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A Midsummer Night's Dream
A Midsummer Night's Dream is a comedy play by William Shakespeare, believed to have been written between 1590 and 1597. It portrays the events surrounding the marriage of the Duke of Athens, Theseus, and Hippolyta. These include the adventures of four young Athenian lovers and a group of six amateur actors (mechanicals), who are controlled and manipulated by the fairies who inhabit the forest in which most of the play is set. The play is one of Shakespeare's most popular works for the stage and is widely performed across the world.
- 1 Characters
- 2 Plot
- 3 Sources and date
- 4 Publication and text
- 5 Themes in the story
- 6 Performance history
- 7 Adaptations and cultural references
- 8 Gallery
- 9 See also
- 10 References
- 11 Bibliography
- 12 External links
The Athenians
The Fairies
The Mechanicals (An acting troupe)
The Play consists of four interconnecting plots, connected by a celebration of the wedding of Duke Theseus of Athens and the Amazon queen, Hippolyta, which is set simultaneously in the woodland and in the realm of Fairyland, under the light of the moon.[1]
The play opens with Hermia, who is in love with Lysander, not wanting to submit to her father Egeus' demand that she wed Demetrius, whom he has arranged for her to marry. Helena meanwhile pines unrequitedly for Demetrius. Enraged, Egeus invokes an ancient Athenian law before Duke Theseus, whereby a daughter must marry the suitor chosen by her father, or else face death. Theseus offers her another choice: lifelong chastity while worshiping the goddess Diana as a nun.
Peter Quince and his fellow players plan to put on a play for the wedding of the Duke and the Queen, "the most lamentable comedy and most cruel death of Pyramus and Thisbe".[2] Quince reads the names of characters and bestows them to the players. Nick Bottom, who is playing the main role of Pyramus, is over-enthusiastic and wants to dominate others by suggesting himself for the characters of Thisbe, the Lion, and Pyramus at the same time. He would also rather be a tyrant and recites some lines of Ercles. Quince ends the meeting with "at the Duke's oak we meet".
In a parallel plot line, Oberon, king of the fairies, and Titania, his queen, have come to the forest outside Athens. Titania tells Oberon that she plans to stay there until she has attended Theseus and Hippolyta's wedding. Oberon and Titania are estranged because Titania refuses to give her Indian changeling to Oberon for use as his "knight" or "henchman," since the child's mother was one of Titania's worshipers. Oberon seeks to punish Titania's disobedience. He calls upon Robin "Puck" Goodfellow, his "shrewd and knavish sprite",[3] to help him concoct a magical juice derived from a flower called "love-in-idleness", which turns from white to purple when struck by Cupid's arrow. When the concoction is applied to the eyelids of a sleeping person, that person, upon waking, falls in love with the first living thing they perceive. He instructs Puck to retrieve the flower with the hope that he might make Titania fall in love with an animal of the forest and thereby shame her into giving up the little Indian boy. He says, "And ere I take this charm from off her sight, / As I can take it with another herb, / I'll make her render up her page to me."[4]
Hermia and Lysander have escaped to the same forest in hopes of eloping. Helena, desperate to reclaim Demetrius's love, tells Demetrius about the plan and he follows them in hopes of killing Lysander. Helena continually makes advances towards Demetrius, promising to love him more than Hermia. However, he rebuffs her with cruel insults against her. Observing this, Oberon orders Puck to spread some of the magical juice from the flower on the eyelids of the young Athenian man. Instead, Puck mistakes Lysander for Demetrius, not having actually seen either before, and administers the juice to the sleeping Lysander. Helena, coming across him, wakes him while attempting to determine whether he is dead or asleep. Upon this happening, Lysander immediately falls in love with Helena. Oberon sees Demetrius still following Hermia and is enraged. When Demetrius decides to go to sleep, Oberon sends Puck to get Helena while he charms Demetrius' eyes. Upon waking up, he sees Helena. Now, both men are in pursuit of Helena. However, she is convinced that her two suitors are mocking her, as neither loved her originally. Hermia is at a loss to see why her lover has abandoned her, and accuses Helena of stealing Lysander away from her. The four quarrel with each other until Lysander and Demetrius become so enraged that they seek a place to duel each other to prove whose love for Helena is the greatest. Oberon orders Puck to keep Lysander and Demetrius from catching up with one another and to remove the charm from Lysander. Lysander returns to loving Hermia, while Demetrius continues to love Helena.
Meanwhile, Quince and his band of six labourers ("rude mechanicals", as they are described by Puck) have arranged to perform their play about Pyramus and Thisbe for Theseus' wedding and venture into the forest, near Titania's bower, for their rehearsal. Bottom is spotted by Puck, who (taking his name to be another word for a jackass) transforms his head into that of a donkey. When Bottom returns for his next lines, the other workmen run screaming in terror, much to Bottom's confusion, since he hasn't felt a thing during the transformation. Determined to wait for his friends, he begins to sing to himself. Titania is awakened by Bottom's singing and immediately falls in love with him. She lavishes him with attention and presumably makes love to him. While she is in this state of devotion, Oberon takes the changeling. Having achieved his goals, Oberon releases Titania, orders Puck to remove the donkey's head from Bottom, and arranges everything so that Hermia, Lysander, Demetrius, and Helena will believe that they have been dreaming when they awaken.
The fairies then disappear, and Theseus and Hippolyta arrive on the scene, during an early morning hunt. They wake the lovers and, since Demetrius does not love Hermia any more, Theseus overrules Egeus's demands and arranges a group wedding. The lovers decide that the night's events must have been a dream. After they all exit, Bottom awakes, and he too decides that he must have experienced a dream "past the wit of man". In Athens, Theseus, Hippolyta and the lovers watch the six workmen perform Pyramus and Thisbe. Given a lack of preparation, the performers are so terrible playing their roles to the point where the guests laugh as if it were meant to be a comedy, and everyone retires to bed. Afterwards, Oberon, Titania, Puck, and other fairies enter, and bless the house and its occupants with good fortune. After all other characters leave, Puck "restores amends" and suggests to the audience that what they just experienced might be nothing but a dream (hence the name of the play).
Sources and date
It is unknown exactly when A Midsummer Night's Dream was written or first performed, but on the basis of topical references and an allusion to Edmund Spenser's Epithalamion, it is usually dated 1595 or early 1596. Some have theorized that the play might have been written for an aristocratic wedding (for example that of Elizabeth Carey, Lady Berkeley), while others suggest that it was written for the Queen to celebrate the feast day of St. John. No concrete evidence exists to support this theory. In any case, it would have been performed at The Theatre and, later, The Globe. Though it is not a translation or adaptation of an earlier work, various sources such as Ovid's Metamorphoses and Chaucer's "The Knight's Tale" served as inspiration.[5] According to John Twyning, the play's plot of four lovers undergoing a trial in the woods was intended as a "riff" on Der Busant, a Middle High German poem.[6]
Publication and text
The play was entered into the Register of the Stationers Company on 8 October 1600 by the bookseller Thomas Fisher, who published the first quarto edition later that year. A second quarto was printed in 1619 by William Jaggard, as part of his so-called False Folio.[7] The play next appeared in print in the First Folio of 1623. The title page of Q1 states that the play was "sundry times publickely acted" prior to 1600. The first performance known with certainty occurred at Court on 1 January 1605.
Themes in the story
Both David Wiles of the University of London and Harold Bloom of Yale University have strongly endorsed the reading of this play under the themes of Carnivalesque, Bacchanalia, and Saturnalia.[8] Writing in 1998, David Wiles stated that: "The starting point for my own analysis will be the proposition that although we encounter A Midsummer Night's Dream as a text, it was historically part of an aristocratic carnival. It was written for a wedding, and part of the festive structure of the wedding night. The audience who saw the play in the public theatre in the months that followed became vicarious participants in an aristocratic festival from which they were physically excluded. My purpose will be to demonstrate how closely the play is integrated with a historically specific upper-class celebration."[9]
David Bevington argues that the play represents the dark side of love. He writes that the fairies make light of love by mistaking the lovers and by applying a love potion to Titania's eyes, forcing her to fall in love with an ass.[10] In the forest, both couples are beset by problems. Hermia and Lysander are both met by Puck, who provides some comic relief in the play by confounding the four lovers in the forest. However, the play also alludes to serious themes. At the end of the play, Hippolyta and Theseus, happily married, watch the play about the unfortunate lovers, Pyramus and Thisbe, and are able to enjoy and laugh at it.[11] Helena and Demetrius are both oblivious to the dark side of their love, totally unaware of what may have come of the events in the forest.
Problem with time
There is a dispute over the scenario of the play as it is cited at first by Theseus that "four happy days bring in another moon".[2] The wood episode then takes place at a night of no moon, but Lysander asserts that there will be so much light in the very night they will escape that dew on the grass will be shining[12] like liquid pearls. Also, in the next scene, Quince states that they will rehearse in moonlight,[13] which creates a real confusion. It is possible that the Moon set during the night allowing Lysander to escape in the moonlight and for the actors to rehearse, then for the wood episode to occur without moonlight. Theseus's statement can also be interpreted to mean "four days until the next month". The play also intertwines the Midsummer Eve of the title with May Day, furthering the idea of a confusion of time and the seasons. This is evidenced by Theseus commenting on some slumbering youths, that they "observe The rite of May" (Act 4, Scene 1).
Loss of individual identity
Maurice Hunt, Chair of the English Department at Baylor University, writes of the blurring of the identities of fantasy and reality in the play that make possible "that pleasing, narcotic dreaminess associated with the fairies of the play".[14] By emphasising this theme even in the setting of the play, Shakespeare prepares the reader's mind to accept the fantastic reality of the fairy world and its happenings. This also seems to be the axis around which the plot conflicts in the play occur. Hunt suggests that it is the breaking down of individual identities that leads to the central conflict in the story.[14] It is the brawl between Oberon and Titania, based on a lack of recognition for the other in the relationship, that drives the rest of the drama in the story and makes it dangerous for any of the other lovers to come together due to the disturbance of Nature caused by a fairy dispute.[14] Similarly, this failure to identify and to distinguish is what leads Puck to mistake one set of lovers for another in the forest, placing the flower's juice on Lysander's eyes instead of Demetrius'.
