarification may be obtained by consulting with the Director of the Office of Sponsored Research.
Any significant appointment, position, or engagement with another university or educational organization, including digital education, whether degree or non-degree granting, must be disclosed and approved in writing in advance by the faculty member's dean.
Faculty members who cannot satisfactorily discharge their obligations to the University as a result of their outside activities should consider a part-time appointment or a leave without pay.
Disclosure: Faculty must disclose any outside activity that is, or may be perceived to be, a conflict of commitment to their dean. Faculty members should work with their dean and department chair to mari"age conflicts of commitment. If potential or real conflicts cannot be resolved by the dean, the matter will be referred for review to the Provost, who has final authority.
Any Scholar who does not submit his or her required annual COi disclosure, complete mandatory training requirements, provide the necessary pre- and post-award disclosures in a timely way, respond to repeated University requests for compliance, or comply with an existing management plan will have his or her ability to apply for or expend any sponsored research funds suspended until such time as the FCC.determines that the conflict has either deemed to be sufficiently managed or has been eliminated.
In accordance with University Policy 201, noncompliance with any element of this policy may also subject the Faculty Member to disciplinary action. Grievance processes will also follow those laid out in the procedures established pursuant to Policy 201. Non-faculty Scholars who are not in compliance are subject to University Policy 411 and 424.
If the failure of a Scholar to comply with this policy may adversely affected sponsored research conducted by that individual, the University will promptly notify the sponsoring agency of the corrective action taken or to be taken.
Any individual at the University participating in the review and management of COis or COCs must take reasonable steps to ensure the confidentiality of the information. Information relating to COi disclosures and management plans may be shared with those whom the University believes have a legitimate interest in having access to such information, including, but not limited to, the divisional deans' offices, the FCC, and those involved in implementing and monitoring a management plan.
Some federal regulations pertaining to financial COis and objectivity in research may require a retrospective review of Outside Interests and Activities in the event of noncompliance. Some agencies may also require the publication of identified COis on University websites. The University will provide information required by federal agencies within stipulated timeframes and retain all relevant documents relevant to conflicts and their management. If the dean's office or the ORC is made aware of a potential conflict, the University will ensure that the identity of the individual or entity bringing forth the concern will be protected.
The first obligation of Scholars is to the academic mission of the University. They must be cognizant that publication of research results and the education of students are key values of the University; however, through consulting or other Outside Activities, Scholars may have access to proprietary or confidential information. Scholars should avoid situations in which access to such restricted information could impair their ability to fully participate in the free discourse of scholarship so vital to the University. In other cases, sponsored research agreements from for-profit entities may require non-disc'losure agreements that can limit the free flow of information. Scholars are responsible for ensuring that such agreements do not fundamentally conflict with either their Institutional Responsibilities or the education of Investigators or students.
Only in special cases may University equipment or facilities (other than the Library) be used for services to Outside Entities, including organizations controlled by Scholars, and then only with the prior written approval of the department chair, divisional dean, or applicable vice president. De minimus use of University-owned computers authorized for home use is appropriate without written approval. The Office of Sponsored Research should be contacted in cases where the equipment to be used has been purchased with federal funds. Individuals should also consult University policy No. 831-96 on personal use of University property.
The simple identification of the University as the employer of a Scholar is appropriate. However, any person or any organization must not use the name of Rice University for advertising purposes or endorsement of products or services. The Vice President for Public Affairs must be consulted concerning the proposed use of the name of Rice University in commercial matters or other situations where University endorsement is implied.
Rice University Policy No. 201, Faculty Appointments, Promotions, and Tenure
Rice University Policy No. 307, Issuing and Monitoring Subawards and Subcontracts
Rice University Policy No. 327, Research Faculty
Rice University Policy No. 411; Discipline
Rice University Policy No. 832, Conflict of Interest
Rice University Policy No. 831-96, Personal Use of University Property
The Responsible Officer for this policy is the Vice Provost for Research. Questions regarding the interpretation or implementation of this policy should be directed to the Office of Research.
216-97: September 3, 1997
332-96: January 9, 1996
David W. Leebron, President
August 22, 2012
September 10, 2013


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The event is free and open to all, and it will begin at 7:30 a.m. on Wednesday, May 8, at Summit Rock in Central Park, which is just off Central Park West and 83rd Street. You can reach Summit Rock by entering the park off of either West 81st or West 85th Street. This map shows you where it is.
Lenore Swenson wants to set aside some time at the beginning for people who want to share their thoughts about Starr. There are benches ringing the area so those who want to sit can do so. The trees here have often provided spectacular displays of warblers, as Starr's walks observed, so we hope that we will be treated to some pretty sights and sounds.
After discussion, Lenore will lead a birding walk through the Ramble, just as she and Starr did for over twenty years.
In case of rain, the alternate date for this event is Friday, May 10.

subset: commoncrawl


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Primitive Christianity Revived, Again
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Learning and fun continue beyond the school day.
Our on-site after school programs offer the convenience of a wide variety of specialized enrichment activities right here on campus. Visit the front office or call 425-488-8000 for more information. Enrichment Catalogs will be distributed to families per quarter. Enrichment classes are 8 weeks in length.
Activities are designed to be both fun and educational. Classes vary throughout the year and may include:
- Athletics such as soccer, basketball, yoga
- STEM activities such as LEGO animation, engineering
- Other popular interests such as drama, culinary creations, chess, gardening and many more
- Annual after school Mandarin Class


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New York, Jun 19, 2006
Completion of the 2006 Compliance Form and submittal of it to the PSA department is due on or before August 1, 2006.
