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Find Out Who is chatting about how exactly Asian Women Age and exactly why you should be Concerned
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Vadim Dengin of the LDPR in 2014, when he was made head of the Duma's Information Committee. Photo by Vladimir Fedorenko/RIA Novosti
After the infamous "foreign agents" law that has hindered or closed more than 60 non-government organizations, the State Duma has turned its sights on the media and is now drafting a law regulating media companies that are financed from abroad,
Welcome to our column, Russia Update, where we will be closely following day-to-day developments in Russia, including the Russian government's foreign and domestic policies.
The previous issue is here.
Special features:
Kashin Explains His 'Letter to Leaders' on 'Fontanka Office'
–TV Rain Interviews Volunteer Fighter Back from Donbass
– 'I Was on Active Duty': Interview with Captured GRU Officer Aleksandrov
– Meet The Russian Fighters Building A Base Between Mariupol And Donetsk


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100 POP Piano Apple-Midi Loops
€ 25.00 Inc. VAT
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Introducing Big Sound Samples new release '100 POP Piano Loops Sample Pack' for Garageband and Logic 9 -10/X music production software.This all new collection of 100 Midi Piano loops,100 Apple Loops and 22 Piano Channel Strips and 100 Piano Wav Loops.
Music Loops are included in this collection and formatted to change key and BPM.All loops will be visible in the Garageband or Logic 9/X loop browser.These 100 Pop Piano Loops will inspire you to create some totally unique and interesting songs.All these loops could be used also in other DAWs such as Ableton, Cubase, Bitwig, etc.
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Journalism and its variants at first glance look wildly different in the US opposed to in the UK. With organizations like the BBC, FOX, CNN, The Telegraph, The Wall Street Journal, and The New Yorker, you would think these groups come from completely different planets. But what you'll find more interesting is they share quite a bit of similarity in interesting ways, and even more important when understanding them you can better understand how to be a better viewer and reader of major news in the world as a whole.
Fox Photo by Johnny Silvercloud, Daily Telegraph from National Library of Australia, BBC Logo from Wikimedia Commons
In varying parts of the world Journalism in its many forms developed quite differently. Along the way they intersected and split off, some influencing the outcome of others. This is quite the case for the journalism in the US and how it came to be in part of the UK. After the formation of the US as an independent country the first amendment to our constitution was "Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances." A key phrase is the freedom of the press, this is the root that has grown the US journalistic media to take the more polarized and subjective form that it has today. In the UK old tradition still remains in some aspects, which is how you will see an organization such as the BBC, a state-based news outlet dedicated to reporting objectively. However, though the two are quite different in history they have some interesting intersections.
In the US, most of our news is now consumed online through social media and primarily through predominantly broadcast news outlets that have long had a stranglehold on US news. These outlets are free to report and do as they see fit; producing often a more biased report based on their political affiliation (for example, CNN is considered more left and FOX more right). In the UK, the largest broadcast news outlet is the BBC. This organization is a state-funded operation and paid for through a regressive tax. Since anyone who has a television set pays this tax this news outlet is responsible to report to everyone, not just a select group of viewers that hold a particular stance, this is why their reporting is delivered without an opinion and simply gives the facts as they are. In the US this is in part of the early years of the country and because of the more competition and business based nature of the country. In the UK it is due to the longstanding history behind them and the current political climate they live in. Neither option is the right way or the wrong way, both formed from different histories and both existing in different cultural climates are fitting for their ways.
When you look to traditional print you'll see a reversal from broadcast. Whereas UK broadcast is objective and more formulated, their print media tends to take a more emotional view; it is often shorter, to the point, and it does not have the neutral stance that is required of broadcast. Back to the States, you'll find that traditional print media tends to contain longer stories, with more background research and detailed analysis. This is an interesting flip between broadcast and print media in the two countries. For fast turn-around quick reporting (that may not have the greatest research behind it), in the US you look to broadcast and in the UK you look to print. But for news and stories that have more facts, research, and are more formal you look for the reverse. It is also important to note that in the US, print media retains the same right to freedom of press as broadcast and newspapers will often have a political lean, though they are often less intense than in broadcast.
There is one major factor both US and UK media share in common. General public skepticism of them, just in the US it tends to be a more intense deep-rooted distrust. This issue in the US has never been more apparent than as it is now in our current political climate. With the new slogan of "Fake News", all news outlets can be quickly branded as untrustworthy, and both sides of the aisle are guilty of such. Much of this distrust is not unwarranted though since in the US the major news networks are privately owned they have their own political agenda and often spin their stories to support their side; this provides very subjective material in an attempt to sway the reader/viewer into thinking more in line with their opinion. In the UK, the skepticism is more general. In their print, they look to understand that articles are written by people who have opinions and their writing will in some form inevitably reflect that. In their broadcast, it's a little more of a false flag, since the BBC is a government organization people tend to think that their reporting leans in favor of the controlling party. The BBC is neutral in its stance (this is proven by the way they handled Margaret Thatcher's attempt at censorship of the BBC in the late 80's) but as best said by one of our Lecturers, Tony O'Shaughnessy, whatever party controls parliament, tends to determine the flavour of BBC broadcasting, but they are still impartial.
