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Holistic Approach
Esa-Pekka Salonen on training composers and conductors to speak the same language
As a conductor, Esa-Pekka Salonen had a meteoric rise, first coming to international attention after a 1983 debut with the London Philharmonic at the tender age of 25; within a decade, he was music director of the Los Angeles Philharmonic. But his initial aim was to be a composer. After graduating from Finland's Sibelius Academy in 1979, he joined a collective of like-minded composers who arranged performances of their works. When a conductor was needed, he stepped in. His natural affinity caught the attention of established orchestras in Finland, and soon he put composing on the back burner to concentrate on a newfound career.
Increasingly in recent years, Salonen has gravitated back toward composition, while keeping his feet firmly on the podium. In 2000 he took a year's sabbatical from the Philharmonic to concentrate on composing, and a Sony Classical CD released a year ago features him conducting his own colorful, tightly constructed works.
Salonen's firmly held conviction that a conductor should understand composition thoroughly--and that composers need to understand the orchestra thoroughly, too--came to the fore in September, 2002, when he led a unique training workshop for composers and conductors in Los Angeles. Synergy--co-sponsored by the Los Angeles Philharmonic, the American Symphony Orchestra League, the University of Southern California, and the American Music Center--brought four conductors and four composers together in pairs to work on the realization of new works for orchestra. The event is seen as a prototype for similar workshops in the future.
In this discussion with Jesse Rosen, chief program officer of the American Symphony Orhcestra League, Salonen recalls the Synergy week, and outlines the need for closer connections between those who are training to lead orchestras and those who are learning to write for them.
Jesse Rosen: Why was it important to you to spend several days in joint training with composers and conductors?
Esa-Pekka Salonen: There's the general ideological reason, of course: furthering the cause of new music, deepening the understanding of new music among conductors, orchestras, and music students, and so forth. Synergy had a more specific target as well, having to do with the system of education in this country, which quite often creates problems of isolation. Composers can grow up in their own enclave and almost never meet a living performer. They rarely work with conductors, and conductors rarely hang out with composers. So it's difficult to form artistic partnerships that can then grow into something important. In my own case, I worked with a couple of friends from very early on who are now very well-known composers, like Magnus Lindberg and Kaija Saariaho. One of the goals of the Synergy workshop was to show how these kinds of relationships can be formed and developed.
JR: Is this isolation a uniquely American problem, or one that is also faced in Europe?
EPS: In a sense the problem exists everywhere, but it's more acute in the States. Although it depends on the size of the country, the school, the city; every place is different. Certainly for a young Scandinavian conductor or composer it is almost impossible not to forge relationships with colleagues and work as a team, because of the low population density. Music schools are smaller, cities are smaller. Conductors and composers and musicians grow up together and hang out in the same bars--which is an important element!
JR: What are some of the deficiencies that aspiring composers and conductors suffer from, as a result of not being in frequent contact with one another?
EPS: Let's take the composer's side first. Obviously there are the issues of orchestration and instrumental writing: how to get maximum effect with minimal effort, and how to optimize the instrumental writing so that you get what you want without making things unnecessarily complicated. And finding the right kind of difficulty--the kind that musicians find challenging, but not off-putting. This is, of course, a very complicated area, and we could not cover it in a week during Synergy. It's a lifelong process for composers, actually.
But our Synergy composers were able to encounter the situation where conductors or musicians who really want to do their best cannot do so for some reason. It might be the way the instrument has been handled, or the way the texture is laid out, or the notation. For instance, a musical idea might be quite simple, quite clear and straightforward, but perhaps the notation has kind of managed to blur the idea into something that nobody can quite pull off. Composers working intensely with performers and conductors can learn a lot in a short time about these kinds of things--simplicity, directness, exactness of the message.
Conductors also have a challenge, in the sense that you can't go to the record store and buy the Furtwängler recording of a brand-new piece. There's no sonic model. You have to learn it from the page. You have to decide yourself what you should do with it, and how you will keep the form together. And you are faced with more unknowns than under normal circumstances. You meet a new orchestra and you are supposed to convey your thoughts about the new piece they don't know, so it's like working on two problems at the same time. At the end of the day, though, you come to realize what sort of communication works, and what is a waste of time.
JR: Did those five days in a teaching role with both composers and conductors give you a different perspective on your own work?
EPS: It always happens, when teaching talented people, that some of the questions asked are so interesting and challenging--and sometimes even profound--that you have to go back to your room and think about them. You don't want to give a flip answer to such questions. These made it a stimulating experience.