Victor Kiernan, a Marxist scholar and historian, writes that it is for the greater sake of love that this loss of identity takes place and that individual characters are made to suffer accordingly: "It was the more extravagant cult of love that struck sensible people as irrational, and likely to have dubious effects on its acolytes".[15] He believes that identities in the play are not so much lost as they are blended together to create a type of haze through which distinction becomes nearly impossible. It is driven by a desire for new and more practical ties between characters as a means of coping with the strange world within the forest, even in relationships as diverse and seemingly unrealistic as the brief love between Titania and Bottom the Ass: "It was the tidal force of this social need that lent energy to relationships".[16]
The aesthetics scholar David Marshall draws out this theme even further [17] by noting that the loss of identity reaches its fullness in the description of the mechanicals and their assumption of other identities. In describing the occupations of the acting troupe, he writes "Two construct or put together, two mend and repair, one weaves and one sews. All join together what is apart or mend what has been rent, broken, or sundered". In Marshall's opinion, this loss of individual identity not only blurs specificities, it creates new identities found in community, which Marshall points out may lead to some understanding of Shakespeare's opinions on love and marriage. Further, the mechanicals understand this theme as they take on their individual parts for a corporate performance of Pyramus and Thisbe. Marshall remarks that "To be an actor is to double and divide oneself, to discover oneself in two parts: both oneself and not oneself, both the part and not the part". He claims that the mechanicals understand this and that each character, particularly among the lovers, has a sense of laying down individual identity for the greater benefit of the group or pairing. It seems that a desire to lose one's individuality and find identity in the love of another is what quietly moves the events of A Midsummer Night's Dream. As the primary sense of motivation, this desire is reflected even in the scenery depictions and the story's overall mood.
Ambiguous sexuality
In his essay "Preposterous Pleasures: Queer Theories and A Midsummer Night's Dream", Douglas E. Green explores possible interpretations of alternative sexuality that he finds within the text of the play, in juxtaposition to the proscribed social mores of the culture at the time the play was written. He writes that his essay "does not (seek to) rewrite A Midsummer Night's Dream as a gay play but rather explores some of its 'homoerotic significations' ... moments of 'queer' disruption and eruption in this Shakespearean comedy".[18] Green states that he does not consider Shakespeare to have been a "sexual radical", but that the play represented a "topsy-turvy world" or "temporary holiday" that mediates or negotiates the "discontents of civilisation", which while resolved neatly in the story's conclusion, do not resolve so neatly in real life.[19] Green writes that the "sodomitical elements", "homoeroticism", "lesbianism", and even "compulsory heterosexuality" in the story must be considered in the context of the "culture of early modern England" as a commentary on the "aesthetic rigidities of comic form and political ideologies of the prevailing order". Aspects of ambiguous sexuality and gender conflict in the story are also addressed in essays by Shirley Garner[20] and William W.E. Slights[21] albeit all the characters are played by males.
Male dominance is one thematic element found in A Midsummer Night's Dream. In A Midsummer Night's Dream, Lysander and Hermia escape into the woods for a night where they do not fall under the laws of Theseus or Egeus. Upon their arrival in Athens, the couples are married. Marriage is seen as the ultimate social achievement for women while men can go on to do many other great things and gain societal recognition.[22] In his article "The Imperial Votaress", Louis Montrose draws attention to male and female gender roles and norms present in the comedy in connection with Elizabethan culture. In reference to the triple wedding, he says, "The festive conclusion in A Midsummer Night's Dream depends upon the success of a process by which the feminine pride and power manifested in Amazon warriors, possessive mothers, unruly wives, and wilful daughters are brought under the control of lords and husbands."[23] He says that the consummation of marriage is how power over a woman changes hands from father to husband. A connection between flowers and sexuality is drawn. The juice employed by Oberon can be seen as symbolising menstrual blood as well as the sexual blood shed by virgins. While blood as a result of menstruation is representative of a woman's power, blood as a result of a first sexual encounter represents man's power over women.[24]
There are points in the play, however, when there is an absence of patriarchal control. In his book Power on Display, Leonard Tennenhouse says the problem in A Midsummer Night's Dream is the problem of "authority gone archaic".[25] The Athenian law requiring a daughter to die if she does not do her father's will is outdated. Tennenhouse contrasts the patriarchal rule of Theseus in Athens with that of Oberon in the carnivalistic Faerie world. The disorder in the land of the fairies completely opposes the world of Athens. He states that during times of carnival and festival, male power is broken down. For example, what happens to the four lovers in the woods as well as Bottom's dream represents chaos that contrasts with Theseus' political order. However, Theseus does not punish the lovers for their disobedience. According to Tennenhouse, by forgiving the lovers, he has made a distinction between the law of the patriarch (Egeus) and that of the monarch (Theseus), creating two different voices of authority. This distinction can be compared to the time of Elizabeth I in which monarchs were seen as having two bodies: the body natural and the body politic. Elizabeth's succession itself represented both the voice of a patriarch as well as the voice of a monarch: (1) her father's will which stated that the crown should pass to her and (2) the fact that she was the daughter of a king.[26] The challenge to patriarchal rule in A Midsummer Night's Dream mirrors exactly what was occurring in the age of Elizabeth I.
Performance history
17th and 18th centuries
During the years of the Puritan Interregnum when the theatres were closed (1642–60), the comic subplot of Bottom and his compatriots was performed as a droll. Drolls were comical playlets, often adapted from the subplots of Shakespearean and other plays, that could be attached to the acts of acrobats and jugglers and other allowed performances, thus circumventing the ban against drama.
When the theatres re-opened in 1660, A Midsummer Night's Dream was acted in adapted form, like many other Shakespearean plays. Samuel Pepys saw it on 29 September 1662 and thought it "the most insipid, ridiculous play that ever I saw ..."[27]
After the Jacobean/Caroline era, A Midsummer Night's Dream was never performed in its entirety until the 1840s. Instead, it was heavily adapted in forms like Henry Purcell's musical masque/play The Fairy Queen (1692), which had a successful run at the Dorset Garden Theatre, but was not revived. Richard Leveridge turned the Pyramus and Thisbe scenes into an Italian opera burlesque, acted at Lincoln's Inn Fields in 1716. John Frederick Lampe elaborated upon Leveridge's version in 1745. Charles Johnson had used the Pyramus and Thisbe material in the finale of Love in a Forest, his 1723 adaptation of As You Like It. In 1755, David Garrick did the opposite of what had been done a century earlier: he extracted Bottom and his companions and acted the rest, in an adaptation called The Fairies. Frederic Reynolds produced an operatic version in 1816.[28]
The Victorian stage
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In 1840, Madame Vestris at Covent Garden returned the play to the stage with a relatively full text, adding musical sequences and balletic dances. Vestris took the role of Oberon, and for the next seventy years, Oberon and Puck would always be played by women.[29] After the success of Vestris' production, 19th-century theatre continued to stage the Dream as a spectacle, often with a cast numbering nearly one hundred. Detailed sets were created for the palace and the forest, and the fairies were portrayed as gossamer-winged ballerinas. The overture by Felix Mendelssohn was always used throughout this period. Augustin Daly's production opened in 1895 in London and ran for 21 performances. The special effects were constructed by the Martinka Magic Company, which was later owned by Houdini.
20th – 21st century
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Herbert Beerbohm Tree staged a 1911 production with live rabbits.
Max Reinhardt staged A Midsummer Night's Dream thirteen times between 1905 and 1934, introducing a revolving set. After he fled Germany he devised a more spectacular outdoor version at the Hollywood Bowl, in September 1934. The shell was removed and replaced by a forest planted in tons of dirt hauled in especially for the event, and a trestle was constructed from the hills to the stage. The wedding procession inserted between Acts IV and V crossed the trestle with torches down the hillside. The cast included John Davis Lodge, William Farnum, Sterling Holloway, Olivia de Havilland, Mickey Rooney and a corps of dancers which included Katherine Dunham and Butterfly McQueen, with Mendelssohn's music.
On the strength of this production, Warner Brothers signed Reinhardt to direct a filmed version, Hollywood's first Shakespeare movie since Douglas Fairbanks Sr. and Mary Pickford's Taming of the Shrew in 1929. Rooney (Puck) and De Havilland (Hermia and Zara) were the only holdovers from the Hollywood Bowl cast. James Cagney starred, in his only Shakespearean role, as Bottom. Other actors in the film who played Shakespearean roles just this once included Joe E. Brown and Dick Powell. Erich Wolfgang Korngold was brought from Austria to arrange Mendelssohn's music for the film. He not only used the Midsummer Night's Dream music but also several other pieces by Mendelssohn. Korngold went on to make a Hollywood career, remaining in the U.S. after the Nazis invaded Austria.
Director Harley Granville-Barker introduced in 1914 a less spectacular way of staging the Dream: he reduced the size of the cast and used Elizabethan folk music instead of Mendelssohn. He replaced large, complex sets with a simple system of patterned curtains. He portrayed the fairies as golden robotic insectoid creatures based on Cambodian idols. His simpler, sparer staging significantly influenced subsequent productions.