What's important to remember is that neither UK or US forms of journalism are right or wrong. Though having an impartial body may be beneficial the future may hold a world without such an organization since there has started a debate over how the BBC is funded. And having a private completely free press may have the benefit of no direct government involvement, but it comes with the burden of being tied to a party line. The greatest takeaway from understanding the differences and similarities in journalistic infrastructure around the world is learning how to intake and process the information they provide to the public yourself.
Differences Across the Atlantic – By: Jacob McDowell


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Polygamy in Canada
by Vincent Côté on September 2, 2012 - 9:02pm
Article: http://www.lapresse.ca/debats/chroniques/lysiane-gagnon/201111/25/01-447...
In the article "Les amies de la polygamie" by Lysiane Gagnon, she discuses the issue of polygamy in Canada. The also talks about a verdict that was given in Brithish-Columbia concerning the issue of polygamy where the juge comdemned polygamy "in favor of women rights". The author clearly offers her opinion of the subject which is highly in favor of the British-Columbian court.
The issue is obviously the increasing number of polygamy cases in Canada, which is prohibited by the laws of the country. The ethical issue is that the muslim religion permits the practice and even encourages it. In those regards, the people defending the custom employ the liberty of religion to defend their case.
This issue can be analyzed from a cultural stand point considering that certain cultures allow its observation. For example a cultural relativist would say that the only way to know if this marital arrangement is good or bad is by respecting the cultures. In other words, you're knowledge of this issue's ethical value is only pertinent in concern to you're own culture.
In my opinion, this matter is not one of culture but one of rights, that is, women rights. For instance, if the equivalent for women existed, (i.e. if women we're allowed to be married to multiple men) than this matter would be more fair. However, it is possible that some cases create favorable situations but in the grand scheme of things, this custom is in my opinion not justified nor necessary.


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Creative Imagers Camera Club members will display their work through "Picture Perfect 2018: A Photographic Display at Wood Library" on June 16-July 27 in the library's Community Room, 134 N. Main St., Canandaigua.
Members each have unique styles, which are apparent in the wide variety of approaches and subjects on display, including landscapes, nature, people, flora, fauna, modern life, art and architecture.
The exhibit includes a free photographers reception and public presentation on photography techniques at 6:30 p.m. June 21. Refreshments will be served.
For 15 years, the club has met monthly in Canandaigua to share photos, learn about cameras, study photographic techniques and post-processing skills and encourage each other. Meetings feature guest speakers and presenters from within the club.
Club field trips traveled to the Renaissance Festival, Genesee Country Village and Museum, Ontario County Fair, Seneca Park Zoo, Montezuma Audubon Center and Sonnenberg Gardens. Projects included summer scavenger hunts for photos, post-processing with Photoshop and Lightroom and Scrabble photo searches.
Members have exhibited their works at Wood Library for many years, as well as Gallery 96 in Bushnell's Basin, Country Store in Cheshire and Rochester Contemporary Art Center's "6x6" exhibit. Members and their guests annually meet for the summer barbecue picnic in July, as well as the holiday dinner and themed photo-critiquing party in December.
Creative Imagers Camera Club meets at 7 p.m. on the first Thursdays of the month at United Church, 11 E. Gibson St., Canandaigua. New members are welcome, regardless of skill level. Email email@example.com for information.


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Yes, this is a year ender post as well as a what-to-look forward to post. Just want to share and document my 2017 journey because it has been one of those years that changes your life. 2017 What a year 2017 has been. I cannot emphasize enough how incredible this year has been for me.…Read More
Let's chat : minimalism
Around mid July, I stumbled upon The Minimalists in youtube. Since then, things had been different. In architecture, minimalist design strives for simplicity in form, space, material, and color.Read More
Conscious living : bamboo toothbrush
In my lifetime, I will probably use over 250 toothbrushes (IMAGINE ALL THAT PLASTIC!). All that plastic thrown into garbage dumps and then to the landfills. Thank goodness that in the Philippines, there are already bamboo toothbrushes! I could not be happier. How and where did I get one? Here in the country there are…Read More
Conscious living : Lush shampoo bars
ACT ON IT #2: find alternatives for the commercialised shampoo contained in plastic bottles
Here in the Philippines, it's a practice to wash our hair daily due to the humid weather we have. In my quest to reduce my waste, one of the things that I find that we throw a lot in our household are plastic bottles, with that are shampoo bottles. Other than that, commercialised shampoo's have a lot of chemicals which damage the hair and scalp.Read More
The minimalist backpack
I have found my perfect day-to-day backpack. I have never been a fan of hand bags nor of purses; I have always been a backpack-type of girl. Uniqlo has done it again!Read More
Conscious living : reusable straws
ACT ON IT #1: use stainless steel straws
Plastic straws. I see it everywhere. You use it in your flavored drinks, soft drinks, milk teas, frappes, blended beverages, etc. Then after their one-time use, we dispose of them. An alternative to just stop using plastic straws (if you can't, just like me) is to buy one that is reusable. Which I DID! I bought a set of stainless steel straws for my straw-using pleasure.Read More
Let's chat : conscious living
It's about time I give a shit. I want to start this series here in my blog on my journey to being environmentally conscious.Read More
Thrift finds : Anonas ukay-ukay
About a year ago, I went to Anonas thrift store to buy coats for a trip abroad and Anonas did not disappoint. I got more than what I bargained for. Here, I would like to share the possible treasures you may find.Read More
Thrift finds : Harrison Road Baguio Night Market ukay-ukay
Not too long ago, I was in Baguio specifically for its cold weather and the very well-known Harrison Road Baguio Night Market.Read More


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Letter to the Pope
Harrowing testimonies of child abuse in the Catholic Church
As Pope Francis pledges to instate a "zero tolerance" approach to child abuse in the Catholic Church, generations of victims continue to come forward. They're asking why their allegations have not been taken seriously until now.