Final Call for 2005 Annual Reports
A final call has been issued to ANSI-Accredited U.S. TAGs to ISO for submittal of the requisite 2005 TAG Annual Report. TAG Administrators are reminded that as per section 18.104.22.168 of the ANSI International Procedures, an annual report for each U.S. TAG (and any separately accredited sub-committee or working group) is to be submitted to ANSI no later than January 31 of each year. This Annual Report is a requirement of accreditation by ANSI and is to contain the following:
The following documents are available in the ANSI Online Public Document Library (scroll down to "Procedures, Guides and Forms", and click on "ISO Standards Programs"):
Questions, ideas or recommendations, as well as completed Compliance Forms and Annual Reports may be directed to firstname.lastname@example.com.


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Dont' see your trademark and copyright law question answered here? Contact Evoke Law and we will answer it!
Guest Blog: Protecting Cannabis Strains with Plant PatentsIn this post, guest author Jeremy Kapteyn, Ph.D., from Rose Law Group, discusses using plant patents to protect new & distinct strains. Evoke Law has also written about protecting strains: "Branding a Cannabis Strain: Don't Reinvent the Wheel" in mg Magazine's April/May 2018 special branding issue. Cannabis breeders, cultivators and others developing cannabis genetic resources are almost invariably surprised... read more
Branding a Cannabis Strain: Don't Reinvent the WheelOriginally published in the April/May 2018 edition of mg Magazine. Before you name a strain, you need to know the strain name and the brand name are not the same. A brand name or trademark does not communicate "what" the product is, but rather "who" is providing it, meaning, a trademark doesn't tell you about a product, but instead... read more
Common Trademark RefusalsWhile there are many reasons why applications may be refused for registration by the United States Patent and Trademark Office (USPTO), below is a summary of the most common issues raised by the Office: Identification of Goods/Services The most common rejection arises from the language used to describe an applicant's goods and services. The USPTO requires a certain level... read more
Registering a "DBA" in CaliforniaConsider that when your company is conducting business under a name that is different from the entity name registered with the Secretary of State, this name is considered your "doing business as" name, or "DBA." Because selecting a strong brand name takes time and effort, businesses may choose to form its formal business entity under one name, but ultimately... read more
Guest Blog: Opportunities in Canada: Intellectual Property ProtectionsBy: Christopher N. Hunter, Partner, Norton Rose Fulbright & Fahad Diwan, Articling Student, Norton Rose Fulbright The expected legalization of cannabis in Canada this summer presents unique opportunities for cannabis companies from Canada, the United States and abroad. Most importantly, cannabis companies can register trademarks in Canada that are expressly associated with cannabis. The Canadian Intellectual Property Office (CIPO), the... read more
Importance of Trademark Clearance"Trademark clearance" is a process that identifies whether others are already using an identical or confusingly similar mark in connection with the same or related goods or services, and assesses the level of risk associated with use, registration, and enforcement of a mark. Comprehensive clearance is not as simple as searching for an identical mark on the United States... read more
Guest Blog: Insurance Challenges for Cannabis BusinessesAs the cannabis industry grows and business challenges proliferate, there are a variety of legal issues that are increasingly of interest to cannabis operators. Evoke Law specializes in trademark protection and brand licensing for the cannabis industry, and also offers a wide range of consumer protection legal services, including packaging and labeling compliance, recall plans, and counseling to avoid... read more
Brand ValuationAt its essence, a brand is what makes your company your company and includes the quality, functionality, pricing, and packaging, of your products and services, trademarks, logos, slogans, color schemes, as well as all associated communications, such as advertising, marketing, promotion, and your website. Properly cultivated, your brand is an intangible asset with tremendous value, based on established goodwill... read more
California Trademarks Division Accepting Applications for Cannabis Goods & ServicesIt was initially announced that licensed California cannabis companies may file service mark applications to register marks for licensed cannabis-related services beginning January 1, 2018. But, in an unexpected shift in position, this changed on January 12. As of January 12, 2018, the California Secretary of State's Office now accepts trademark applications for cannabis products (in addition to service mark applications). A state... read more
Product Recall Plans for California Cannabis ManufacturersCannabis products are certainly not immune from a recall, as we have already seen in Colorado, Oregon, and Washington. In most industries, state and/or federal law dictate product recall protocol. Since cannabis remains federally unlawful, neither the Food and Drug Administration or other federal agency has regulations specifically concerning cannabis recalls. For California manufacturers, the California Department of Health's... read more
California Emergency Cannabis RegulationsWhat's New? The California Bureau of Cannabis Control (BCC) along with the Departments of Public Health and Food & Agriculture issued emergency regulations to fully implement the Medicinal and Adult-Use Cannabis Regulation and Safety Act (MAUCRSA) and provide guidance for California cannabis businesses heading into 2018. We have focused on the select regulations to generally determine how cannabis businesses... read more
Global Cannabis MarketplaceThe United States is viewed as the land of opportunity, prosperity, and innovation. Americans take pride in the country's historically progressive policies and contributions to advancements in medicine, technology, and science. However, when it comes to cannabis, the U.S. federal government is lagging behind the international marketplace. Over the past decade, individual states have made great progress in creating... read more
How to Deal with a Cease & Desist LetterReceiving a cease and desist letter can evoke a flurry of emotions. Fear of litigation, defensiveness of your brand, concern for the future of your business, etc. But, taking a step back, it is important to understand what a cease and desist letter is, how it is used as a strategic enforcement tool, and what you should do if... read more
The Claim Game: FDA Monitoring & Challenging Health Claims for Cannabis ProductsThere is increasing recognition of the healing potential of cannabis. Even the FDA has approved two synthetic marijuana-based medicines for treatment of nausea in chemotherapy patients and to increase appetite in AIDS patients suffering extreme weight loss. However, since the FDA's approval of new drugs relies on testing and clinical trials, the status of cannabis as a Schedule I... read more
Protecting Your Trade SecretsBy definition, a trade secret can be almost anything that has economic value and provides a competitive advantage. A well-known example of a well-kept trade secret is the Coca-Cola formula. Since 1891, founder Asa Candler maintained strict policies to keep and protect the formula from the public. Each state has its own laws for protecting trade secrets, but all... read more