In 1970, Peter Brook staged the play for the Royal Shakespeare Company in a blank white box, in which masculine fairies engaged in circus tricks such as trapeze artistry. Brook also introduced the subsequently popular idea of doubling Theseus/Oberon and Hippolyta/Titania, as if to suggest that the world of the fairies is a mirror version of the world of the mortals. British actors who played various roles in Brook's production included Patrick Stewart, Ben Kingsley, John Kane (Puck) and Jennie Stoller (Helena).
Since Brook's production, directors have used their imaginations freely in staging the play. In particular, there has been an increased use of sexuality on stage, as many directors see the palace as a symbol of restraint and repression, while the wood is a symbol of unrestrained sexuality, both liberating and terrifying.
A Midsummer Night's Dream has been produced many times in New York, including several stagings by the New York Shakespeare Festival at the Delacorte Theatre in Central Park and a production by the Theatre for a New Audience, produced by Joseph Papp at the Public Theater. In 1978, the Riverside Shakespeare Company staged an outdoor production starring Eric Hoffmann as Puck, with Karen Hurley as Titania and Eric Conger as Oberon, directed by company founder Gloria Skurski. There have been several variations since then, including some set in the 1980s.
In September 2013 Michael Grandage staged a production of A Midsummer Night's Dream at the Noël Coward Theatre. The production featured TV star Sheridan Smith as Titania and TV star and comedian David Walliams as Bottom.
Adaptations and cultural references
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Botho Strauß's play Der Park (1983) is based on characters and motifs from A Midsummer Night's Dream.[citation needed]
Neil Gaiman's comic series The Sandman uses the play as a focal point in issue #19. In it, Shakespeare and his company perform the play for the real Oberon and Titania and an audience of fairies. The play is heavily quoted in the comic. Shakespeare's son Hamnet Shakespeare appears in the play as the Indian boy. It is strongly hinted that he is later taken away by Titania, much like the changeling in the story. This issue was the first and only comic to win the World Fantasy Award for Best Short Fiction, in 1991.[30]
Terry Pratchett's book Lords and Ladies (1992) heavily spoofs the Shakespearean play.
Musical versions
Henry Purcell
The Fairy-Queen by Henry Purcell consists of a set of masques meant to go between acts of the play, as well as some minimal rewriting of the play to be current to 17th century audiences.
Felix Mendelssohn Bartholdy
In 1826, Felix Mendelssohn composed a concert overture, inspired by the play, that was first performed in 1827. In 1842, partly because of the fame of the overture, and partly because his employer King Friedrich Wilhelm IV of Prussia liked the incidental music that Mendelssohn had written for other plays that had been staged at the palace in German translation, Mendelssohn was commissioned to write incidental music for a production of A Midsummer Night's Dream that was to be staged in 1843 in Potsdam. He incorporated the existing Overture into the incidental music, which was used in most stage versions through the 19th century. The best known of the pieces from the incidental music is the famous Wedding March, frequently used as a recessional in weddings.
The choreographer Marius Petipa, more famous for his collaborations with Tchaikovsky (on the ballets Swan Lake and The Sleeping Beauty) made another ballet adaptation for the Imperial Ballet of St. Petersburg with additional music and adaptations to Mendelssohn's score by Léon Minkus. The revival premiered 14 July 1876. English choreographer Frederick Ashton also created a 40-minute ballet version of the play, retitled to The Dream. George Balanchine was another to create a Midsummer Night's Dream ballet based on the play, using Mendelssohn's music.
Between 1917 and 1939 Carl Orff also wrote incidental music for a German version of the play, Ein Sommernachtstraum (performed in 1939). Since Mendelssohn's parents were Jews who converted to Lutheranism, his music had been banned by the Nazi regime, and the Nazi cultural officials put out a call for new music for the play: Orff was one of the musicians who responded. He later reworked the music for a final version, completed in 1964.
Ralph Vaughan Williams
"Over Hill, Over Dale", from Act 2, is the third of the Three Shakespeare Songs set to music by the British composer Ralph Vaughan Williams. He wrote the pieces for a cappella SATB choir in 1951 for the British Federation of Music Festivals, and they remain a popular part of British choral repertoire today.
Benjamin Britten
The play was adapted into an opera, with music by Benjamin Britten and libretto by Britten and Peter Pears. The opera was first performed on 1 June 1960 at Aldeburgh.
The theatre company, Moonwork put on a production of Midsummer in 1999. It was conceived by Mason Pettit, Gregory Sherman and Gregory Wolfe (who directed it). The show featured a rock-opera version of the play within a play, Pyramus & Thisbe with music written by Rusty Magee. The music for the rest of the show was written by Andrew Sherman.
The Donkey Show
The Donkey Show is a disco-era experience based on A Midsummer Night's Dream, that first appeared Off-Broadway in 1999.[31]
In 1949 a three-act opera by Delannoy entitled Puck was premiered in Strasbourg.
Progressive Rock guitarist Steve Hackett, best known for his work with Genesis, made a classical adaptation of the play in 1997.
Hans Werner Henze's Eighth Symphony is inspired by sequences from the play.
The Alexander W. Dreyfoos School of the Arts Theatre Department presented the show as a musical adapted/directed by Beverly Blanchette (produced by Marcie Gorman) using the songs of The Moody Blues. The show was called Midsummer and was subsequently performed at Morsani Hall/Straz Performing Arts Center in Tampa, at the Florida State International Thespian Society Festival. Text/Concept Copyright, 9 December 2011.
In 2011, Opera Memphis, Playhouse on the Square, and contemporary a cappella groups DeltaCappella and Riva, premiered Michael Ching's A Midsummer Night's Dream: Opera A Cappella.[32]
- George Balanchine's A Midsummer Night's Dream, his first original full-length ballet, was premiered by the New York City Ballet on 17 January 1962. It was chosen to open the NYCB's first season at the New York State Theater at Lincoln Center in 1964. Balanchine interpolated further music by Mendelssohn into his Dream, including the overture from Athalie.[33][34][35][36] A film version of the ballet was released in 1966.[citation needed]
- Frederick Ashton created his "The Dream", a short (not full-length) ballet set exclusively to the famous music by Félix Mendelssohn, arranged by John Lanchbery, in 1964. It was created on England's Royal Ballet and has since entered the repertoire of other companies, notably The Joffrey Ballet and American Ballet Theatre.[36]
- John Neumeier created his full-length ballet Ein Sommernachtstraum for his company at the Hamburg State Opera (Hamburgische Staatsoper) in 1977. Longer than Ashton's or Balanchine's earlier versions, Neumeier's version includes other music by Mendelssohn along with the Midsummer Night's Dream music, as well as music from the modern composer György Sándor Ligeti, and jaunty barrel organ music. Neumeier devotes the three sharply differing musical styles to the three character groups, with the aristocrats and nobles dancing to Mendelssohn, the fairies to Ligeti, and the rustics or mechanicals to the barrel organ.[37] Neumeier set his A Midsummer Night's Dream for the Bolshoi Ballet in 2005.[38]
- Elvis Costello composed the music for a full-length ballet Il Sogno, based on A Midsummer Night's Dream. The music was subsequently released as a classical album by Deutsche Grammophon in 2004.
Film adaptations
A Midsummer Night's Dream has been adapted as a film several times. The following are the best known.
- A 1925 German silent film Wood Love directed by Hans Neumann
- A 1935 film version was directed by Max Reinhardt and William Dieterle. The cast included James Cagney as Bottom, Mickey Rooney as Puck, Olivia de Havilland as Hermia, Joe E. Brown as Francis Flute, Dick Powell as Lysander and Victor Jory as Oberon.[39]
- A 1968 film version was directed by Peter Hall. The cast included Paul Rogers as Bottom, Ian Holm as Puck, Diana Rigg as Helena, Helen Mirren as Hermia, Ian Richardson as Oberon, Judi Dench as Titania, and Sebastian Shaw as Quince. This film stars the Royal Shakespeare Company, and is directed by Peter Hall.
- A Midsummer Night's dream/Sen noci svatojánské (1959) was director by Czech animator Jiri Trnka. This was stop-motion puppet film that followed Shakespeare's story simply with a narrator (The English language version was narrated by Richard Burton).
- A Midsummer Night's Sex Comedy (1982) was a film written and directed by Woody Allen. The plot is loosely based on Ingmar Bergman's Smiles of a Summer Night, with some elements from Shakespeare's play.
- 'Bottom's Dream' (1983) was an animated short directed by John Canemaker showing events of the play from the point of view of Bottom. The film uses selections of Mendelssohn's music, as well as some lines from the play, combined with surreal imagery to convey Bottom's experience.
- Dead Poets Society features the play as a production for which Neil Perry tries out for and wins the role of Puck, in spite of his father's disapproval of his acting aspirations.
- A 1996 adaptation directed by Adrian Noble. The cast included Desmond Barrit as Bottom, Barry Lynch as Puck, Alex Jennings as Oberon/Theseus, and Lindsay Duncan as Titania/Hippolyta. This film is based on Noble's hugely popular Royal Shakespeare Company production. Its art design is eccentric, featuring a forest of floating light bulbs and a giant umbrella for Titania's bower.
- A 1999 film version was written and directed by Michael Hoffman. The cast includes Kevin Kline as Bottom, Rupert Everett as Oberon, Michelle Pfeiffer as Titania, Stanley Tucci as Puck, Sophie Marceau as Hippolyta, Christian Bale as Demetrius, Dominic West as Lysander, and Calista Flockhart as Helena. This adaptation relocates the play's action from Athens to a fictional "Monte Athena", located in Tuscany, Italy, although all textual mentions of Athens are retained.
- A 1999 version was written and directed by James Kerwin. The cast included Travis Schuldt as Demetrius. It set the story against a surreal backdrop of techno clubs and ancient symbols.
- A Midsummer Night's Rave (2002) directed by Gil Cates Jr. changes the setting to a modern rave. Puck is a drug dealer, the magic flower called love-in-idleness is replaced with magic ecstasy, and the King and Queen of Fairies are the host of the rave and the DJ.
- The 2008 movie, "Were the World Mine," is inspired by the play, and prominently features a modern interpretation of the play put on in a private high school in a small town. Additionally, this musical's lyrics are largely based on Shakespeare's original text. For example, the title comes from a line in a song, drawn from a line in a play, "Were the world mine, Demetrius being bated / The rest I'd give to be to you translated."
TV productions
- The 1981 BBC Television Shakespeare production was produced by Jonathan Miller. It starred Helen Mirren as Titania, Peter McEnery as Oberon, Robert Lindsay as Lysander, Geoffrey Palmer as Quince and Brian Glover as Bottom.