Dozens of former students from the Antonio Provolo Insitutite for the Deaf have accused more than 25 priests of rape and sexual abuse. "[H]e forced me to have oral sex and do disgusting things," says one of the victims of his abuser. For those who were abused in the care of the institute, the Church's response has been too little too late: despite the cases being brought to Pope Francis's attention in 2014, 13 of the accused priests are still alive and free. Father Micheloni still lives at the Provolo Institute. "The pope hasn't done anything," says another victim. This report focuses on the harrowing testimonies of abuse victims still searching for justice.FULL SYNOPSIS


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Echo Crotwell
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BALTIMORE, Md. (WJZ) — The Maryland Zoo just welcomed in two young polar bear cubs from the Columbus Zoo & Aquarium in Ohio on Tuesday.
The cubs, Neva and Amelia Gray, traveled with four members of the Columbus Zoo animal care team. The team will stay in Baltimore for a few days to help with the bears' transition to their new home at Polar Bear Watch.
"At the moment, we do not know when Neva and Amelia Gray will make their first public appearance at The Maryland Zoo," said Erin Cantwell, mammal collection and conservation manager at The Maryland Zoo. "They are currently living behind-the-scenes at Polar Bear Watch while in mandatory quarantine."
The bears will be introduced to their new home, care team and to each other while in quarantine.
Cantwell notes that "It can be challenging to introduce young polar bears to one another; however we anticipate a very smooth transition with the help of the team from the Columbus Zoo."
Amelia, Neva and her twin brother Nuniq were the only polar bear cubs born at a North American zoological facility in 2016.
The Columbus Zoo stated they will announce where Nuniq will be moved to at a later date.
Follow @WJZ on Twitter and like WJZ-TV | CBS Baltimore on Facebook


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Category Archives: Theatre
in all its forms
Getting back to Blogging, and Detroit Culture Vulture-ing
My first few days back in Southeast Michigan have brought a lot of driving, reunions, food, logistics, and just one film. Time will tell if I'm able to get this blog back up to regular speed. I think it is doable.
The one film, Amy, is clearly one of the most powerful entertainment (as opposed to human rights or other subject) documentaries I've ever seen. Using a combination of home movies, existing concert and interview footage, and present day voice-only interviews with the singer's family and friends, the film charts the rise and fall of singer Amy Winehouse, who achieved her widest fame for her "Back to Black" album around 2007, before falling into a cycle of drug and alcohol abuse that eventually led to her premature death in 2011.
The success of the film, directed by acclaimed filmmaker Asif Kapadia, lies in its ability to refocus the narrative about Winehouse from a one-hit punchline into a full complex person. The viewer walks away with a clear and devastating understanding of how the acquisition of fame changed her life and what those around her could and could not enforce to make sure she was still herself.
One post per month at the moment
my current internet living situation is one where there is no connection in the house. so I have resolved that this summer's blogging will be down to one post per month.
The summer has brought a welcome continuation of being directly involved in theatrical productions – this time here – and I've been able to keep up my filmgoing in a slightly modified form, given that most films reach this small island (especially this year with two additional cinemas reopened after an unfortunate hiatus) but some do not.
The best film of the summer so far for me was easily Love and Mercy, an intimate and sharply focused biopic looking at the life of erstwhile "Beach Boy" Brian Wilson. Actors Paul Dano and John Cusack shared the lead role, playing Wilson at different times in his life, and were supported by a game team of skilled actors. Elizabeth Banks appeared in Cusack's timeline as a new girlfriend who becomes increasingly important in his life, and Banks rose to the challenge well with thoughtful dramatic depth.
My most notable film experience of the summer came about by attending a special sneak preview of the new film Southpaw, which went on general release this weekend. Actor Jake Gyllenhaal was in attendance for the screening, and in addition to giving a question and answer session about the film, he ended up sitting directly behind me for the entire length of the film. Definitely the first time I have ever had the star in the audience and in such proximity while watching a film.
And what else? I kicked things off with Mad Max: Fury Road, quickly followed by Tomorrowland, and then it was… an encore screening of Ex Machina, followed later by Ted 2 and then Inside Out and most recently Trainwreck. So, not as many films as I might think – but a good selection of product.
As for the theatre, we've been having a very full summer. Most of my time is spent on an ongoing outdoor production of The Complete Works of William Shakespeare Abridged (Revised) – and if you're reading this on Martha's Vineyard, you should come by.
A New Play plays the provocation card
This weekend's entertainment/arts culture vulture journeys led me to take in two stories that both explored the art and challenges of what is known and unknown in any given situation, and how individuals work around those issues – or not – and maintain a sense of awareness in their possible confusion.