Is CBD Federally Legal?Cannabidiol (CBD) is one of the primary cannabinoids naturally occurring in plants with the genus Cannabis sativa L. CBD is non-intoxicating and often used in products to combat pain, inflammation, and anxiety. Sales of products containing cannibidiol (CBD) continue to increase as consumers begin to recognize the health benefits CBD affords. While most cannabis products are sold through highly... read more
Summary of Pending California Cannabis LegislationAs the California state legislature is back from summer recess, it is an apt opportunity to provide an overview of the pending legislation relating to cannabis trademarks, advertisement, packaging, and labeling. Unsurprisingly, child protection from cannabis products is one of the major drivers in these proposed bills. Additionally, the legislature's regulations are designed to promote consumer safety and prevent... read more
Proposed California Bill to Ban Cannabis-Branded Merchandise Under SB 162 (Update)Updated to reflect the Assembly amendments made on July 20, 2017. (Revisions to this previously posted article are in bold or in red.) On June 27, California Governor Jerry Brown signed SB 94 into law effectively repealing MCRSA and AUMA, combining regulations governing medical and adult-use cannabis under the Medical and Adult-Use Cannabis Regulation Safety Act (MAUCRSA)—that's a mouthful.... read more
Famous Trademarks & Cannabis BrandingBy definition, trademark infringement is the unauthorized use of a mark on goods or services in a manner that is likely to cause confusion, deception, or mistake as to the source of the products. However, all trademarks are not created equal and stronger marks enjoy a broader scope of protection. In fact, trademark owners of U.S. registrations for strong... read more
Copyright v. Trademark Protection for LogosCopyright protection may provide an alternate path to protecting a logo or design mark. Unlike trademark law, copyright law does not extend to protection to a word or phrase, such as a business name, but rather, it covers original works of art, including logos, infographics, and designs. In order to qualify for copyright protection, a work must meet three... read more
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Tell us a bit about the artist behind your beautiful creations.
With such a tortuous route to what I am doing now, this is a tall order! I am sure it will be no surprise to anyone over 40 that when we look at our full CVs they often bear little relation to what we end up doing. I look at mine and wonder why I took so long to travel in several unrelated yet intertwined circles!
You could look at bilingual secretarial training leading to publishing, PR and years running a medical practice for consultants in Surrey. But interwoven into this are time at art college leading to fabric and fashion design and a job in Finland, then round again to the delight of working with textiles, willow and plaster!
I am lucky that apart from odd glitches and occasional personality clashes, I can honestly say that I have enjoyed every one of the fifty-odd years I have been working, whatever I was doing at the time!
Have you always been creative or did your talent evolve over time?
My mother taught me to make what we called pinwheel lace when I was a child, and I always helped her make my dresses (party dresses being the best, of course!)
Growing up in Africa, I had a wonderful opportunity to appreciate all sorts of craft from ceramic beads to rush basketwork, metal work and fabric printing. So I guess it's 'in the blood'!
While working with textiles has been ongoing, it took until 2009 to discover feltmaking, and quite a lot longer to find a way of making my ideas for plaster casts work, via some very helpful YouTube videos and generous teachers.
What is it that you enjoy most about your work?
Coming up with the ideas – that's the bit I like the best. I can never understand people who ask 'what do you do if you run out of ideas?' I have more ideas than time to try them.
I don't think in 2D, so can't draw my ideas out. I do envy the people I meet who have bulging artbooks with notes and drawings interspersed with snippets of fabric and paint samples.
Each time I have an idea I have to try it out in a 3D format. Not everything works, but when it does, the excitement beats even the biggest bar of chocolate. You should see the archive boxes I have of failed experiments! Nothing gets thrown away, though, as with felt you can always reuse bits and incorporate them into other work.
Have you achieved anything in your crafting life that you are particularly proud of?
It sort of depends on where my 'crafting life' starts. I set up a magazine for mums to find useful information when my oldest son was a baby.
I sold it ten years later and remember being asked back for its 15th, then it's 20th anniversary parties. Now, with its third owners it is still going strong some 30+years later!
I'm pretty proud of being chosen as Surrey Guild of Craftsmen's Chair after just three years of membership, but do remind myself that maybe everyone was quietly saying 'Phew, got out of that job'. We'll soon find out. I have to find someone to take the job on next April as I will have been in the post for four years by then!
Other than crafting what else do you like to do?
I am boringly predictable. I like all the things that most people have on their CVs – eating out, photography, walking, travel, reading!
But with so many different craft interests, I usually find something creative to try – from copper foiling glass to weaving willow or cord baskets. I go round big craft shows with so many enthusiasms I really have to keep my hands in my pockets. My work-room is pretty much a storage cupboard for all the fabrics, wools and gadgets I have gathered over the years!
If you had to choose your favourite from your creations, which would it be?
A bee skep I made for an exhibition. This is a 'coiled fabric basket' but upside down – I call it a key-safe. It's made with totally recycled fabrics, even the bees were my son's outgrown corduroy trousers! I used to be a beekeeper, but had to give up when I discovered I was allergic to their stings, so I cherish it as a reminder of my beekeeping years.
What advice would you offer to someone new starting out in the craft world?
- Do be sure you really love what you do.
- Be original.
- Find your own niche – don't just make something because you think it will sell, make because you love it.
- Don't expect to make money instantly.
Not necessarily in that order!
If you could change one thing about what you do, what would it be?
I wish I had started on this path sooner.
If I could stretch the hours to fit in more, I would. I do have a 'day job' as well so time is always tight, but conversely I think if I were free to just create stuff all day every day, it might take the joy out of the hours I can dedicate to pleasing myself!
What do you think has helped your business the most?
Flexibility and being willing to give something a go even if I am not sure it will work.
My new business Well Urned Rest is one such gamble. As well as my own work, I also am actively looking for people who make lovely things that I can add to the website as memories to cherish, so I hope this will grow too as it encompasses other creative souls.