- An abbreviated version of A Midsummer Night's Dream was made into an animated short (with the same title) by Walt Disney Television Animation in 1999 as part of the "Mouse Tales" series. It was featured in a 2002 episode of Disney's House of Mouse ("House of Scrooge", Season 3, Episode 34).[citation needed] The star-crossed lovers are played by Mickey Mouse (Lysander), Minnie Mouse (Hermia), Donald Duck (Demetrius), and Daisy Duck (Helena). The character based on Theseus is played by Ludwig Von Drake, and the character based on Egeus by Scrooge McDuck. Goofy appears as an accident-prone Puck. The story ends with the revelation that it was a dream experienced by Mickey Mouse while sleeping at a picnic hosted by Minnie.
- In a 2006 episode of the Disney Channel show The Suite Life of Zack & Cody called "A Midsummer's Nightmare", the title characters perform in a low-budget production of the play that goes awry. The plot of the episode ironically (and loosely) follows that of the play.[40]
- In 2005 ShakespeaRe-Told, the BBC TV series, aired an updated of the play. It was written by Peter Bowker. The cast includes Johnny Vegas as Bottom, Dean Lennox Kelly as Puck, Bill Paterson as Theo (a conflation of Theseus and Egeus), and Imelda Staunton as his wife Polly (Hippolyta). Lennie James plays Oberon and Sharon Small is Titania. Zoe Tapper and Michelle Bonnard play Hermia and Helena.
- The "play within a play" from Act V, Scene I, Pyramus and Thisbe, was performed by the members of the British pop music group The Beatles on 28 April 1964 for a British television special; Around The Beatles (Broadcast in the UK on ITV on 6 May, and in the US on ABC on 15 November). Paul McCartney appeared as Pyramus, John Lennon as Thisbe, George Harrison as Moonshine, and Ringo Starr as Lion. The performance, before a live audience, was done with great comic intent and included a number of intentional hecklers.[41]
- On 29 October 2014, Third Star Productions released the first episode of A Midsemester Night's Dream.[42] This web series, produced by Julia Seales, Rachel Brittain, and Lauren Mandel, is set in Nashville, Tennessee and takes place on a modern college campus.[43]
British astronomer William Herschel named the two moons of Uranus that he discovered in 1787 after characters in the play, Oberon and Titania. Another moon, discovered in 1985, has been named Puck.
- Reynolds-Puck.JPG
"Puck" by Joshua Reynolds, 1789
- Johann Heinrich Füssli - Titania liebkost den eselköpfigen Bottom.jpg
Titania and Bottom by Johann Heinrich Füssli 1793–94
- Titania and Bottom John Anster Fitzgerald.JPG
Titania and Bottom by John Anster Fitzgerald
- Joseph Noel Paton - The Reconciliation of Titania and Oberon.jpg
Joseph Noel Paton: "The Reconciliation of Titania and
- Fitzgerald, John Anster - The Marriage of Oberon and Titania.jpg
The Marriage of Oberon and Titania by John Anster Fitzgerald
- Henry Meynell Rheam - Titania.jpg
Henry Meynell Rheam: Titania welcoming her fairy brethren
- Gervais Folie de Titania (2004 1 188).JPG
La Folie de Titania, by Paul Gervais, 1897
- Scene from 'A Midsummer Night's Dream' by John Simmons, 1873, watercolor.jpg
A Midsummer Night's Dream by John Simmons, 1873
- Thomas Stothard - Oberon and Titania from "A Midsummer Night's Dream," Act IV, Scene i - Google Art Project.jpg
Thomas Stothard - Oberon and Titania from "A Midsummer Night's Dream," Act IV, Scene I
See also
- ^ Shakespeare (1979), p. cxx
- ^ a b Shakespeare (2003).[page needed]
- ^ "A Midsummer Night's Dream". Shakespeare Navigators. Act 2, Scene 1, Lines 33–34. Retrieved 20 August 2012.
- ^ "A Midsummer Night's Dream". Shakespeare Navigators. Act 2, Scene 1, Lines 183–184. Retrieved 20 August 2012.
- ^ Hunter (1870).[page needed]
- ^ Twyning (2008).[page needed]
- ^ S4Ulanguages.Com See title page of facsimile of this edition, claiming James Roberts as a publisher and 1600 as the publishing date
- ^ Wiles (1998), pp. 208–223.
- ^ Wiles (1998), p. 213.
- ^ Bevington (1996), pp. 24–35.
- ^ Bevington (1996), p. 32.
- ^ Shakespeare (2003), II. 209–213.
- ^ Shakespeare (2003), l. 81.
- ^ a b c *Hunt, Maurice (Summer 1986). "Individuation in 'A Midsummer Night's Dream'". South Central Review 3 (2): 1–13. JSTOR 3189362.
- ^ Kiernan (1993), p. 212.
- ^ Kiernan (1993), p. 210.
- ^ Marshall, David (Autumn 1982). "Exchanging Visions: Reading 'A Midsummer Night's Dream'". ELH 49 (3): 543–575. JSTOR 2872755.
- ^ Green (1998), p. 370.
- ^ Green (1998), p. 375.
- ^ Garner (1998), pp. 129–130.
- ^ Slights (1998), p. 261.
- ^ Howard (2003), p. 414.
- ^ Montrose (2000), p. 65.
- ^ Montrose (2000), pp. 61–69.
- ^ Tennenhouse (1986), p. 73.
- ^ Tennenhouse (1986), pp. 74–76.
- ^ Halliday (1964), pp. 142–3, 316–7.
- ^ Halliday (1964), pp. 255, 271, 278, 316–17, 410.
- ^ "Stage History". Royal Shakespeare Company. Retrieved 11 May 2014.
- ^ Comics were subsequently restricted to the World Fantasy Special Award: Professional category.
- ^ "Internet Off-Broadway Database". Lortel.org. Retrieved 20 August 2012.
- ^ Waleson, Heidi (25 January 2011). "A Remarkably Inventive A Cappella Premiere". The Wall Street Journal.
- ^ "NYCB website". Nycballet.com. Retrieved 20 August 2012.
- ^ "Balanchine Trust website". Balanchine.com. Retrieved 11 May 2014.
- ^ "Balanchine Foundation website". Balanchine.org. Retrieved 20 August 2012.
- ^ a b http://www.balletmet.org/Notes/Midsummer.html#anchor125899
- ^ "Hamburg Ballet Review from Ballet.co". Ballet.co.uk. 14 July 2006. Retrieved 11 May 2014.
- ^ "Biography of John Neumeier on Hamburg Ballet website". Hamburgballett.de. Retrieved 20 August 2012.
- ^ Watts, Richard W. "Films of a Moonstruck World". In Eckert, Charles W. Focus on Shakespearean Films. p. 48.
- ^ "A Midsummer's Nightmare episode". Internet Movie Database. 12 August 2006. Retrieved 10 October 2013.
- ^ "Television: Around The Beatles". Beatlesbible.com. 28 April 1964. Retrieved 20 August 2012.
- ^ "A Midsemester Night's Dream (TV Series 2014– )". Internet Movie Database.
- ^ "Vanderbilt seniors lead modern Shakespeare adaptation". The Vanderbilt Hustler.
- Bevington, David (1996). "But We Are Spirits of Another Sort': The Dark Side of Love and Magic in 'A Midsummer Night's Dream'". In Dutton, Richard. A Midsummer Night's Dream. New York: St. Martin's Press. pp. 24–35.
- Buchanan, Judith (2005). Shakespeare on Film. Harlow: Pearson. Ch. 5, pp. 121–149. ISBN 0-582-43716-4.
- Croce, Benedetto (1999). "Comedy of Love". In Kennedy, Judith M. & Kennedy, Richard F. A Midsummer Night's Dream. London: Athlone Press. pp. 386–8.
- Garner, Shirley Nelson (1998). "Jack Shall Have Jill;/ Nought Shall Go Ill". In Kehler, Dorothea. A Midsummer Night's Dream Critical Essays. New York: Garland Publishing. pp. 127–144. ISBN 0-8153-2009-4.
- Green, Douglas E. (1998). "Preposterous Pleasures: Queer Theories and 'A Midsummer Night's Dream'". In Kehler, Dorothea. A Midsummer Night's Dream Critical Essays. New York: Garland Publishing. pp. 369–400. ISBN 0-8153-2009-4.
- Halliday, F. E. (1964). A Shakespeare Companion 1564–1964. Baltimore: Penguin.
- Howard, Jean E. (2003). "Feminist Criticism". In Wells, Stanley & Orlin, Lena Cowen. Shakespeare: An Oxford Guide. New York: Oxford University Press. pp. 411–423.
- Hunter, John (1870). A Midsummer Night's Dream. London: Longmans, Green and Co.
- Huke, Ivan & Perkins, Derek (1981). A Midsummer Night's Dream: Literature Revision Notes and Examples. Walton-on-Thames: Celtic Revision Aids. ISBN 0-17-751305-5.
- Kiernan, Victor (1993). Shakespeare, Poet and Citizen. London: Verso. ISBN 0-86091-392-9.
- Montrose, Louis (2000). "The Imperial Votaress". In Brown, Richard Danson & Johnson, David. A Shakespeare Reader: Sources and Criticism. London: Macmillan Press. pp. 60–71.
- Shakespeare, William (1979). Brooks, Harold F., ed. The Arden Shakespeare A Midsummer Nights Dream. Methuen & Co. ISBN 0-415-02699-7.
- ——— (1997). "'A Midsummer Night's Dream'". In Evans, G. Blakemore & Tobin, J.J.M. The Riverside Shakespeare. Boston: Houghton Mifflin. pp. 256–283. ISBN 0-395-85822-4.
- ——— (2003). Foakes, R. A., ed. A Midsummer Night's Dream. The New Cambridge Shakespeare (2nd ed.). Cambridge: Cambridge University Press. ISBN 9780521532471.
- Slights, William W. E. (1998). "The Changeling in A Dream". Studies in English Literature, 1500–1900. Rice University Press. pp. 259–272.
- Tennenhouse, Leonard (1986). Power on Display: the Politics of Shakespeare's Genres. New York: Methuen. pp. 73–76. ISBN 0-415-35315-7.
- Twyning, John (2008). Forms of English History in Literature, Landscape, and Architecture. New York: Palgrave Macmillan. ISBN 978-0-230-02000-9.
- Wiles, David (1998). "The Carnivalesque in 'A Midsummer Night's Dream', from 'Shakespeare and Carnival After Bakhtin". In Bloom, Harold & Marson, Janyce. A Midsummer Night's Dream. Bloom's Shakespeare Through the Ages. New York: Bloom's Literary Criticism. pp. 208–223. ISBN 978-0-7910-9595-9.
External links
|Wikisource has original text related to this article:
|Wikiquote has quotations related to: A Midsummer Night's Dream
|Wikimedia Commons has media related to A Midsummer Night's Dream.
- A Midsummer Night's Dream Navigator Annotated, searchable HTML text, with line numbers and scene summaries.
- A Midsummer Night's Dream HTML version of the play.
- No Fear Shakespeare parallel edition: original language alongside a modern translation.
- 20px A Midsummer Night's Dream public domain audiobook at LibriVox
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text:
Ada Answers Videos
Hear what developers and technology decision makers have to say about Ada in this series of video interviews. They explain their decision to choose Ada and share the positive experiences and benefits they've gained.
Philips Semiconductor (ITEC Division)
ITEC is a division of Philips Semiconductor dedicated to designing equipment used in the assembly of discrete semiconductors. They produce over 25 billion products each year.
As software began to play larger and larger role in their designs, the Philips team realized that they needed to move to a more modern and efficient programming environment. After carefully examining all the options, the choice was clear: Ada.
JEOL designs and manufactures highly sophisticated scientific instruments. One of their key products, NMR, is used for analyzing molecular structures.
JEOL's engineers chose Ada for both the NMR's workstation software and the embedded system that runs the hardware. They believed that Ada was the best choice for developing robust applications that would respond to the mission critical needs of their customers. They were proven right.
What they didn't expect was the robust effect Ada would have on their bottom line.
Ada in Astrophysics
Professor Martin Stift carries out research on the modelling atmospheres of magnetic stars and teaches Astrophysics at Vienna University. His work involves calculations with huge amounts of atomic data and requires massively parallel computing. When he couldnít push his existing programs any further with Fortran he turned to Ada which is perfectly suited for many scientific applications and has been using it ever since.
Not only did Ada help Professor Stift solve his computing challenges, he also found that it proved to be the perfect language for teaching his students good solid programming practices.
New Trade Research
New Trade Research designs and develops automated systems for trading on the European stock exchanges. With literally billions of dollars on the line they needed to build reliable real-time systems that simply wouldn't fail. Looking around for the right language, they realized that their programming challenges were very similar to those posed by large, real-time and safety-critical systems, areas in which Ada excels. When they discovered that Ada has numerous built in features to deal with financial data, the choice was obvious.