I'll save the movie for a separate post; here is a focus on the play:
Meadow Brook Theatre in Rochester, MI, is currently offering (just) the third professional production of Luce, a new play by JC Lee that premiered at NYC's Lincoln Center last year. I learned that Lee had been a writer in residence for a year at my California hometown theatre, Marin Theatre Company.
The play is very much of the moment, with references to Facebook, mobile technology, teen obsession with texting, high school social dynamics and more. But the broad portrayal seen at Meadow Brook, while commendable, did not seem to fit with the ethos of emphasizing the smaller moments that the playwright was clearly going for.
Experienced and versatile local actress Serab Kamoo carries the show as Amy, Luce's adoptive mother who wants nothing more than the best for her son. The rest of the cast gives strong effort to their roles, but I felt that only Kamoo truly convinced in her part. As Luce himself, Leroy S. Graham fares best with a monologue partway through the show, which is the only chance that the character has to truly speak for himself.
I couldn't help but wonder if the show would have played differently on a smaller stage and with a more unified sense of direction. The script never spells our Luce's specific intentions when his actions are called into question, but it never allows the character to get to the heart of the matter, either. Meadow Brook's stage is well used in the design, with a clever conceit of a downstage area doubling as two locations thanks to some lighting maneuvering, but some of the intimacy of the drama is also lost in the wide space.
The play is performed without intermission and suffers from a sense of anticlimax. Several scenes close to the end could easily be the end, and when the last scene comes around, the resolution feels less satisfying than if the story had closed on a more ambiguous note. Similarly, since Luce's true intentions are never made clear after his actions are called into question, a note of uncertainty might have driven the plot home in a deeper and more direct way.
All this isn't to say that I didn't enjoy the play. I am always grateful when a theatre presents a new piece, and especially if it is something that stimulates a feeling of engagement and discussion.
London Theatre Doubleheader
What a treat it is to be back in a place where I can choose my theatregoing based on the venue's reputation – and my previous experiences seeing shows there – rather than the title itself.
That's just what I did for two plays yesterday at the Royal Court and Almeida theatres at opposite ends of London. I joined the legions of tube and on foot commuters in the interim period with an extended stop at Leicester Square, which just happened to be on full showman mode with the UK premiere of Cinderella.
But back to the plays. First up was How To Hold Your Breath, running at the Royal Court. In some ways it was difficult to follow exactly what was going on in this story, but as the tale went on, it became clear that was part of the point. We're introduced to Dana (Maxine Peake), a woman who appears to be in her 30's or 40's and is struggling to make ends meet. In the beginning of the story, she may or may not have sold herself for romance with Jarron (Michael Shaeffer), but (since this is a play!) they have an argument that sets the plot in motion and leads to Dana thinking that Jarron also holds supernatural powers which haunt her as the story goes on.
Dana brings her sister and roommate Jasmine (Christine Bottomley) into the action, and is trailed by a mysterious librarian (Peter Forbes) as her journey goes on. The supernatural thread expands with the story, leading to a series of arresting and memorable physical images near the climax when Dana is isolated against an army of people also suffering from her plight.
Because the plot meandered from point to point, it was difficult to tell when the conclusion was being set up and led to the story feeling anticlimactic for me – it would have surely been more effective with a dramatic denouement in the image described above, for instance. However, the design team offered a crackerjack sense of compactness, with backdrops rising on top of each other in the modestly sized Royal Court stage, and effective hints of sound design sprinkled throughout the narrative.
When the script by Zinnie Harris played with its lines and a sense of repetition, also near the end, that also created a feeling of taut anxiety and uncertainty. Although in a broader sense the play remained successful simply from showing two strong female leads and the sense of a realistic world nestled within current events.
(If I knew more about current political affairs in Europe I might have appreciated the play more, but I certainly felt like it could still be appreciated on its own merits.)
In the evening I ventured back up to the Almeida Theatre in north-central London's Islington district. Their current production, Game, drew me in with its promise of a unique viewing experience, and convenient "late show" 9:30pm start – the performances are actually twice per night because it's a short length play. The show has drawn strong reviews from all major local sources.
The show takes a provocative premise and really runs with it. We're introduced to a young couple moving into an affordable house and getting to know their new living quarters. But it immediately becomes apparent that their presence in the house is part of a sadistic plot for members of the public to improve their shooting skills. In a sharply constructed 60 minute viewing experience, we're given a sense of what the couple must endure to live in that environment and how their efforts to live a "normal" life are severely compromised. Although the voyeuristic shooters remain somewhat thinly drawn, they get a moral conscience with one character who rises in importance during the story.
I'm sure I will remember the show most for the novelty of its staging, in which the Almeida's modestly sized auditorium was reworked into a series of arcade style viewing experiences, with the audience (divided into three or four separate sections) seated on backless benches looking in at the central set. Viewing was also augmented by medium sized televisions above the set, and all of the scenes not involving the couple took place in areas that are part of the audience seating area, with the images being transmitted to those in other sections. Finally, the audio of the experience was through headphones rather than live listening, and the actors had to expertly coordinate between their lines onstage and off, and sometimes overlapping.
It's clear that the writer, Mike Bartlett, intended for his piece to be cultural commentary in our ever – expanding age of reality shows and celebrity obsession. I would say that he and the design team, led by director Sacha Wares, succeed in balancing a sense of satire and one of nervous drama.