Has any person helped or supported you more than any other?
My husband. I know that sounds a bit twee, but while he jokes about what I do, he has never begrudged me the time or money to attend workshops, cover the house in equipment and materials or fill it with people learning from me, because as well as learning from others myself, I do try to pass on my passions and so I teach regularly!
Tell us a random fact about yourself.
I still can't swim!


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Murder On The Orient Express Review
For someone who had loved reading Agatha Christie's acclaimed novel – The Murder on The Orient Express, watching the characters come to life in a movie was a dream come true. We obviously expected a great deal from a movie based on the best-selling novel. The problem with making a movie based on a whodunit novel is that some people already know the entire plot. We ensured that we do not read up on the novel again, as to have no recollection of the novel & to judge the movie solely on its merit.
We had to catch the 10.45PM show. Due to the movie being in its second week since release. There were three shows per day. The movie had to better be good to compensate for us staying up & travelling late.
Kenneth Branagh stars as Agatha Christie's legendary Belgian detective – Hercule Poirot.
He also dons the director's hat for the movie. The movie boasts of an ensemble cast which includes Johnny Depp, Penelope Cruz, Judi Dench, Michelle Pfeiffer & William Dafoe among others.
The movie starts off with a Hercule Poirot prequel in 1934 Jerusalem. We are then transported to Istanbul, Turkey from where the famed Orient Express is scheduled to depart. We are then introduced to all the co-passengers (most of whom can shoulder a movie all by themselves). A day post departure, one of the characters is murdered & the trains get derailed due to a snowstorm. It is now up to Hercule Poirot to solve the mystery before the train is pulled to safety & the police arrives. The stage is set for a grand & engaging whodunit. The movie takes its time to get to the central plot, but once it does there never a dull moment.
The post interval part will keep you guessing about the culprit. There are several characters with a motive to kill the victim, but who killed him is a question you will be left grappling with. Within the last ten minutes of the movie the killer is revealed. Only those who have read the novel, could have guessed it right.
Kenneth Branagh has largely done character roles in the past & that bodes well for the movie. There is no baggage of previous roles. He carries out both his responsibilities – acting & directing very well. He gets into the skin of his character. He embodies all the eccentricities & mannerisms including the French accent of the legendary detective. Not for once will be able to detect his British descent. Post viewing the movie, Kenneth Branagh's face will pop up in your head every time Poirot is mentioned. We loved the cinematography by Haris Zambarloukos. The movie is a visual treat. The Orient Express is the train version of The Titanic. The train looks luxurious.
Trivia: It is one of the few movies to be shot on 65mm film since the 1970's
The only issue we had with the movie is its ensemble cast. There are some amazing actors in the movie. You can't help but feel let down by how their talent has been unutilized. All the actors barring Branagh barely have a few scenes to display their histrionics on screen. The director could have just as well cast lesser known faces for these roles. Johnny Depp barely has 5-6 scenes in the movie & is not playing the lead as one might expect. What is an A-lister like him doing in a movie not revolving around him?
But barring this once hiccup, the movie is an absolute delight. It keeps you at the edge of your seats. You will definitely not repent watching it. We suggest you watch it soon!
Our Rating: ****/5 stars


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Show me your six and seven gill shark teeth
Woopaul5 posted a topic in Member CollectionsSince my first time finding one I have been obsessed with cowshark teeth. I'll share some of my collection and please share me what you have. Thanks! Notorynchus Cepedianus, Calvert fm Hexanchus sp, from Chile Notorynchus Kempi, Kazakhstan Notorynchus Colonsii, Muddy Creek, VA


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European Commissioner for Health and Food Safety Andriukaitis Takes Part in Discussion onFood Quality
Sofia, March 8 (BTA) - European Commissioner for Health and Food Safety Vytenis Andriukaitis and parliamentary Agriculture and Food Committee Chairperson Dessislava Taneva Thursday took part in a civil dialogue on food quality Thursday. Andriukaitis said that EU Member States set aside less than three per cent of their healthcare budgets for preventive care, and urged for understanding at the political level for changing this "dramatic trend".
The guest recalled that 25 per cent of the EU children are overweight or obese, due to the sugar in foods. Andriukaitis advised that school menus include honey and not sugar.
Taneva said that the debate on healthy foods should be free from populism. She spoke about the double standard of same brand foods sold on different markets, saying that the EU regulation should be changed to abolish this and have same brand good with the same quality, irrespective of the market on which they are sold. "Consumers should not be misled," she said.


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Invitation(Detail Program Download)
We are happy to announce 2020 3rd International Conference on Communication Engineering and Technology (ICCET) will be held on April 15-18, 2020 in AUT, Auckland, New Zealand. It is our privilege and pleasure to invite you to the conference. It aims to be an excellent setting to discuss the current progress in Communication Engineering and Technology related fields, the development based upon new concepts, and the advances in modern Communication Engineering and Technology, especially Advance on Emerging Networking Technology and other related fields. It provides a platform for scholars, scientists, engineers and students from universities and industry all over the world to present ongoing research activities, and hence to foster further research relationships between universities and industry.
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Tag Archives: Twitpic
View from the press box at George M. Steinbrenner Field on Twitpic
Not a good day for the Yankees
Yesterday (Saturday, as they kept saying in the paper, except it was that day which always confuses me) was Francisco Cervelli's birthday, he celebrated by getting beaned. I don't think he planned that. Kind of like when you go out to celebrate at a restaurant and end up getting sick from something you ate. You could say you celebrated by puking, but that is not what you planned.
He came back from the hospital before the end of the game saying he is fine, cat scan showed no bleeding, as Girardi says, 'You don't want to mess around with a concussion'. That's not exactly what he said so it's not really a quote, more of a paraphrase. He got a concussion last November, so he really needs to be careful. Good thing he was wearing his helmet.