For me personally, Synergy was also a trip into my own past. I remember so well what it was like to be a young composer and a young conductor, facing all these problems--the tremendous lack of time, in particular, when you work with a professional orchestra for the first time. You realize that you have all this to do, and you have X hours to do it in. You're not sure how the orchestra's relating to you--whether they are receptive or hostile--and you can't read the signs very well. The psychology of the whole situation is sort of alien. When I saw the Synergy conductors in this situation, it all came crashing back! [laughs] Generation after generation we are facing the same dilemmas, essentially. I think for them, it was kind of nice to hear that we all have had the same problems, and some of the problems will never go away.
JR: At the beginning of the Synergy workshop, you spent a couple of hours explaining a whole kind of system that you employ in coming to grips with a new score, and how you then make the transition from your study and analysis into your rehearsal plan. Where did all that come from?
EPS: Well, nobody's born with a system like that, of course. But we, as conductors, have to be able to learn quite a large amount of music in a relatively short time. Whether you are in a chief conductor position, or are an assistant conductor who has to cover these pieces, you haven't got the luxury of time. You have to be able to understand the notation quickly enough so that you can actually do at least a professional job. I think every conductor in the business has developed some kind of a system over the years, a method that eventually brings you to the point that you can actually stand in front of an orchestra and say that you know the piece.
My starting point is harmony. When I get a new score, I try to decipher the vertical structure of the piece. What are the chords, how are they put together, how do the individual voices relate to the basic harmony? My first step is to find out how the notes relate to each other in feeding that harmony. And then I can go on, studying the other aspects of the music. It may even be that the new piece of music is not even harmonically conceived. Once you establish that, then you can concentrate on other aspects of the music.
My conducting teacher, Jorma Panula, was very, very clear about this. He said, if you don't know the harmony, you have no business on the box. I think that's a very good rule. Sometimes in conducting auditions I'll stop the conductor and ask what the chord is at the place he stopped, and it takes about five minutes for him to decipher it. Then it's obvious that there's an aspect of the music that has not been learned in the first place.
That my study is harmony-based has to do also with my personal preference as a composer. Because harmony is the most important element of music for me as a composer. It interests me the most.
JR: Can the analysis give a conductor too much information, in a sense, if he or she doesn't know how to organize it? When I see young conductors in first rehearsals, so often what seems to get them derailed is that they're really trying to do everything at the same time, and end up skimming through a lot of stuff and not getting to essential material.
EPS: This is one of the hardest things about conducting. Some people are born with tremendous musical talent--and tremendous technical talent for conducting. But how to rehearse--how to maximize your time and prioritize problems to be worked on--is something you can only learn from experience. When learning a new score, towards the end of your study you have to try to create a hierarchy of what is essential for the musical expression, from a technical point of view, and what is something that may or may not take care of itself but is of lesser importance in the whole picture. Nothing is more irritating than a conductor getting stuck in something that takes hours to fix, and then nobody can hear it in the context of the performance. So you have to be practical. You have to let some things go by without trying to fix them. You also have to be very realistic, too--to be able to work within the schedule of the orchestra, and at the same time work within the abilities of the players.
JR: Has your work as a composer changed at all as a result of your conducting?
EPS: What happens to a composer when you have all of the practical experience of performing is that you really try to get your message out as clearly and simply and effectively as possible. You try to develop a notation that leaves very little to be guessed, one that is so clear and understandable from within the instrument that you can ask the players to do very difficult things. The gesture must always be within the identity and physical capability of the instrument. One quite often sees scores by young composers where the piccolo part looks like the tuba part--although slightly higher!--but in fact there is no instrumental identity in its gestures. If you want to have maximum effect out of a symphony orchestra, you have to make sure that every instrumental gesture they're asked to play is idiomatic, at least in the broadest sense.
And also as a result of conducting, I'm less interested in showing how clever I am. Quite the contrary, actually. I try to simplify my thoughts to the simplest possible version--so that they are still my thoughts and they are not compromised in any way, but they are as clear as they can be. Look at what Pierre Boulez has done to his old scores. Very obviously, this is precisely the process he's gone through. Nobody could call the new versions of Boulez's pieces simple or simplistic, no way. But they are extremely professionally written for the orchestra, and each instrument. And hard as hell! But a good challenge, not a bad challenge.
JR: In thinking about your own composing work, you've taken time off to be away from conducting in order to compose, and presumably you also compose while you're conducting. How do you manage this?
EPS: Different phases of the process of composing require different things. There is a very initial stage, when I'm just loosely jotting down ideas. That would be in the middle of a conducting period, because there's no actual pressure to invent something good. I'm just trying to invent any things, and then see later whether they have any potential at all. This is also a method I've developed to avoid panic when I finally have my real composition period, and I'm staring at the paper, and nothing comes up! [laughs] And I just don't want that, my time is too precious. So always when I start a period of composing, I have something down already, some kind of idea what could be, although it mostly changes radically. And most of these jottings end up in the wastebasket. Still, there's something to work with.