While it's possible this show experience would be different if it was a longer or less radically conceived piece, I think it was right in tune with the challenges of today and how things could turn if we collectively don't take more humane charge of our future lives.
A Satisfying and Overdue Return to London Theatregoing
I'm writing this from my old stomping grounds of London, England, and very happy to be back here for the first time in just over seven years.
Although this is a short trip, theatregoing is naturally still a focus, and so I made sure to include at least a few plays on my itinerary. First up this afternoon was Antigone at the Barbican Centre, in a new translation by Anne Carson. Coincidentally I worked on another Sophocles translation by Carson with The Penny Seats last summer.
It was such a pleasure to be back amongst the appreciative UK theatre crowd, who treats theatre like Americans treat the movies (as a frequent and enjoyable pasttime) and are respectful about the process of putting on the show without being overly gregarious; standing ovations are rare!
As for this production, I feel like it did not fully realize its potential, although there were certainly some strong moments. And perhaps the performance will improve as time goes on, where the cast is proceeding on an extensive tour after the London engagement, traveling to multiple countries over the next six months.
Binoche anchors the story with an expected gravitas. However, I was intrigued and pleased by her choice to play the character much softer than many of her film roles. I feel that she often projects a natural confidence or comfort onscreen in many of her performances, whereas in this role, there was a humbleness and meek quality I picked up on that seemed like a completely new component of her work. As Antigone, she's not quite as visible in the story as one might think, leaving a large chunk of the story to the work of the ensemble cast.
That was where my challenges with the show came in. Not so much with the ensemble performers, who all worked strongly with each other, although I can't single them out because I don't know their other work. The performers worked off a modest but spacious set and a generous lighting design. A key component of the lighting was a large center stage moon that changed as the play went on from smaller to larger. But once it expanded to its full size, it was right in my line of sight from my seat, and kept taking my attention away from the actors, like if a television was on at the same time you're trying to talk with someone in a casual setting.
Similarly, the production couldn't seem to decide how much modern touches it wanted to include. A large screen was occasionally used to accentuate the narrative, and led to some dramatic moments, but also felt jarring in its inclusion, like the narrative wanted to add a grander touch and move away from the focus on the words.
To conclude, it's commendable that the Barbican hosted a production like this and clearly continues its objective to bring a wide global range of theatre to discerning audiences in London. I'm thrilled to have made the effort to see this show and to get a chance to update my experiences with one of London's most unique artistic venues.
Good Men and True
Last Friday night I enjoyed a belated first visit to Hamtramck, Michigan's Planet Ant Theatre, a small venue that has an ambitious slate of provocative plays. As sometimes happens, I'd wanted to go to this theatre earlier on and didn't. But it was rewarding to be able to make the time to attend the Opening Night of this particular production.
The publicity materials for the show take care to spell out the basic premise of the play (what if a trio of protagonists from some of Shakespeare's well-known works meet up in a single story?), but, delightfully, don't give a sense of the creativity and free spiritedness of the production. The play has received additional press attention in a positive review by John Quinn of Encore Michigan and a feature article running in The Detroit News.
For me personally, the show was a delightful mash-up and reminder of a more creative side of theatre that I sometimes feel sad to not see very often in the professional world. This approach that I speak of is one that is not afraid of taking risks, rolling with the possibilities of a prompt or suggested activity, and being comfortable with the dramatic ambiguity or simply not knowing how a creative exercise might turn out. This was a hallmark of some of my most memorable improvisation and creative discovery based courses over the years, and in some cases, audience attending, such as at San Francisco's BATS Improv.
In Good Men and True the four actresses (Jaclynn Cherry, Kez Settle, DeAnnah Kleitz-Singleton and Jackie Strez) perform confidently and comfortably as their roles undergo various switchups and moving of layers, literally and figuratively. Their vocal and physical inflections and character choices from the first moment on stage show a strong command of the material and willingness to take risks. I look forward to remembering the fresh and exciting feel of their play – and the associated creative confidence they project with the material – for some time.
Falling Slowly Onstage
The touring version of Once: The Musical is now in residence at Detroit's Fisher Theatre through February 15th. Since that's just up the street from me, I attended their first preview performance on Tuesday night.
I'd forgotten that the play originally began its dramatic life at the American Repertory Theatre (ART) back in Cambridge. It's not surprising that the play found further success, where ART has successfully repositioned itself over the last few years (under the shrewd leadership of Diane Paulus) as a major feeder of new or reimagined stage work into the Broadway and national theatre conversation.
Of course, Once takes its story from the movie of the same name. If you've seen the film, you know the basic story about the Guy meeting the Girl who inspires him to refocus on his songwriting and use his songs to convey his emotions… and that doesn't change here on the stage. The play does, however, adroitly open up the story to more of an ensemble production, with a modest band starting the experience with pre-show songs and several scenes featuring ensemble members (either in one or multiple roles) interacting with the protagonists.
The play also creatively invites the audience to come more directly into the story, in that drinks are served onstage before the start of the show and during the intermission. My friends and I enjoyed the pre-show option, and I found it to be a fresh and fun way to get into the story, standing onstage for a few minutes with fellow audience members, and then being allowed to stay there for a few more minutes while the cast came onstage and began their pre-show medley.