subset: commoncrawl


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It is with pleasure to introduce you all to a few small, but important additions/modifications/enhancements! So...let me present...
>>SoC Training Academy & Training Achievement Medal<<
Recently, what was formerly known strictly as the Society of the Cooks, underwent a re-branding to better characterize what the Dept. of Team CC does and who can (or should!) participate in the Dept's activities and programs. So without further ado, I'd like to introduce you all to the SoC Training Academy (new boss, same as the old boss, etc). We hope that this re-branding will better help guide newer players, or players seeking enhanced training, toward the SoC Training Academy's direction.
In conjunction with this re-branding, we have also released a new Achievement Medal: the Training Achievement Medal. This Medal is awarded for completion of any number of activities involving the SoC Training Academy---from Graduation and course completion, to winning internal training tournaments, to meeting the 'academic standards' of the SoC Training Academys regimen! For more information on this medal, join the SoC Training Academy today, and look out for future awardings of this new Achievement Medal.
>>The Medals Page Display Enhancement<<
To go along with the new Training Achievement Medal, blakebowling has contributed code to enhance our Medals Display Page. This page now loads instantaneously---a sure improvement over the seeming seconds upon seconds that it previously took to load! Moreover, we now display a separate counter for Medals Issued and for Medal Recipients, so the data in the Display Page is more informative! So check it out!
>>Lag Monitoring and Issue Reporting<<
As some of you may already be aware, Lackattack recently posted in the General Discussion about a new initiative in Lag Monitoring and Issue Reporting we have undertaken. To quote the Turtleman Webmaster:
lackattack wrote:When you find Conquer Club to be non-responsive, please report it here. I'm talking about slowdowns, timeouts, whitescreens, or other symptoms of "lag". Just let us know what happened, when, and for how long.
We log slow page loads, and it seems that there are more and more incidents where the website isn't running well even though nothing appears in the logs. So we had our hosting company set up a special system monitor on the webserver to collect additional data. By cross-referencing lag reports with that data we might be able to figure out what's causing it and take corrective action.
So please take a moment to report "lag" here and help us improve Conquer Club! To be real helpful, if you have information on what you were doing (taking a turn, posting in the forum, navigating to a page, etc) and when you were doing it (either in CC Time or in your local time), please post said information!
Thanks in advance
We hope this special system monitor on the webserver will allow us to collect the data we need, and find on-going trouble-spots and hang-ups. So if you come across any lag issues, take a moment to post some data in this topic so we can sift through the reports and resolve lag issues as they arise. And remember, if you have information on what you were doing, and when you were doing it---that is all the more helpful!
Once again, we hope these improvements, adjustments, and enhancements can better serve all our Community Members on Conquer Club. Here's to World Domination! And remember, have a banana.


text:
What Tim Cook and Apple should do with all that cash
- Commentary
- Posted By Cody Willard
$150 billion is more than the entire market cap for Oracle or Cisco or Intel. Or Disney. That is, Apple could pay $150 billion in cash for the entire Disney company, including ESPN, ABC, the theme parks, the movie production and distribution assets and so on, and it'd still be a 25% premium to today's trading price and more than the company has ever been valued at. Not that Disney would sell. I'm just sayin'.
Cody Willard writes the Revolution Investing investment newsletter for MarketWatch and posts the trades from his personal account at TradingWithCody.com He is the founder of WallStreetAll-Stars.com and the principal of CL Willard Capital. Cody serves as an adjunct professor at Seton Hall University and is on the University of New Mexico Alumni Board. He was an anchor on the Fox Business Network, where he was the co-host of the long-time #1-rated show on the network, Fox Business Happy Hour. Cody, a former hedge fund manager, and his stock picks and economic outlooks have been featured on NBC's The Tonight Show with Jay Leno, ABC's 20/20, CBS Evening News, CNBC's SquawkBox, Jon Stewart's The Daily Show, as well as in the Financial Times, Wall Street Journal, New York Times, and many other outlets.
You can follow Cody on Twitter:
Follow @codywillard


text:
The fifth annual reception for Montclair State University authors
was held on April 18 in Sprague Library's Periodicals Reading Room and faculty,
staff and students gathered to recognize those who had recently authored books
or created CDs and to browse through the displayed works.
"This year we have 58 entries, including two e-books and
several CDs, and, once again, they make an impressive and extraordinary display,"
said Provost and Vice President for Academic Affairs Willard Gingerich,
co-sponsor of the event together with Library Services Dean Judith Lin Hunt. "All
Montclair State faculty and staff may be truly proud since they reflect a large
part of our collective community of scholarship."
The books and CDs on display were produced by faculty from
every College and School in the University and ranged from works on international
relations, issues in sustainability, business methods and cases, information
technology systems, ornithology, developments in education, and translations
from Spanish, German and French, to collections of essays and poetry, and a
Gingerich noted that more than 260 publications had been
produced by the University community in the five years that the author's
receptions have been held, calling it "an impressive output by any measure and
a continuing testimony to the commitment and professional dedication of our
faculty and staff to the serious conversations of their disciplines."
A large group of authors and visitors were on hand to mingle
and talk about the works. As in past years, the reception provided the
opportunity for faculty to see the actual work others had produced and to catch
up with colleagues from other departments and colleges. A booklet with a
synopsis and cover image of each of the new works was also available to take
The books will be on display in the exhibit case in the
lobby of Sprague Library from April 22 to May 31, 2013 and copies of the
booklet will be available at the library's circulation and reference desks. All
members of the University community are welcome to pick up a copy.
Click the icon below to view the booklet online.


text:
Investors in Steven A. Cohen's SAC Capital Advisors will get a bit more time during the second quarter to decide whether to withdraw money from the $15 billion hedge fund.
A source familiar with the hedge fund said on Thursday that the deadline for submitting redemption notices before the end of the quarter on June 30 was extended to June 3 from May 16.
Continue Reading Below
The source, who did not want to be identified, declined to elaborate on why Cohen was giving investors more time to decide whether to withdraw money. But the extension comes at a time Cohen and his firm are drawing increased scrutiny in the federal government's long-running investigation into insider trading.
Just last week, Cohen told investors that, beginning next year, the hedge fund would claw back compensation from employees who are found to use illegally obtained information in making trades.
To date, nine current or former SAC employees have been charged with or implicated in insider-trading while working at Cohen's fund.
Cohen, who has not been charged with wrongdoing, told his investors last week in a letter announcing the claw-back policy: "We have zero tolerance for wrongdoing."
Still, the insider trading investigation has taken a toll. In March, the firm agreed to pay a $616 million penalty to U.S. securities regulators to settle a lawsuit arising from an investigation. Also this year, outside investors submitted requests to pull $1.7 billion from the Stamford, Conn.-based fund.
(This version of the story corrects the original deadline for redemptions requests to May 16 in the second paragraph.)
(Reporting by Matthew Goldstein and Svea Herbst-Bayliss. Editing by Andre Grenon)


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After my second visit to HaMakuya, I knew I needed a third. Reflecting on my experiences with Tshulu Trust, a local anti-poverty initiative, I formed a plan to establish an English-learning resource center in HaMakuya. The center would be accessible to students from a local high school (with 600 students) and 13 primary schools (300 students in each). Adults from the community also would have access to the center. I applied for a Davis Project for Peace Award to fund the project, and, fortunately, received the award.
There was much I needed to accomplish in order to establish the Makuya Empowered Voices Resource Center:
- Provide a furnished building with electricity. It was my responsibility to design the building, act as construction-site manager, and contribute my own manual labor. The project required a foundation, walls, plastering, windows, doors, inverted roof, reed ceiling, and painting and installation of two murals by a local artist. Countless local individuals made the design and construction of the center possible. Construction workers alone contributed more than 1,000 man-hours of work over eight weeks.
- Form an advisory committee of local educators and a team of local youth who would volunteer their time to help run the center.
- Purchase, transport, and install computers in the center, and equip each with Rosetta Stone software for learning English. We expect that the center will provide Internet access in two years.
- Organize the details of the English-language education program, using Rosetta Stone software as the foundation. I would mainly introduce the Rosetta Stone lessons, and then individuals would have up to an hour per session to study with the software.
- Acquire books for the physical library.
My team and I finished constructing, electrifying, and furnishing the resource center in three months. While we were knee-deep in the final construction phase, I was also arranging for Computer Aid International London to ship ten refurbished computers to us. They arrived during the eighth week of the project, so there was little time to waste. I spent all the time I could getting the computers up and running with the invaluable aid of Paul Marais, an ecoarchitect who builds beautiful rammed-earth houses, who assisted me with many of the technical aspects of the project. After many adventures up the mountain where we could gain Internet access with a cellular modem, Rosetta Stone was successfully up and running.
Our advisory committee established these goals for the center:
- For residents of HaMakuya to have the confidence and ability to communicate and act in a way that encourages free exchange of ideas and responsible community action.
- For HaMakuya to be a place that reinforces confidence and empowerment in its residents by fostering a culture and a space that places value on intellectual pursuits and personal development.
- For residents of HaMakuya to be able to comfortably express themselves in English.
- For Makuya Empowered Voices Resource Center to instill a level of confidence associated with self-expression in English and community action that has a positive effect on community life generally, and the classrooms of HaMakuya Primary schools and the Secondary school.
Find more posts about: English, South Africa


text:
The Dietary Approaches to Stop Hypertension (DASH) diet can help you control your blood pressure.
The DASH diet is rich in grains, fruits, vegetables and low-fat dairy products. It limits total fat, saturated fat and cholesterol, and provides plenty of fiber, potassium, calcium and magnesium. The DASH diet also limits sodium to between 1,500 and 2,300 milligrams a day.
Here are recommended servings from each food group for two calorie levels of the DASH diet, along with examples of a serving.
*The amount of fat in a food changes the serving size for fats and oils. For example, 1 tablespoon of regular salad dressing is one serving, but 1 tablespoon of low-fat dressing is half a serving.
Source: National Heart, Lung, and Blood Institute, 2015
Original article: https://www.mayoclinic.org/healthy-lifestyle/nutrition-and-healthy-eating/in-depth/dash-diet/art-20050989
Any use of this site constitutes your agreement to the Terms and Conditions and Privacy Policy linked below.
Mayo Clinic is a nonprofit organization and proceeds from Web advertising help support our mission. Mayo Clinic does not endorse any of the third party products and services advertised.
A single copy of these materials may be reprinted for noncommercial personal use only. "Mayo," "Mayo Clinic," "MayoClinic.org," "Mayo Clinic Healthy Living," and the triple-shield Mayo Clinic logo are trademarks of Mayo Foundation for Medical Education and Research.