The Yankees got creamed by the Blue Jays, some of you may not like that word, but that is exactly what happened. Nick Swisher tweeted late yesterday asking, What do you do today? I almost replied, watched you get your asses handed to you by the Jays. Except I didn't watch it, just kept track on the computer.
Today they go to Ft. Myers to play the Twins.
~~and that's all she wrote~~
Spring Training
I have not been able to watch any of the Spring Training games since I have to work and my boss won't let me watch MLB on my work computer. He is such a pain! I have been keeping track of the games though.
There are three ways I do this, one is through Twitter. I follow Mark Feinsand, he covers the Yankees for the NY Daily News. His twitter id is BloggingBombers. I also follow Marc Carig who provides real-time coverage of the New York Yankees for The Star-Ledger and NJ.com and his twitter id is Ledger_Yankees. And last but not least I Bryan Hoch, BryanHoch who is an MLB.com beat writer, there is a link to his blog in my sidebar, go check it out. I have his tweets sent to my phone. Now in case these guys stop tweeting (which has happened) my second way to keep track is through Mobile MLB.
Since that really wears down my battery, I have started taking my power cord to work, and when I get my smart phone in April, it will be so much better. Of course then it will be regular season and I will be watching in the evening, I think most of the games are in the evening, I haven't really checked. Right now trying to get through Spring Training.
The third way is through my subscription to Yankee Text Alerts. They send me text messages on important plays and the final score. During regular season I get the score every 3 innings.
So that is how I am getting my Yankee fix right now.
Bryan Hoch also post pictures on Twitpic, that is where I got this picture.
~~and that's all she wrote~~


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Stephane Wrembel and Water is Life Records presents: Django a Gogo 2019
04/26: The Krief Brothers
An Extraordinary Level of Virtuosity
Info and tickets: https://www.mt.cm/django-gogo-2019-music-festival-and-camp
Featuring: Lior Krief, Ezeckiel Krief, Josh Kaye, Nick Driscoll and Julian Smith. Special guests: Stephane Wrembel, Serge Krief, and more
Sons of the master, Serge Krief, Lior and Ezeckiel have reached an incredible level of mastery, and are considered to be among the greatest guitar virtuosos on the planet. At such young ages, their talent is difficult to comprehend. For those of you who attended Django a Gogo 2018, you might have witnessed the musical power of Lior, who was only 19 years old!
Phone: 908 273-5252
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Calendar of Events
See What's Happening Nearby
Sunday, November 11, 2018 November 11, 2018 InterContinental Minneapolis
This November, platinum-selling and Grammy-winning rapper and R&B artist, Drake will take to the Xcel Energy Center stage. He will be joined by the chart-topping rap group, Migos. Hear smash hits like "In My Feelings," "God's Plan," and more.
Date: November 11, 2018
Time: 7pm
Location: Xcel Energy Center


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|About this Recording
8.223883-84 - PACINI: Saffo
Giovanni Pacini (1796–1867)
By early 1835 Giovanni Pacini had written almost fifty operas during the course of a career launched in 1813. He was tired and he was discouraged. Not only had his earlier works been overshadowed by the force of Rossini's musical personality, but even after the departure of the Pesarese from Italy in 1823, Pacini's star did not shine brighter. In his fascinating Memoirs, the composer examined these years and acknowledged his own limitations. Though the first performances of his Irene, o L' Assedio di Messina (Naples, Teatro San Carlo, 30th November 1833) were largely rescued by the singers, Pacini knew the creative vein he had been mining was empty. Maturing under the spell of Rossini, he had not yet shown himself to be more than an able follower: "I began to realise that I should withdraw from the field - Bellini, the divine Bellini, and Donizetti had surpassed me".
He tried his hand once again during the carnival season of 1835, writing Carlo di Borgogna for the Teatro La Fenice but it was a dismal failure. Pacini's judgments about his operas through 1835 are harsh, even unduly so: "I gave little though to honour myself and my art as I should have… They called me Maestro delle cabalette because my cabalettas generally had the virtue of spontaneity, elegance, and form. Everyone believed it cost me little to find a melodic thought of some novelty, since, it was said, that was a matter of innate talent and nothing else".
Though Pacini insisted he worked hard even on cabaletta tunes, always seeking to fashion them in ways different from his contemporaries, he admitted that his music had defects: "My instrumentation was never careful enough, and it was sometimes beautiful or brilliant, this resulted not from reflection but rather from that natural taste God granted me. I frequently slighted the string section, nor did I take pains about the effects that might be drawn from other instrumental families."
He concentrated too much energy on suiting his vocal lines to the needs of individual singers, and though he loved his art, his rivals were ever more admired and his own work thought to be increasingly old-fashioned.
Thus, Pacini decided to abandon the stage. He retired to Viareggio, where he founded and directed a music school, organised a band and small orchestra for his fellow townsmen, and built a theatre for his students. In 1837 he was appointed head of the ducal chapel in nearby Lucca and turned his attention increasingly to sacred music. These years away from the theatre were ones of reflection and personal growth. When Pacini decided to accept a commission from the Roman impresario Vincenzo Jacovacci for a new opera to open the carnival season of 1839-40 at the Teatro Apollo, he was determined to strike out on a new path:
This statement and similar ones Pacini made about Saffo suggest impatience with the artificiality of Italian operatic melody. The desire to revitalise art through new sources in folk or traditional music was common to much European musical thought in the mid-nineteenth century.
Of his opera for Rome, Furio Camillo, to a libretto by the congenial Roman librettist and literary figure Jacopo Ferretti, Pacini wrote only: "The experiment with Furio Camillo was not a complete success, but I felt that I had made progress. Its reception did not correspond to my hopes, but was not entirely unhappy; indeed, several pieces were enormously effective".