I can't say that the story creates a revelatory level of dramatic depth. But I would say that the play is worth attending for its fun and fresh onstage experience, and the chance to take in some very well-done acoustic songs in a refreshingly intimate story setting.
Throwback Thursday: Theatre Commute
In early 2009 I commuted for a few weeks in "figure 8s" around the Bay Area from the East Bay into San Francisco and down to San Jose, then back to the East Bay. I compiled a few highlights for LiveJournal on several of the days, and here's one of them.
I resumed my temporary routine of (total) 125 miles driving and travel from Richmond to San Francisco to San Jose and back today, a geographic figure eight around the Bay Area. Things were pretty smooth today, though here are some episodic highlights:
10:45am: Leave the house. No traffic on 580 East.
11:03am: Pass the Bay Bridge toll. Am surprised by the fact that the metering lights are on and the traffic is backed up after the morning commute.
11:25am: Am detoured from my usual parking spot by today being a "street cleaning" day. Instead I go to a completely different neighborhood where I know parking will be free and non-stickered.
12:00pm: My MUNI trip inbound from Noe Valley is free when the conductor waves passengers past the non-working ticket machine.
12:05pm: During the MUNI trip, I see an intense panoramic view from the top of Dolores Park that I had never seen before.
4:05pm: Near the end of my work shift, I step outside for a few minutes and have an experience out of an action movie. I've arranged to give a black suitcase filled with laundry to the show's costume designer. Instead of stopping, she pulls up to the curb and wordlessly gestures for me to drop the suitcase in the open bed of her truck. I do, and feel like it should have contained lots of money, or we should have been filmed, especially since it is right on Market Street.
4:50pm: During the MUNI trip back to the parking spot, two high schoolers near me decide that they will make the biggest PDA possible while jointly blowing smelly bubble gum.
6:05pm: Arrive at the theatre in San Jose and am pleased that there was no traffic going south on 280.
11:20pm: Leave theatre and begin the trip home on 880.
12:00am: A CHP car suddenly begins to weave across the highway just a few cars ahead of me. Turns out there's been a minor accident, and that was this officer's way of alerting the drivers.
12:25am: Arrive home.
Reflecting on Square One
My favorite children's television show, Square One Television, first appeared to the television world 28 years ago today. Happy Birthday, Square One!
The show remains conspicuously absent from the DVD collections market, most likely due to a complicated copyright involving (then) Children's Television Workshop and (now) Sesame Workshop. A fan site, SquareOneTV.org, which I formerly contributed to, seems to have gone offline. So the show's Wikipedia page provides a thorough overview of what each episode was like and why people like me grew so affectionate for it. (and so upset when it suddenly left the airwaves in the fall of 1994.)
In the summer of 2006 I had the chance to meet one of the show's core ensemble cast members who was appearing in an off-Broadway show I attended, and wrote about the experience on LiveJournal:
I got a front-row seat and read the program before the curtain went up. I scanned the cast list and was surprised to see a cast member (Cynthia Darlow) from Square One Television, one of my top-5 favorite childhood TV shows, was part of this cast. She displayed just the same brasyness and captivating theatricality that she had displayed in the show, and was a stand-out among the secondary characters of the show. Later, I was waiting around in the lobby and she happened to come out from backstage. We made eye-contact briefly and I decided to take a minor risk and say that I loved her work on Square One. She smiled broadly and said she always is charmed that people still remember the show and that it was "one of her best jobs" of her career with a very tight-knit cast and crew. She is also always amused that people my/our age still remember the show and can tell her how they watched it compulsively when it aired first-run. Once again it felt good to take a risk of approaching a celebrity, especially when Cynthia was as friendly as she is.
Square One briefly reappeared on television screens around the turn of the millennium as part of cable network Noggin (a joint venture between Nickelodeon and Sesame Workshop) and its anthology series "The Phred on Your Head Show" – with segments from Square One intercut into the newer show, and perhaps most importantly, the show-within-a-show Mathnet, which was always my favorite part of the program, reappearing in full glory.
I owe a longer post on the enduring appeal of Mathnet – but it won't be tonight! I will say that the show contributed greatly to my lifelong love of numbers and coincidences and mysteries and number sequences. And it indirectly introduced me to the theatre world at a young age, with one episode set in a Broadway house and all of the main actors coming from strong theatrical backgrounds.
I only realized a few years ago (possibly on moving to Michigan) that Square One included many references to Michigan and the University of Michigan Ann Arbor, where its creators attended college. So from an early age I had many little snippets of Michigan lore seeping into my brain, most notably centered around U of M life and my current area code, 313, which once covered the entirety of Southeastern Michigan. To that I just say… "wow!"
And it's a perfect segue to the other birthday I learned is today, which is the state of Michigan itself! 178 years young! MLive asks its readers to guess how well they know the state.
Closing Day at Grover's Corners
Meanwhile back in Berkeley, California, today is the closing performance for the Shotgun Players production of Our Town. I was very pleased to be in the audience for this show on New Year's Eve, and had meant to write about it here sooner… but it feels appropriate to give it a tip of the hat at the end of its run. Bay Area audiences were receptive to this particular version, as it extended two weeks from its original engagement and reportedly packed the houses throughout the run.