text:
Did Greenwich tycoons take down a major university president?
Greenwich tycoon: Denies role in board's removal of University of Virginia president
A Greenwich crony of Paul Tudor Jones II who helped raise $20 million last year for their University of Virginia alma mater denies he was part of a clandestine plot promoted by the hedge fund giant that led to the controversial removal of the school's president.
"I had absolutely no role in the Board of Visitors' decisions regarding the departure of Teresa Sullivan," Peter Kiernan said in a statement Tuesday to Greenwich Time, his first public remarks since resigning as chairman of the Darden School Foundation, the main fundraising conduit for the MBA program at U.Va.
"That is a Board of Visitors responsibility and no one else's."
Jones, who gave $35 million to help the university build a 16,000-seat basketball arena that opened in 2006, declined to comment about the shake-up through his New York publicist.
Kiernan, 58, ceded his leadership post last Thursday after an email he sent to fellow trustees of the business school was leaked to several media outlets, including Slate Magazine, which ran a column by a U.Va. media studies professor decrying the influence of modern-day robber barons on higher education.
The former Goldman Sachs partner and ex-hedge fund boss sounded very much in the know about the transition process in the June 10 email, which was sent the same day Sullivan's ouster was announced.
"A number of you have asked if we were surprised by this announcement. Here is the truth. Several weeks ago I was contacted by two important Virginia alums about working with Helen Dragas on this project, particularly from the standpoint of the search process and the strategic dynamism effort," Kiernan wrote. "It pained me to keep this information from you and from Bob, but I was sworn to keep the process confidential."
Dragas is the university rector, otherwise known as chairman of the Board of Visitors, which forced Sullivan to resign from her post of just two years at the higher-learning institution founded by Thomas Jefferson.
Sullivan was the first female president in the university's 193-year history and her removal blindsided many at the Charlottesville, Va., campus, where students and faculty leaders protested the decision.
"I was very impressed with President Sullivan," said Leslie Tarkington, a 1969 Darden alumna from Greenwich who is a class agent and serves on the Board of Estimate and Taxation.
In a departure from his reclusive modus operandi, Jones, the billionaire hedge fund manager, defended Sullivan's ouster in a newspaper op-ed piece in The Charlottesville (Va.) Daily Progress.
"The spirit of Thomas Jefferson, the first rector of the University of Virginia, is cheering this bold action by the Board of Visitors," Jones wrote. "Jefferson was a change agent, a man of action and a perfectionist. To paraphrase him, it is time for a revolution."
Jones expressed his dissatisfaction with the university's standing in U.S. News & World Report college rankings, enrollment rates and faculty compensation compared to other top institutions.
"The world is changing rapidly, and U.Va. needs proactive leadership to match the pace of change," Jones wrote.
Kiernan acknowledged that he was privy to the details of the changing of the guard well before it took place.
"In late May, the university Rector Helen Dragas did contact me about helping her with prospective strategic planning and fundraising projects," Kiernan told the newspaper. "I spoke with no one else on the Board of Visitors."
The Darden School Foundation consists of about 30 to 40 trustees and is separate from the Board of Visitors.
Kiernan, who earned his MBA from the university in 1979, led the foundation for the past year-and-a-half.
"Ms. Dragas said at the time that there might possibly be a Board of Visitors assignment for me in the future, but made no promises," Kiernan said of his May communication with Dragas. "In that context only did she raise the prospect of Terry Sullivan's departure. Our conversations focused almost entirely on strategic and fundraising planning for faculty retention and on ways to raise money to help pay for greater faculty compensation."
Kiernan would not say whether he supports Sullivan's removal or comment on the direction of the university, which named Carl P. Zeithaml, the dean of its undergraduate business school, as interim president Tuesday.
Kiernan's email certainly shed some light on his views, however.
"In very short order an interim president will be identified and a search process will commence for a replacement for Terry," Kiernan wrote. "There will also be a strategic planning initiative commenced by the Board of Visitors with a focus on strategic dynamism."
The choice of the words "strategic dynamism" by Kiernan, who now runs a venture capital firm bearing his name and penned a best-selling book titled, "Becoming China's Bitch," were widely lampooned in the blogosphere.
Darden School of Business spokesman Trip Davis lamented the resignation of Kiernan, who serves on the boards of the Robin Hood Foundation, an anti-poverty charity founded by Jones, and the Christopher and Dana Reeve Foundation.
Under Kiernan's leadership, the business school raised more than $20 million during the 2011 fiscal year, a 17 percent increase over the previous year, according to Davis.
"We're very sorry to see Peter make this transition," Davis said. "He personally energized our fundraising team and efforts."
Davis credited Kiernan with conceiving the idea of Hot Topics classes taught by alumni in finance and marketing.
"He led the Darden Foundation with extraordinary passion," Davis said. "He's a very gifted communicator and engager and he actually created and formalized a number of programs at Darden that will live on for the long term, such as the new classes in concert with faculty and alumni."
email@example.com; 203-625-4436; http://twitter.com/gettinviggy


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Palestinian Authority President Mahmoud Abbas turned up last week at the United Nations. He was there to petition for statehood on behalf of the PA or the PLO. There's something almost funny about Abbas's gambit. Fred Siegel reminds us that Abbas is currently in the 81st month of his 48-month term and that he is the leader of the West Bank component of the Palestinian Authority, supposedly including the Gaza Strip. Over on the Gaza Strip, however, the powers-that-be operate under the auspices of Hamas, an organization frankly devoted to the elimination of Israel, and are led by Ismail Haniya. Hamas opposes Abbas's bid for statehood. In the UN, it all makes perfect sense.
Abbas makes an avuncular appearance, but the appearance is deceiving. Some people learn everything they need to know in kindergarten. Not Abbas. Abbas probably learned everything he needed to know pursuing his graduate studies at Patrice Lumumba University in Moscow. Abbas devoted his doctoral dissertation to writing The Other Side: The Secret Relationship Between Nazism and Zionism in which he attempted to prove that the Holocaust never happened.
Abbas was a Black September operator in the early 1970's, around the time of the Black September operations leading to the murder of the Israeli Olympic athletes in Munich in 1972 and the American ambassador to Sudan in Khartoum in 1973. Indeed, Abbas was the paymaster for the operation that led to the murder of the Israeli Olympic athletes and
the mastermind of the Achille Lauro operation. Arafat himself placed Abbas on the PLO executive committee in the PLO's terrorist heyday.
Abbas's UN speech is worth a look. Abbas cited "the plight of Palestine refugees, who are the victims of Al-Nakba (Catastrophe) that occurred in 1948." That is Abbas's circumlocutory reference to Israel.
Abbas also employs another circumlocutory reference to Israel. Abbas refers throughout his speech to "the occupying power." According to Abbas, the occupying power is advancing "a multi-pronged policy of ethnic cleansing."
One more reference to Israel: "the Israeli colonial settlement occupation."
In a few places Abbas slips and refers to Israel directly: "Israel reoccupied the cities of the West Bank by a unilateral action…," "the Israeli settlement expansion project," and "the Israeli occupation."
At one point Abbas announces continuing adherence "to all agreements signed between the Palestine Liberation Organization and Israel." He speaks as a representative of the PLO: "I declare that the Palestine Liberation Organization is ready to return immediately to the negotiating table on the basis of the adopted terms of reference based on international legitimacy and a complete cessation of settlement activities." What's wrong with this picture?
Abbas refers to Israel's alleged "apartheid policies and its construction of the racist annexation Wall," but his efforts efforts "are not aimed at isolating Israel or de-legitimizing it[.]" As I say, at the UN, it all makes perfect sense.
About the little unpleasantness with Hamas, Abbas said:
When division struck the unity of our homeland, people and institutions, we were determined to adopt dialogue for restoration of our unity. We succeeded months ago in achieving national reconciliation and we hope that its implementation will be accelerated in the coming weeks. The core pillar of this reconciliation was to turn to the people through legislative and presidential elections within a year, because the State we want will be a State characterized by the rule of law, democratic exercise and protection of the freedoms and equality of all citizens without any discrimination and the transfer of power through the ballot box.
No problem, I guess.
No such speech would be complete without a promise of the so-called right of return:
[A]fter 63 years of suffering of the ongoing Nakba: Enough. It is time for the Palestinian people to gain their freedom and independence.
The time has come to end the suffering and the plight of millions of Palestine refugees in the homeland and the Diaspora, to end their displacement and to realize their rights, some of them forced to take refuge more than once in different places of the world.
About that "ongoing Nakba": It's almost enough to make one think Abbas does not recognize the legitimacy of the state of Israel, and to think he has a larger project in mind. One more clue: the PA/PLO logo.
Has Glenn Kessler fact-checked that logo? He might have a have a bone to pick with Abbas.
A CORRECTION REGARDING THE ACHILLE LAURO OPERATION: Abbas is the guy who interceded to seek the release of the terrorist who led the hijacking, not its mastermind. I regret the error, noted by a commenter.