Then there is the period when I actually put the sketches together. It's like the last stage of churning butter, when the little clumps actually, all of a sudden, make butter. It happens very quickly. It's kind of an amazing process. And when this is happening in composition, I cannot do anything else. First of all, it's too interesting--I don't want to do anything else. But also I cannot stop the flow without damaging the process. I try to time my work in such a way that I can have a month or six weeks for this, because if I don't, then the piece doesn't happen. That has occurred so many times, and so it's something I've learned over the years to control, to some degree.
Once the piece has happened, then writing out scores is something that could be done between rehearsals and performances. Although I prefer this not to be the case, because of the sheer exhaustion aspect. But it's mentally and physically possible to do it.
JR: So sometimes conducting has gotten in the way of a piece being realized in the way you wanted it to be?
EPS: Yes. You know, the battle between conducting and composing is somewhat unfair, in that conductors and performers have these mechanisms around them, like agents and record companies, secretaries, PR people, and what-have-you. A conductor's time is very well organized and protected. Nobody would ever dream to ask me to take the dog out while I'm rehearsing Beethoven with the LA Philharmonic. But of course, when I'm "only" composing, my time is viewed as totally flexible. That can make it hard to compose.
You know, I once went to hear a piece of mine being played by the French National Orchestra as part of a festival in Paris. French Radio had booked me and my wife in a little bed-and-breakfast kind of place, close to the radio building. And when we checked in, I started complaining loudly to my wife, "Look at this dump. How could any human being exist in this kind of place? It's just awful." And she looked at me and said, "Look. You are being treated as a composer, don't forget." [laughs] That was a very good lesson, because I was the same guy who, when conducting, was staying in five-star hotels in Paris. It's crazy, ridiculous, but that's how it is.
JR: Going back to Synergy again, I wonder how this kind of joint experience, with conductors and composers learning together, might become more available, so that it's not so late in the process before the composer and conductor find each other and begin to have these kinds of synergistic connections?
EPS: One important element would be to understand that forming an artistic relationship with a composer--besides being very exciting, a lot of fun, and rewarding in many ways--can actually also help a conductor's career, in terms of creating a niche or specialty which is then of interest to orchestras. I think quite often young conductors feel that if they want to get work and launch careers, it will have to be through Mahler, Bruckner, Stravinsky and so forth. But having a certain new-music specialty can be a practical way to get noticed.
For instance, it sounds a bit grand to say that I'm the leading performing authority on Magnus Lindberg's music. But I think it is the case, because we grew up together, and I know every note he ever wrote. It's something that, obviously, has been musically tremendously rewarding. But also, when I was starting out as a conductor, if somebody wanted Lindberg to be played, they usually called upon me because they knew, "there's a guy who knows this stuff."
Getting noticed, obviously, shouldn't be the main concern here. The main concern should always be the music itself and the satisfaction you get out of that. But we also live in the real world.
JR: Forgive me if this sounds grand also, but there's a tradition of composer-conductors that goes back to Strauss, Mahler, Berlioz--which is not so common right now. Do you think of yourself as carrying on that kind of tradition, and are we maybe on the verge of the idea of a composer-conductor really being a force again?
EPS: Well, I--I mean, in some very weak moments, I somehow vaguely would like to see myself in that sort of continuum from Wagner and Berlioz onward. But, of course, these are crazy thoughts of massive vanity! [laughs]
What I think is really interesting is, why has the composer-conductor become so rare? Here we are dealing with not only a musical issue or even an artistic issue. It's a tendency in our entire society, for people to specialize in narrower and narrower segments. It's almost ridiculous how narrow our medical specialties are these days. So it's not surprising that conductors only conduct and composers only compose.
I think it would be healthier if every performer had some aspect of authoring, and vice versa. This, on some levels, also works so much better in pop and rock, where these limits between creating and performing are much more flexible and fluid.
JR: What intrigued or pleased you the most about the Synergy week?
EPS: There were two things that really encouraged me a lot. The first thing that really delighted me was the orchestra's reaction. We had musician mentors, an elected group of people from the orchestra who then spoke with the composers and the conductors. Lots of players came to talk to me afterwards and said, "This was fantastic, this was a lot of fun, and very interesting. Let's do this again." So the Philharmonic was totally behind it.
And the other thing was that all of the conductors, without exception, did their best work in the concert. That's wonderful; the curve was the right type of curve. (Obviously, of course, the nature of this thing is such that the end product is a concert, which is conducted by somebody, so the conducting seems to get the main attention and limelight.)