In June 1840 Pacini, at home in Lucca, received an offer from the Teatro San Carlo of Naples to write a new opera to a text by Salvatore Cammarano. Saffo was to be the first of five collaborations between them. Cammarano sent the poetry of the first act together with an outline of the whole, and Pacini set to work at once. His description of his preparations for the composition of Saffo are fascinating:
"Reading and re-reading the story of that people, which opened a path to all human understanding, and seeking to discover what music was used by that heroic nation, whose sons included Euripedes, Sophocles, Aeschylus, Aristoxenus, Homer, Tyrtaeus, and Aristides (who in his Trattato musicale gives a precise idea of the principles that governed music in those times, and particularly speaks of rhythm), I learned that the Greeks attributed a more ample meaning to the word music, consisting not only of the art which excites various sentiments through sound, but also poetry, aesthetics, rhetoric, philosophy, and that science the Romans called politior humanitas. Giving heed to the modes they (the Greeks) employed, Doric, Ionic, Phrygian, Aeolian, Lydian, and of their related forms, Hypodoric, Hyperdoric, etc., I gained an understanding of their system. Keeping always before me what Aristides said about the qualities of the three genera, Diatonic, Chromatic, and Enharmonic (the first noble and austere, the second very sweet and plaintive, the third both gentle and exciting), I attempted, as I said, to approximate their art of melody. I set to work with a joy that I cannot explain…" Pacini completed two numbers, but gradually lost courage for the project.
He arrived in Naples in early September with the intention of asking Cammarano for a new libretto. The librettist asked to hear the numbers already set, and Pacini sat down at the piano and sang them through:
Pacini did continue, and Saffo had its premiere at the Teatro San Carlo on 29th November 1840. It was an outstanding success, judged universally to be Pacini's masterpiece: "In the autumn of 1840 I was therefore baptised by public opinion no longer as the composer of facile cabalettas, but rather of elaborated works and carefully meditated compositions". He claimed to have composed Saffo in twenty-eight days and created (by which he surely meant "sketched") the final scene in only two hours. But Saffo had been in his thoughts since June and had benefited both from the preceding years of reflection and from Pacini's efforts to find a characteristic colour for this setting of a Greek legend. It would be fascinating to analyse Saffo with Pacini's statement about its creation in mind. Pacini's own description of the opera suggest its original divisions were as follows:
Act I
Act II
Act III
It is worth stopping over this scheme to recognise the extent to which Saffo is constructed of remarkably extended musical numbers. There are only three solo compositions in the opera, for Climene, Faone, and Saffo, all with either chorus or pertichini or both. The first two are arias in traditional designs, although both are marvellously rendered. Notice the syncopated theme of Climene's Cavatina; the sumptuous clarinet solo that opens Faone's Scena; the lovely canonic writing in its primo tempo; and Faone's cabaletta, worthy of the "maestro delle cabalette", in which Pacini sends his tenor, Gaetano Fraschini, hurtling up to a high D-flat, then stratospherically and a al Rubini to a high E-flat.
Saffo's final scene is a worthy heir to the final scene of Anna Bolena. The heroine is about to take the fatal leap from the rock of Leucade so as to put behind her earthly passion. Throughout the recitative, Pacini recalls other tunes and designs from earlier in the opera. The reappearance of Climene and Alcandro drives Saffo into madness, and she imagines herself singing in honour of Climene's wedding, as she had promised to do. Saffo's beautiful melody (accompanied by harp and winds alone) gives way to an expansive, passionate outburst ("addio; ti lascio in terra"), a melodic topos Pacini associated with Saffo elsewhere in the opera. A less original but appropriately designed cabaletta concludes the finale, with a startling cadential progression marking her leap to death and bringing down the curtain.
The greatest achievements of Pacini's score, though, lie in the ensembles, particularly the glorious finale of the second act. To do justice to the sources of Verdi's style, one must recognise that his great Largo movements owe a more direct debt to the second-act finale of Saffo than to either Bellini or Donizetti. The strength of this music, its passion and scope, the interaction of an introductory solo and an ensemble, the building of enormous musical climaxes, all elements we hold to be typical of the great early Verdian Largos, are present here in ample measure. Nor does the tension dissipate in the final stretta, with its wonderful reprise of the opening melody transposed up a third at first (from B-flat major to D-flat major) and assigned to the full ensemble instead of to Saffo alone.
Pacini sought to create a more continuous drama in much of the work, and the extent to which he gives lyrical expression to scenes of dialogue is remarkable. A scene that will repay close study from this perspective is the opening of the final act, where Saffo asks permission to take the leap of Leucade. Only after she has sworn to throw herself into the sea is her identity as the daughter of Alcandro and sister of Climene revealed, leading to another beautiful ensemble, "Al seno mi stringi". But it is Pacini's handling of the dialogue that is particularly noteworthy: he tries, usually with great success, to lend lyrical and dramatic force to each expression. In this he is greatly aided by Cammarano's libretto, long held to be the poet's finest achievement.
Philip Gossett
Six hundred years before the reign of the Roman Emperor Augustus a young lyric poetess lived in Greece: she was not strikingly beautiful but was gifted with an ardent and enthusiastic heart. Her name was Sappho, and she has become as famous for her poetry as for her misfortunes. Rejected by Phaon, a handsome youth of Mytilene whom she loved, she sought a remedy for her violent passion by throwing herself from the celebrated promontory of Leucas into the Aegean Sea: according to the myth. Apollo would heal survivors of the leap from their sorrow by erasing all memories of their unrequited love. Sappho however, did not survive: she met death in the raging waves instead of the cure she had hoped for. In the ages which have elapsed since her death, the most interesting details of Sappho's life has been lost: even her father's name is unknown. All we know is that at the early age of six the poetess was left an orphan by the death of her mother Cleida. Sappho, according to history, was very short and slight. She had married a man called Cercylas, but had soon afterwards been left a widow, whereupon she fell violently in love with Phaon: this was the hopeless passion which caused her death. In spite of the obscurity of her life (which is at best a mixture of fact and fable) her name has been preserved through the ages and the memory of her poetic genius will never be effaced.