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U.S. Men's National Team Earns Historic First Victory On Mexico's Home Soil
- Michael Orozco Fiscal Scores First International Goal in 80th Minute
- Tim Howard Makes Two Clutch Saves in Final Minutes to Preserve Shutout Victory
- USA Carries Momentum into World Cup Qualifying when it Faces Jamaica on Sept. 7 in Kingston and Sept. 11 in Columbus, Ohio
Michael Orozco Fiscal scored his first international goal in the 80th minute as the United States took only its second ever lead at Azteca. The USA held out for the final 11 minutes plus stoppage time thanks to two clutch saves by Budweiser Man of the Match Tim Howard to earn its first win in 25 attempts in Mexico.
"I think it's huge. It's huge for all American fans and it's huge for the team. It's historic," U.S. head coach Jurgen Klinsmann said. "We were well aware we've never won here at Azteca, and this is an amazing experience for all the players. We told them before the game, 'This moment is for you, go and grab it.' We are aware that it was a lot of work and it was a fantastic team performance."
The USA returns to 2014 FIFA World Cup qualifying when it faces Jamaica at 9:30 p.m. ET on Friday, Sept. 7, at National Stadium in Kingston, Jamaica. Four days later, the teams square off again at 8 p.m. ET on Tuesday, Sept. 11, at Columbus Crew Stadium in Columbus, Ohio. That match will be broadcast live on ESPN2, ESPN3 and Univision (TICKETS).
On Wednesday, Orozco Fiscal's first U.S. appearance since October 2011 consisted not only of his first international goal, but an historic tally for the U.S. Men's National Team. Orozco Fiscal and Brek Shea had only been on the pitch for a couple of minutes each, but both played pivotal roles (along with fellow substitute Terrence Boyd) in generating the game's lone strike.
An energetic Shea drove up the left side past Mexico's Severo Meza and got one final touch in the box against Francisco Rodriguez before dishing to Boyd in the middle. Boyd took a touch and back-heeled his pass to Orozco Fiscal toward the right post, where the defender poked the ball into the net past Jorge Torres Nilo and a stranded Guillermo Ochoa.
Orozco Fiscal, who plays his club ball with San Luis in Mexico, celebrated with his teammates by the right corner flag in front of the U.S. supporters section. But with more than 11 minutes still to play, the USA's first road win in Mexico would not be easy to close out.
Mexico was in uncharted territory trailing late to the USA on its own turf, and the home side stepped up its attack to try to find an equalizer. The hosts came close in the 85th minute when Chicharito's left-footed shot deflected off Maurice Edu, who was slotting in at center back in a new-look backline for Klinsmann. Howard was going to his right and had to quickly change direction to his left to get his glove on the ball before pouncing on it to prevent the shot from crossing the goal line.
There was more to come and in the 89th minute Chicharito challenged Geoff Cameron and headed the ball at close range toward the near right side of the goal. Howard once again came up with a clutch save to his left, parrying with his left hand to keep Mexico and its much-heralded attack off the score sheet.
"Eventually, you need a little bit of luck, and in some instances we were a little bit lucky tonight, and we had Tim Howard in our goal," Klinsmann said. "I think the team really knew what to expect. It was difficult at high altitude and many of them flew in from Europe two days ago, but we had a plan and we tried to execute that plan. Getting that win here is quite enjoyable."
The plan was evident from the get-go, and that was to play organized and disciplined to keep Mexico's attack at bay. U.S. forward Herculez Gomez represented the lone striker lingering around midfield and his teammates spent the majority of the first half defending. The USA's back line – consisting of Edu, Cameron, Edgar Castillo and Fabian Johnson - came up with some key clearances on Mexico's crosses. Cameron spent much of the half marking Chicharito and disrupted the Manchester United forward on multiple occasions. Edgar Castillo was particularly busy on the left side, doing a fantastic job in one-on-one defending against Pablo Barrera. Despite an advantage in possession, Mexico failed to generate a quality scoring opportunity.
Among the USA's few opportunities in the first period was a fifth-minute strike by Gomez that skidded wide right. In the 21st minute, Jose Torres played a nice ball in from the left side that had a little too much pace and escaped Gomez and harmlessly rolled across the box.
The USA made two halftime substitutions, with DaMarcus Beasley making his first appearance in 2012 and earning his 97th cap in replacing Landon Donovan, who was suffering from tightness in his left hamstring. Terrence Boyd replaced Torres, dropping Gomez into a withdrawn forward role.
Mexico continued its regular barrage of crosses from the flanks, and substitute Lugo was the recipient in the 50th minute, getting behind Cameron but heading wide left of the goal.
Cameron continued his strong match with a difficult running header clearance on Elias Hernandez's cross in from the right side in the 56th minute. If Cameron did not alertly get in the path, Chicharito was lurking in the goal box. Instead, Cameron lunged into the path of the ball and his momentum carried him across the goal line into his own net.
Mexico missed a prime opportunity to get on the board first when Chicharito made a run behind Cameron and in front of Edu in the 76th minute, receiving a cross from Elias Hernandez who was able to generate a consistent attack from the right flank. Chicharito headed the ball without a challenge, but he drove the ball wide left.
It was shortly after that moment when Klinsmann brought in Orozco Fiscal in the 77th minute and Shea in the 78th minute. The moves proved to be advantageous as they developed the scoring sequence that led to the lone USA win in Mexico.
Howard made three saves for the U.S. to post his third shutout this year and his 28th career clean sheet. The USA now holds a 6-1-2 record in 2012, already equaling its six-win total from 2011.
Both teams shift their focus to World Cup qualifying, where the USA is atop Group A with a 1-0-1 record and four points – the same record as Jamaica - but holding the advantage in goal differential. Mexico is 2-0-0 in Group B, with a two-point lead over second-place Costa Rica.
Additional Notes:
- Tim Howard wore the captain's armband for the first time this year in the absence of defender Carlos Bocanegra.
- Kyle Beckerman made his first start of 2012 after coming off the bench in three previous games over a span of 39 minutes. Beckerman has 22 international caps under his belt.
- The U.S. defensive line consisted of Fabian Johnson on the right side and Edgar Castillo at left back, with a center back pairing of Geoff Cameron and Maurice Edu.
- DaMarcus Beasley earned his 97th cap when he entered the match in the second half. He moved ahead of former U.S. defender Alexi Lalas for sole possession of 13th place in all-time appearances.
- Michael Orozco Fiscal made his first appearance for the U.S. this year, replacing Edgar Castillo.
-- U.S. Men's National Team Game Report --
Match: USA vs. Mexico
Date: August 15, 2012
Competition: International Friendly
Venue: Estadio Azteca
Kickoff: 7 p.m. CT
Attendance: 56,000
Weather: 72 degrees, mostly cloudy
Scoring Summary: 1 2 F
USA – Michael Orozco Fiscal (Terrence Boyd) 80th minute
USA : 1-Tim Howard (capt.); 23-Fabian Johnson, 20-Geoff Cameron, 7-Maurice Edu, 15-Edgar Castillo (4-Michael Orozco Fiscal, 77); 13-Jermaine Jones (14-Joe Corona, 89), 5-Kyle Beckerman, 6-Danny Williams (8-Graham Zusi, 60), 16-Jose Torres (18-Terrence Boyd, 45); 10-Landon Donovan (17-Damarcus Beasley, 45), 9-Herculez Gomez (11-Brek Shea, 78)
Subs not used: 3-Matt Besler, 19-Chris Wondolowski, 22-Nick Rimando
Head Coach: Jurgen Klinsmann
MEX : 1- Guillermo Ochoa; 5- Severo Meza (3-Enrique Perez, 88), 2-Francisco Rodriguez (capt.), 15-Hector Moreno, 20-Jorge Torres Nilo; 17-Jesus Zavala, 6- Manuel Viniegra (23-Edgar Lugo, 45), 18-Andres Guardado, 7-Pablo Barrera (11-Elias Hernandez, 45); 10-Angel Reyna (9-Aldo de Nigris, 73), 14-Javier Hernandez
Subs not used: 4-Hugo Ayala, 8-Adrian Adrete, 12-Alfredo Talavera
Head coach: Jose Manuel de la Torre
Stats Summary: USA / MEX
Shots: 6 / 15
Shots on Goal: 3 / 3
Saves: 3 / 2
Corner Kicks: 0 / 10
Fouls: 11 / 10
Offside: 0 / 4
Misconduct Summary:
USA – Maurice Edu (caution) 14th minute
MEX – Hector Moreno (caution) 31
USA – Jermaine Jones (caution) 69
USA – Graham Zusi (caution) 82
Referee:Walter Quesada (CRC)
Assistant Referee 1: Leonel Leal (CRC)
Assistant Referee 2: Octavio Jara (CRC)
Fourth Official: Alfredo Penaloza (CRC)
Budweiser Man of the Match:
Tim Howard


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Monday, September 6, 2010
On DVD: "That Evening Sun"
In the opening moments of Scott Teems' That Evening Sun, Albert Meecham stares out of his nursing home window, his face a hard shell of bitterness and resentment. He then gathers up his pocket watch, his suitcase, and his cane, and walks right out the door. He's about had it with that place. He's got some things to take care of.
Albert is played by Hal Holbrook, who gives the kind of performance that it feels like he's been waiting an entire lifetime to deliver. Meecham is an angry old cuss who travels back to the farm he spent a lifetime working, only to discover that his good-for-nothing son Paul (Walton Goggins) has sold it off to Alonzo Choat (Ray McKinnon), the son of Albert's lifelong enemy. He is greeted by Alonzo's wife (Carrie Preston), who tells him to wait for Alonzo, "he'll be here directly." Albert replies, "I'm an old man, I may die directly."
He does not take the news of the farm's sale lightly; he moves into the sharecropper's house on the property and decides to wait the Choats out. "You're supposed to be at the home," his son tells him. "I'm supposed to be where I damn well please!" he snaps back. When Alonzo's good-heared daughter (Mia Wasikowska) lets it slip that her father hates dogs, Albert can't find a yapping canine companion fast enough. When Albert overhears the drunken lout wailing on his wife and his daughter in the yard, the old man comes out with a pistol and gives him a piece of his mind.
The battle of wills between the 80-year-old coot and the worthless son of his adversary could have easily been played for overheated Southern melodrama, or for black hillbilly comedy. Teems' picture (adapted from a short story by William Gay) doesn't go in either of those directions; it is a low-key back roads drama, tuned in to the specific manner in which these people would interact. Seems' screenplay is the first in over a decade to remind me of Billy Bob Thornton's Oscar-winning script for Sling Blade . The dialogue, as in that film, is simple and direct, colorful without condescending or trafficking in lazy caricatures. Every member of the tight ensemble (save for Paul, who is mostly a functional character) is fully drawn and three-dimensional, and Albert isn't the only one who gets good lines; when Albert asks his buddy Thurl (the great Barry Corbin) why he lost his driver's license, he shrugs and chuckles, "Oh, I hit some folks."
But this is Holbrook's show. It's not a flashy performance—he seldom has to raise his voice, and never has to push or reach for effects—but he digs about as deep as you can go, shaking off years of thankless supporting roles and TV work and relishing the opportunity to do some real work again. Though Albert Meecham is a rougher-edged character, Holbrook's work here is reminiscent of Richard Farnsworth's terrific turn in David Lynch's The Straight Story; that film got Farnsworth an Oscar nomination, and if there were justice in the world, Holbrook's deeply felt and marvelously intuitive turn would have been similarly rewarded. He gets to the gnarled, stubborn soul of this guy, whether spitting out threats or strolling on his broken-down porch, looking over his land and singing quietly to himself. And the moments where he flashes back to his time with his late wife are heartbreaking (she's played by Holbrook's real wife, Dixie Carter, and her recent death gives those scenes extra poignancy—as if any more were needed). There isn't a moment here that feels false, and the way that he pulls off the movie's tricky, perfectly realized climax is what good acting is all about.
Holbrook is so magnificent that the film only steps wrong when it moves away from him; he's front and center in so much of the picture that the two or three scene that he's not in feel strangely out of place (even when they're good scenes, in and of themselves). There are other little flaws here and there—Teems overplays his hand when the story takes a dark turn with music that gives too much away, and the film depends too much on that old warhorse, the gradually-revealing flashback. And the final scenes are just a little too clean, even if they are emotionally effective. No matter; That Evening Sun is a quiet, lovely film, and the performance at its center is one for the ages.
"That Evening Sun" arrives on DVD and Blu-ray on Tuesday, September 7th
Labels: blu-ray, DVD, hal holbrook
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The French fashion house of Vionnet has had a few stops and starts on its road to revival. But Hollywood's love affair with the label shows no signs of waning.
Thursday night, Amber Heard walked the red carpet at the premiere of the film "Paranoia" wearing a Vionnet sky blue, black and ivory silk cady draped dress with a navy silk satin skirt featuring ivory beads arranged in a modern design.
The color combinations were fresh and the beading detail unusual. It made you look twice -- in a good way.
Madeleine Vionnet, the French designer who invented the bias cut and drew inspiration from Greek statues for her famous pleating, closed her business in 1939.
The revival of the brand began in 2006. Under the ownership of Arnaud de Lummen, Vionnet cycled through two designers, Sophia Kokosalaki and Marc Audibet.
Then in spring 2009 Vionnet was purchased by Matteo Marzotto, the Italian textile and fashion magnate who worked for 15 years at Valentino. Under his leadership (and at first, designer Rodolfo Paglialunga, then twin sister design duo Barbara and Lucia Croce) Vionnet did remarkably well bringing the house tradition of draping, color and pleating to Hollywood, but not so well at retail.
Last year the brand changed hands again, bought by London-based businesswoman Goga Ashkenazi. A Kazakhstan-born entrepreneur with interests in oil, Ashkenazi has deep pockets and is extremely well connected. (Referred to as a socialite in some circles, she's been linked romantically to Agnelli family heir Lapo Elkann.)
Ashkenazi hired a new group of designers for Vionnet, and on the red carpet at least the results speak for themselves. In addition to Heard, Rita Ora, Cate Blanchett, Maggie Gyllenhaal and Ginnifer Goodwin have all been spotted in Vionnet in recent weeks.
Coming up roses on the red carpet
Kate Hudson, Amanda Seyfried dress up denim on the red carpet