I knew going in to the show that director Susannah Martin (a past colleague) would probably bring her characteristically spare yet precise staging quality to the text. Surprisingly, as a native New Englander, this was my first time seeing the play live onstage. And the "once something comes into your life it reappears very soon" rule seems to be in full effect, as I will see it again in about a month in a high school production that a family member is directing, and am looking forward to comparing the similarities and differences.
This was a perfect play to close out the old year and bring in the new, with its themes of life and death and life events and the simple things that may or may not give way to big impact. It was the centerpiece of my short yet memorable visit back to the Bay Area itself, and I found myself appreciating the chance to take a moment and intellectually engage, in the midst of racing from place to place and attempting to cram as much as possible into a two day span.
The cast offered impressive ensemble work, led by Madeline H.D. Brown as the stage manager. I was initially drawn to seeing the piece after learning that theatre friends Molly, Don and Tim had central roles in the play, and they were supported by a skilled group of fellow performers, with El Beh a particular standout as Emily Webb. Again, like life itself, the play offered little snippets of events coming together (and in some cases falling apart), changes in families, questioning choices, regrets, delights, marriages, births, deaths, new beginnings and a sense of resiliency. Martin's staging heightened the sense of everyday life, with the actors performing on a mostly bare set and occasionally sitting in or amongst the audience if they were not part of an onstage scene.
I deliberately chose a first row seat when I booked my ticket for the show, but I did not expect the side effect of intense and visceral engagement with the piece, and the art of telling a theatrical story, to come as a result of being right there with the action and the actors. As it was I found the play and the whole theatregoing experience that night to be a potent, inspiring and motivating reminder of what it is that we do as theatre/arts makers and why we do it. I'll be continuing to remember that as 2015 unfolds.


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United States District Court, N.D. Illinois, Eastern Division
July 23, 2018
UNITED STATES OF AMERICAv.THOMAS RICHARDSON,
the Court is Defendant's motion to dismiss [127] Count
One of the indictment. For the reasons stated below,
Defendant's motion to dismiss [127] is denied. The case
remains set for status on July 25, 2018 at 9:00 a.m.
September 19, 2013, a grand jury returned a two-count
indictment against Defendant. Count One of the indictment
alleged that on or about August 20, 2013, defendant knowingly
received child pornography-namely, a file folder titled
"AG-120" that had been downloaded from
BitTorrent[1]-in violation 18 U.S.C. §
2252A(a)(2)(A). Count Two of the indictment alleged that on
or about August 27, 2013, defendant knowingly possessed
items-namely, an Apple Tower G5, an Apple MacBook Laptop, and
a G-Tech external hard drive-that each contained images of
child pornography in violation of 18 U.S.C. §
2252A(a)(5)(B).[2] The images identified in Count One of the
indictment were different than those identified in Count Two
of the indictment.
filed a motion to dismiss Count One of the indictment,
arguing that Counts One and Two of the indictment "are
based on the same act or transaction and therefore violate
the Double Jeopardy Clause." [127, at 2.] The
government filed a response, arguing that (1) "the
conduct and the images charged in Counts One and Two of the
indictment are distinct and do not arise out of the same act
or transaction[, ]" and (2) "Double Jeopardy is
only implicated upon entry of judgment on counts of
conviction-not while counts are pending before trial."
[128, at 1.] Although the Court gave Defendant the
opportunity to file a reply, Defendant did not do so. Before
the Court is Defendant's motion to dismiss [127] Count
One of the indictment against him.
Legal Standard
an indictment is not a means of testing the strength or
weakness of the government's case, or the sufficiency of
the government's evidence." United States v.
Moore, 563 F.3d 583, 586 (7th Cir. 2009) (internal
quotation marks and citation omitted). Rather, a motion to
dismiss or strike counts of an indictment seeks to identify
and correct a defect in the indictment. Fed. R. Crim. P.
12(b)(3)(B)(ii). Here, Defendant challenges the indictment on
double jeopardy grounds.
Double Jeopardy Clause of the Fifth Amendment provides that
"[n]o person shall * * * be subject for the same
offence to be twice put in jeopardy of life or limb."
U.S. CONST. amend. V. "Three separate guarantees inhere
in this constitutional provision: (1) once acquitted of a
charge, a person shall not be prosecuted again for the same
offense; (2) once convicted of a crime, a person shall not be
prosecuted again for that same crime; and (3) one shall not
be punished twice for the same offense." United
States v. Hatchett, 245 F.3d 625, 630 (7th Cir. 2001)
(citing Ill. v. Vitale, 447 U.S. 410, 415 (1980)).
"Where proof of one offense necessarily entails proof
that another offense occurred, rendering the latter a lesser
included offense of the former, the two offenses are deemed
to be the 'same' for purposes of" double
jeopardy. Id. at 632 (citing Rutledge v. United
States, 517 U.S. 292, 297 (1996)).
Clause "applies both to successive punishments and to
successive prosecutions for the same criminal offense."
United States v. Dixon, 509 U.S. 688, 696 (1993);
see also Ohio v. Johnson, 467 U.S. 493, 498 (1984).