These gaps in her history have perhaps encouraged the vivid imagination of Salvatore Cammarano, the Italian poet who, to fill up the void left by historians, wrote a libretto for Pacini which creates a romantic and fanciful plot full of brilliant theatrical situations; although somewhat violent it maintains a tender love interest throughout.
Act I
Act II
Three months later, in Alcandro's apartments beside the Temple of Apollo in Leucadia. Climene is surrounded by Dirce and the rest of her handmaidens, who are attiring her for her approaching wedding. Saffo introduces herself to Alcandro's daughter, to whom she is unknown, imploring Climene's protection and asking her to intercede with her father to allow Saffo to present offerings to Apollo to appease the god's wrath. Apollo's anger has been excited by the contempt Saffo had shown for his worship during the Olympic Games. Climene receives her with love and kindness and offers her friendship, as pure as that which she had felt for her idolised sister whose tragic loss she is still mourning:
The vessel's brow was turned
Saffo then tells Climene that she too had been the victim of a dreadful fate: for three whole months she vainly searched the shores of Greece, seeking a faithless lover. Climene's pity is like balm to Saffo's wounded heart, and the two young women remain for some time in each other's arms embracing with great feeling. Then Climene suggests that on such a happy day a request from her would certainly be well received: her marriage is about to take place in a few moments. Saffo is overjoyed, and offers to celebrate the nuptials with some verses of her own composition. She feels, however, that she should not attend the ceremony wearing such travel-stained clothing. But Climene instantly gives orders for Saffo to be dressed in her own best garments, and then herself proceeds to the ceremony where she is awaited.
As soon as Saffo presents herself at the wedding ceremony, crowned with laurel and in magnificent attire, what is her astonishment at finding that her former lover, Faone, is the bridegroom! She breaks out into shrieks of wild despair, and reminds him pitifully of his erstwhile love and vows. Climene's father, Alcandro the High Priest, although feeling with strange disquiet that his vengeance is not as sweet as he had thought, orders her to withdraw from the temple. But when she utterly refuses to leave without her lover Faone, Alcandro points to the two nuptial wreaths on the altar and declares:
Turn to the sacred altar and be silent.
Learning that Faone no longer belongs to her, Saffo at first remains as if thunderstruck, then rushes madly at the marriage altar and hurls it to the ground with a blasphemous gesture. All is confusion and terror: the Augurs and Priests of the Leucadian Apollo tear the poetess away and drive her with curses from the sacred precinct.
Act III
In a remote place, buffeted by roaring gusts of wind. Alcandro is presenting Saffo to Ippia and the assembled Council of Augurs. Lisimaco, an old man of Leucadia is also present. The unhappy Saffo, bowed down under the weight of divine malediction, her sensitive heart wounded by the recollection of her unhappy love, decides to prostrate herself before Apollo and beg the priests to let her make the terrifying Leucadian Leap. In this way she hopes to extinguish the fiery passion which still consumes her heart. The oracle is consulted and the answer is favourable to her request. Alcandro orders the rite to begin, and Ippia first requires the repentant Saffo to state her name, her birthplace and the name of her father. Saffo, Lesbos, Ipseus are the three answers given by Saffo. At this, Lisimaco, becoming increasingly agitated, exclaims!
More and more anxious, Alcandro presses him; was there not an amulet hanging from her neck? Lisimaco confirms that there was, adding that it was engraved with the Leucadian Apollo. Then Saffo takes from her neck the amulet which she always wears, which proves that she is Aspasia, long lostdaughter of Alcandro and sister of Climene, who is delirious with joy at the news. Alcandro's feelings about Saffo are completely reversed; now he knows her to be his daughter he longs to save her from the imminent peril to which she has condemned herself. But Ippia and the Augurs refuse to release her from the sacred oath she has sworn. Alcandro therefore asks if he can at least offer up a sacrifice, so that the Augurs can ask the god, on the victims' blood, to absolve Saffo from the oath. While the god's decision - which will be pitiless - is awaited, Faone enters, full of lamentation and remorse for having rejected that faithful and innocent soul, Saffo. At this point Ippia and the Augurs return. The offering has revealed the will of Apollo: Saffo cannot be set free from her sacred oath.
Love him as I have always loved him.
Finally, escorted by the Augurs, the poetess ascends the summit of the promontory. Her father Alcandro drops to his knees; Climene faints in the arms of Dirce; Faone tries to throw himself into the sea, but is prevented by the priests. The curtain falls.
Luigi Ferrari
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PHILADELPHIA, Pa. — Temple University film student Hansen Bursic's documentary The Toothmans has been selected to screen at Frameline42, the nation's oldest and largest LGBT film festival. The event takes place every June in San Francisco and attracts upwards of 80,000 attendees, making it the largest LGBT film festival in the world. The Toothmans centers on Cooper Toothman, a young transgender girl living in rural Pennsylvania, and her family, as they navigate the difficulties surrounding her transition and the opposition she has faced in her school district.
"This story is very timely and incredibly important in a media landscape where these stories are just not told. Too many of the already-limited trans stories focus on urban trans experiences," Bursic said. "This story provides insight into the life and experiences of a transgender person living in a rural area. From the moment I met Cooper's family their story has touched me in a way that no other film I've worked on has. I am so excited to bring this necessary and inspiring story to San Francisco and a global audience."
The Toothmans was made for the Pennsylvania Youth Congress, PA's first and only statewide LGBTQ youth organization, as part of a documentary series on rural trans youth. Bursic is PYC's Lead Media Coordinator, spearheading social media strategy and online video content. He is originally from Fox Chapel, outside Pittsburgh, and is a rising junior at Temple University in Philadelphia. Bursic will be attending Frameline along with members of the Toothman family. Bursic is among the youngest filmmakers to have their work featured in a non-youth category at the Frameline festival.
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The 42nd Frameline Festival will screen The Toothmans on Sunday, June 17th at 1:45pm at the Victoria Theater (2961 16th Street, San Francisco, CA).