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Christmas at the Western Mall
The 8th annual Christmas at the Western Mall light show will run from Thanksgiving through New Years Day (November 28, 2013-January 1, 2014) in the center court of the Western Mall.
The show was started back in 2006 by Joe Noe at his house and was called a 'Crooks Christmas' for the first several years of it's existence. After a few years, as the show became so popular that there were lines of traffic every night through the streets of Crooks, South Dakota, Noe struck a deal with the Western Mall in Sioux Falls (at 41st & Western between Scheels and Best Buy) to move the light show there.
Since its inception, people who come and enjoy the show are given the opportunity to make a freewill donation to Make-A-Wish of South Dakota. 100% of the donations go directly to the charity so over the first seven years, over $170,000 has been donated to grant wishes to sick kids in our state.
People often wonder how many lights it takes to put on the show and event the organizers don't have an exact count, but their best guess is over 50,000 super bright LED's!
The music selections change every year, and this year will feature Trans Siberian Orchestra, DJ Schwede and Enya.
The show will run nightly from 5:30pm-9:30pm Thanksgiving through New Years. We hope you make plans to attend Christmas at the Western Mall (and then go back with other friends and family once you see how cool it is!) and make a donation to Make-A-Wish of South Dakota.


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RIVERSIDE — There is taking what the opponent gives you and there is taking what you simply decide the opponent can't deny you.
UC Riverside accomplished the latter in handing visiting UC Irvine a 68-58 Big West Conference men's basketball defeat Saturday.
The Highlanders (5-13, 2-4 in conference), who had lost three straight against Big West competition, dominated inside and shot better from the perimeter to halt the Anteaters' three-game conference winning streak that had allowed them to earn a share for second place entering Saturday.
UCI (10-10, 4-3) made just six of 30 field-goal tries in the first half to surrender a 29-18 lead.
Riverside, which made six three-pointers in the opening 20 minutes, then went inside after intermission to rip the 'Eaters apart.
"Our big guys were relatively ineffective the whole game and I'm disappointed in that," UCI Coach Russell Turner said of a starting front court of Adam Folker, Will Davis and Mike Wilder that combined to produce 12 points, 25 rebounds, make five of 21 from the field and zero of three from the foul line.
Conversely, Riverside's 6-foot-10 junior center Chris Patton had 21 points, matching a career high he established in the Highlanders' 91-82 overtime loss to conference-leading Long Beach State on Thursday. Add in Chris Harriel and Josh Fox and the UCR "bigs" amassed 48 points, 20 rebounds, made 15 of 36 field-goal attempts and were 14 of 17 from the free-throw stripe.
"I felt like we were a physically weak team in traffic," Turner said. "It was a physical game … We didn't respond to that type of game the way they did."
Harriel made three three-pointers to help the hosts seize a 9-2 lead, but UCI rebounded for a 14-11 advantage. But a 13-0 run put the Highlanders back on top and they scored the final four points of the half to capture further momentum.
But UCI opened the second half on a 13-4 run to pull within 33-31, before freshman reserve forward Taylor Johns added to the hosts' inside advantage by scoring five straight points, the last two on a putback. Then, Patton began collecting his 17 second-half points, all in the elevator shaft around the basket.
"He's playing harder in there," Riverside Coach Jim Wooldridge said of Patton, an Australian import and community college transfer playing his first season for the Highlanders. "He's a new player to this level and he's learning how to make his way."
Patton repeatedly had his way in the paint, where the hosts outscored UCI, 26-16. Riverside also posted a 43-38 rebounding edge and used five of its eight offensive boards to earn a 10-0 advantage on second-chance points.
"I don't think any bigs in the conference can hang with me, [Harriel, Fox and Johns] when we are all being aggressive," Patton said. "And our guards were doing a good job getting us the ball. I mean, we were pretty much shooting layups."
UCI senior guard Daman Starring had 20 second-half points to pace the 'Eaters. He made seven of nine free-throw attempts and three three-pointers.
A three-pointer by freshman guard Alex Young pulled UCI within 56-51, with 3:53 left, but it never got any closer.
UCI shot 31.7% for the game, but was just seven of 32 from three-point range (21.9%).
It was UCI's fourth straight loss at Riverside, where it last won in 2009.
Big West Conference
UC Riverside 68, Irvine 58
UCI – Davis 2, Folker 4, Starring 22, Young 9, Wilder 6, McNealy 8, Souza 3, Flowers 2, Clifford 2.
3-pt. goals – Starring 3, Wilder 2, Souza 1, Young 1.
Fouled out – None.
Technicals – None.
UCR – Harriel 17, Fox 10, Patton 21, Smith 7, Jones 0, Owens 6, Johns 5, Devenny 2.
3-pt. goals – Harriel 4, Owens 2.
Fouled out – None.
Technicals – Patton 1.
Halftime – UCR, 29-18.
Twitter: @BarryFaulkner5


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prominent needed a new logo design and created a contest on 99designs.
A winner was selected from 86 designs submitted by 28 freelance designers.
We need a new logo, a prominent logo, for a high profile site. It should modern, trusting, recognizable, and unique.
We need a new logo for ProminentTicketService.com . It should be prominent, and show that the company is trustworthy, reputable, and professional.
- Need a logo ready for both web and print. Smaller sizes for email signatures.
- Can include the tagline 'buy from the source, save money'
- Prefer a scalable vector image (Illustrator) though will accept a PSD. Not looking for a JPEG, GIF, etc.
- Logo should be unique, recognizable, and sophisticated, though still web 2.0. It should help distinguish the brand when compared to others in the market.
- A logo that stresses the fact that we work with the customer to provide assistance at the highest level. We want to present a very professional image that leaves no doubt that we provide first class services.
- Clip art
- Generic logos
- Plain, tacky, or whacky
- Flat designs - Give it some depth!
Find out how a design contest works or learn more about our logo design services.


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A futuristic wild west, Warm Gun combines the favorite motifs of the classic western genre with the scraps of an obliterated technocracy. World War III has been fought to the tipping point and ecologists long unheeded cries have been silenced by the grim truth of their predictions. To the last drop of oil have the worlds resources been depleted, and only sporadic traces of modern structure can be sifted in the dust. Time ticks forward but humans must retrace their advancement back, through a history that has already been lived and to the Wild West for the second time around. We have trampled ahead to the past in muddy boots, to the United States of late 19th century. Greeted by the ghost of the wide-open country, the exhausted land is barren too, of all the old dreams we fulfilled beyond our means. This spun western lets you create your own one-of-a-kind characters and unique gangs; choose from weapons new and strange and a wider range.
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Fly Through of Heart of Darkness
Level Design - The Warm Gunners
Music - Bruce Peninsula


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Useful HIV Criminalization Resources From the Sero Project
June 13, 2014
The Sero Project website contains a variety of practical resources for HIV-positive people who may be confronted with accusations of criminal misconduct related to their status or who want to protect themselves from such accusations. The group, which is led by people living with HIV, seeks to end inappropriate criminal prosecutions of people with HIV for non-disclosure of their HIV status, potential or perceived HIV exposure or HIV transmission.
If you are already dealing with an accusation, the Protection Center provides information about how to handle an interaction with the police or a sheriff that is related to your HIV status. Sero Project recommends that you do not disclose your HIV status, provide bodily fluids or give permission for medical tests, sign any documents, or volunteer any information until you have consulted a lawyer. It also offers sources for finding such a lawyer, explains how to protect yourself against a sex partner's accusations of non-disclosure and discusses why you should not press charges against a former sex partner, even if you think he or she infected you with HIV.
Other helpful resources include brochures that summarize the information you need to know about HIV criminalization (in English and Spanish), annotated lists of organizations that work against HIV criminalization and links to relevant websites.
If you want to educate more people about HIV criminalization, Sero Project's 2011 film HIV Is Not a Crime, which tells the stories of three people who were prosecuted for HIV crimes, is a good tool. Resources for political activism include a summary of the 2013 REPEAL HIV Discrimination Act (H.R.1843) and the Sero Project's call to action on that bill.
Barbara Jungwirth is a freelance writer and translator based in New York.
Follow Barbara on Twitter: @reliabletran.
Copyright © 2014 Remedy Health Media, LLC. All rights reserved.
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