"It protects against both actual punishment and the
attempt to convict and punish a defendant twice for the same
crime." United States v. Faulkner, 793 F.3d
752, 755 (7th Cir. 2015) (citing Price v. Georgia,
398 U.S. 323, 326 (1970)). However, "when multiple
sentences are imposed in the same trial, 'the role of
the constitutional guarantee is limited to assuring that the
court does not exceed its legislative authorization by
imposing multiple punishments for the same
offense.'" United States v. Halliday, 672
F.3d 462, 468 (7th Cir. 2012) (quoting Brown v.
Ohio, 432 U.S. 161, 165 (1977)).
asks that the Court dismiss Count One of the indictment
because of double jeopardy concerns. [127, at 2.]
Specifically, Defendant argues that Counts One and Two of the
indictment "are based on the same act or transaction
and therefore violate the Double Jeopardy Clause."
[127, at 2.] In support of this argument, Defendant
exclusively relies upon United States v. Harvey,
which held that the defendant's convictions for receipt
and possession of child pornography arose out of same act or
transaction and thus violated Double Jeopardy Clause. 829
F.3d 586, 590-91 (8th Cir. 2016). In reaching this
conclusion, the Eighth Circuit explained that possession of
child pornography is a lesser included offense of receipt of
child pornography when based on the same act or transaction.
Id. Because the government conceded that
defendant's convictions for receipt and possession of
child pornography were based on the same act or transaction,
the court concluded that the defendant's convictions
violated the Double Jeopardy Clause. Id. at 591.
Although a majority of circuits have agreed with the
conclusion reached by the Eighth Circuit-namely, that
possession of child pornography is a lesser included offense
of receipt of child pornography, see United States v.
Johnston, 789 F.3d 934, 938 (9th Cir. 2015) (collecting
cases)-the Seventh Circuit has not yet addressed the issue.
However, this Court need not decide the issue today. Even
assuming that that the Seventh Circuit would follow the
majority approach that possession of child pornography is a
lesser included offense of receipt of child pornography,
allowing the government to proceed on both Counts One and Two
of the indictment in this case does not violate the Double
Jeopardy Clause.
begin-unlike Harvey-the images and/or videos that
form the bases of the receipt and possession counts are
different. Accordingly, Counts One and Two cannot be
considered the same crime. The Seventh Circuit has squarely
addressed this issue, stating that "where separate
images form the bases for separate receipt and possession
counts, there can be no double jeopardy violation."
United States v. Halliday, 672 F.3d 462, 470 (7th
Cir. 2012).[3] The Seventh Circuit further advised that,
"in future cases, the government would be wise to
clearly indicate in the indictment which images are included
in each count of the indictment." Id. at 472.
As discussed above, the government has done so here. Given
that Defendant elected not to file any reply brief, Defendant
appears to concede the point.[4]
even if the images and/or videos underlying Counts One and
Two of the indictment were the same, "the government
[may] submit to the jury both a receipt and possession count
based on the same conduct, but request that the court vacate
or stay the possession conviction if there is a receipt
conviction for duplicate conduct." Johnston,
789 F.3d at 940. In other words, the government is entitled
to charge the defendant under two different theories for the
same conduct and determine, after the jury has rendered its
verdict, on which count defendant should be sentenced. Any
motion to dismiss a count of the indictment based on double
jeopardy concerns therefore is premature.
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Research Proposals
The TCH seeks applications from young researchers to carry out research in the field of haptics.
This grant will be awarded to young researchers at the postdoc and Ph.D. student position levels with the goal of encouraging new research in one or more of the following areas: Human Haptics (e.g. perception and psychophysics), Computer Haptics (e.g. control and rendering algorithms), Machine Haptics (e.g. novel materials actuators), and Design Haptics (e.g. haptic design tools). The grant wants to foster curiosity from applicants to explore new ideas in their research project that otherwise will be left unexplored. Women are encouraged to apply as the TCH aims at having 50% of the total grant assigned to women researchers. The research proposal can be related or independent of the project the applicant is currently working on.
The total budget for the program is $10,000 USD and will be divided between 2 to 4 projects.
Deadline for submission of the research proposal: November 16, 2018 at 5pm PT.
Date to announce funding decision: November 30, 2018 at 5pm PT.
Review process
- The final decision will be at the discretion of the TCH chair members following the criteria in the next section.
Up to 4 research grants will be awarded for research to be performed within a year after the grant has been approved.
Applicants must be Postdocs or Ph.D. students working in a related area of haptics and must have started the Ph.D. program after January 1st, 2011.
Innovation and justification.
The proposal must provide justification of the novelty of the research topic, and also present well-defined
objectives describing the methodology to be used.
The proposal must describe achievable goals and how they will be achieved
within 1 year.
The applicant must demonstrate the necessary expertise in one of the areas of Haptics, and how that expertise will help in achieving the proposed goals.
The applicant must submit a letter of support from the supervisor.
The submission deadline for applications is November 16, 2018 at 5pm PT, and submissions should be sent through email to firstname.lastname@example.com
A two-page maximum research proposalwith goals, methodology and references followed by a description of the current research topic been investigated by the applicant if the proposed research topic is related to it. A separate third page with the budget and a picture or illustration if desired. The document must be single line spaced.
Applicant's C.V.
A letter of support from the applicant's supervisor.
Any questions related to this Call and application process must be sent to