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Each year I assemble my top 10 list out of the Korean films that have been released in theaters over the previous 12 months. The small independent films that I catch at the Busan or Jeonju film festivals may not be released by December, but they generally do get a small commercial release within a year or two, so I can include them in a later list.This year, however, I came across a great film that may end up not getting a commercial release, so I squeezed it in where #10 would normally go. I was racking my brain over that #10 slot anyway.
1. ""The Day He Arrives", dir, Hong Sang-soo
2. "The Journals of Musan", dir. Park Jung-bum
3. "ARIRANG - Movie", dir. Kim Ki-duk
4. ""Sunny - 2010"", dir. Kang Hyeong-cheol
5. "Come Rain Come Shine", dir. Lee Yoon-ki
6. "Animal Town", dir. Jeon Kyu-hwan
7. "Bleak Night", dir. Yoon Sung-hyun
9. "Re-encounter", dir. Min Yong-keun
+ "Out Of the Cave", dir. Ahn Kearn-Hyung
Looking over my list, I see that I've gone totally low-budget this year. If you take out ""Sunny - 2010"" and "Punch" -- which themselves are only mid-sized commercial works -- the combined production budgets of the remaining eight films probably amounts to less than So Ji-sub's acting fee for "Always". I mean that quite literally.
Hong Sang-soo has never made a bad film, but I think "The Day He Arrives" is going to remain a highlight of his filmography for me. I hear many of the director's ardent fans saying similar things. It's not that he's developed some totally new approach or anything, but this film feels like such a finely tuned expression of all that makes him interesting as a filmmaker. It's concise, gorgeously shot in black-and-white, and its mysteries beckon not as puzzles to be solved, but as patterns to be admired in themselves.
Park Jung-bum's "The Journals of Musan" has received something like 18 awards from festivals around the world, and it's not hard to understand why. A former assistant director under Lee Chang-dong, Park has demonstrated that he has real talent, and many people will be watching to see if he can emerge as a major director.
I'm not sure if the screenings of "ARIRANG - Movie" at Cinecube in December qualify as a commercial release, but anyway... this is my favorite Kim Ki-duk film. Although I sympathize with the viewer at Cannes who described it as "listening to a drunk guy in a bar talk about how he used to be famous, and how all his former friends are assholes", I think if you actually listen to what the drunk guy is saying, he touches on many of filmmaking's essential dilemmas. It's not that I believe everything that Kim is saying or staging in this film, but the work as a whole is jolting in its originality and worth being taken seriously.
""Sunny - 2010"" gets extra points for being so much fun, and for taking a story about ordinary women's lives and turning it into a 7 million ticket hit. Very few directors could have accomplished what Kang Hyeong-cheol has done in his first two films (the other being his debut Scandal Makers).
I can hear the groans at my choice for #5, Lee Yoon-ki's painfully introspective "Come Rain Come Shine", starring Hyun Bin and Lim Soo-jung. I'm willing to posit that the reason this film has stuck so firmly in my memory is because of some particular aspect of my own personal neuroses. But in the end, all criticism is personal, and there's something in the relationship portrayed here that I've never found in any other film.
"Animal Town" I think is Jeon Kyu-hwan's best film to date, and what makes it stand out is not the structure of its narrative or the clever twist at the end, but an elemental, driving energy in the portrayal of its lead characters. It's hard to describe, but many people end up articulating it in similar ways.
"Bleak Night" is another outstanding debut film -- a work that has been particularly embraced in Korea, while many international viewers seem to prefer "The Journals of Musan". No matter... there is room for two great debuts in 2011. "Punch" ("Wandeuk-i") actually could have used a bit more "Punch" in the resolution of its story, but its characters are unforgettable and it well deserves all of the 5 million+ admissions that it has recorded. Finally, "Re-encounter" ("Hyehwa, dong") achieves a great sense of intimacy and drama in its small-scale narrative, and it has bequeathed the Korean film industry a great new talent in young actress Yoo Da-in.
The "other" film on my list is the documentary "Out Of the Cave", and I'm happy to be including it on this list because it seems that there is a burgeoning creative energy among Korean documentarians. Director Ahn Kearn-Hyung shot the film at his apartment complex; most of it consists of shots of homeless cats and interviews with his sister. But what makes the film stand out is Ahn's own narration, more like an essay than the commentary you find on most documentaries. Although it begins as a thoughtful consideration of his efforts to feed the cats and make sense of his family's issues, his questions and musings become ever more abstract as we move to the latter half of the film. If this sounds frustrating or boring, it's actually pretty engaging.
Other films that almost made the list... "Dooman River": it probably should be on the list, but at times Zhang Lu's directorial decisions intrude awkwardly into the film. "Moby Dick": an involving and creatively staged thriller. "Late Autumn - 2010": its high points really soar. "Penny Pinchers": it's "just a romantic comedy", but it's a rather charming one.
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"KoreanFilm.org's Top Korean films of 2011 by Darcy Paquet"
by HanCinema is licensed under a Creative Commons Attribution-Share Alike 3.0 Unported License.
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Genre: Rock
Points: 8
Focus: Talent
Who is Samuel to me?
Samuel was actually given his name by my nieces. I think one of them had a classmate named Samuel, to which I remarked, "So this is not your dad? (their father's name is Sam)." At that point during development, we had 5-point singers, and Samuel was one of them. They promised that they would name another artist "Sam" after their dad and make him a "10." They forgot. Lol.
What do I have in common with Samuel?
If we are talking about the Samuel who no longer exists (the 5-point Samuel), then I can relate to a degree. When I went off to grad school, I felt like I fell off the map to most of my family and friends — I ceased to exist. But like Samuel, I had to do what it takes to make a career and life for myself, even if it meant leaving the area and my former life for almost three years.
If we're talking about the Samuel who is my brother-in-law, then we have a lot in common! He's in the board games too. But strangely we haven't gone together lately to play much. All good. His daughters help me out with the game.


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