JR: And the composers' pieces were finished when Synergy started, so the composers adjusted their work less than the conductors during the course of the workshop. You've suggested that one way to improve on the process would be to have the composers write a new piece, and have them come together at some midpoint with the conductors, while there's still an opportunity for the composers to get feedback as they are creating the piece.
EPS: Yes; there are ways to balance this better. I think the next time we do this, we'll start the preparations much earlier, so we can have this kind of truly creative process. Because you might have tremendous musical imagination and talent--but to know how to write for bass clarinet? It's something you just have to learn.


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Short emotional pop instrumental piece centered around guitar solo theme accompanied by piano, strings, fretless bass guitar & drums.
Cosy, warm track with pronounced romantic atmosphere. Perfect for projects with similar theme. Loops perfectly
Thanks for stopping by and check out more high quality royalty-free music in my portfolio
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https://www.mixcloud.com/joelong/joe-lo ... promo-mix/
above is a link to a 1 hour mix of mine that is made up strictly of tunes produced by close friends or myself. Hit it with a listen and tell me your thoughts........
It's good to be home. ugh crews get posting!
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Walt Whitman
Walt Whitman (31 May 1819 - 26 March 1892 / New York / United States)
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To The States
WHY reclining, interrogating? Why myself and all drowsing?
What deepening twilight! scum floating atop of the waters!
Who are they, as bats and night-dogs, askant in the Capitol?
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Event Details
Stour Valley Nature Walk
Tuesday 31 October 2017 10:00 - 11:30
Activity: A gentle walk along the River Stour, focusing on the natural environment with the RSPB. Suitable for beginners and people wanting to improve their health or fitness. There are benches and places to stop along the way. Take it at your own pace. We walk for about an hour then return to Kingfisher Barn for coffee and conversation.
Where: Kingfisher Barn, Granby Road, Muscliff, Bournemouth, BH9 3NZ
Suggested things to bring: Waterproofs, suitable walking footwear, Money for refreshments (café), camera
Cost: Free
More info and to book: 01202 451548


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Competitive analysis is one of the most difficult components of marketing due to the private nature of corporate data. How do you understand what is or isn't working for your competitors before you try something similar yourself? Without private access to their reporting, you probably don't. Many times, even creating simple industry benchmarks are nearly impossible because of inconsistent KPI definitions and inaccurate surveying. Google Analytics used to provide some great, industry-specific benchmarking reports, but the program was abandoned, leaving marketers with few reliable numbers to build strategies from.
In our first in a series of social media how-tos, we share a couple of social media measurement tools that will simplify your competitive analysis and provide insights that can be used to improve your own social media marketing efforts....
Social Media How-To: Competitive Analysis
Posted by Ryan Sleeper January 13, 2013


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Drastic budget cuts on way in Poquonnock Bridge
Groton - The Poquonnock Bridge Fire District Board of Directors announced Thursday that they will seek "draconian" budget cuts, a hiring freeze and even elimination of entire departments among other moves in an attempt to bring the district taxes in line with the other districts in town.
Board member Alan Ackley read a statement at the tense meeting that started with revisions to the district's operating procedures and chipped away at the authority of newly elected board President Christopher Clark.
Clark was elected during an unexpected regime change at the annual meeting in May and the new board later signed a 10-year contract with the Poquonnock Bridge Professional Firefighters union, Local 2704. That contract called for a 3 percent per year wage increase, a 3 percent per year jump in pension benefits and increased staffing. The union president, Kale Kiely, was also promoted from fire inspector to deputy fire marshal.
"What happened in the last four months is a perfect example of why collective bargaining has no place in the public sector," Ackley said. "I will go on record to the public that this fire district will be run more like a business than an entitlement. No longer will a complicit union executive committee and a select group of directors be allowed to ram a contract down the throats of the hard-working people paying their salaries without any concern for the financial welfare of the taxpayers."
Ackley also said the district board would seek 50 percent reduction in spending and look to eliminate services where they are being duplicated, a reference to emergency medical, rescue and false alarms calls where firefighters respond with police and ambulance services.
"We need to sharpen our pencils and, like Alan said, run it like a business," said board member Ron Yuhas. "We sure can't keep spending the way we're spending."
Ackley, ousted from the board with others in May, was voted back on with three others in August after the district petitioned to increase the size of the board from five to nine members. The board has had a tumultuous relationship with Clark ever since.
During a special meeting last week, the board voted to rescind the firefighters contract on technical grounds. Firefighters are now working under an old contract.
The Poquonnock Bridge Fire District is the largest and by far the busiest of nine fire districts in Groton and also carries the highest tax rate at 5.9 mills - which is paid in addition to Groton taxes.
Poquonnock Bridge Fire Chief Todd Paige had remained above the fray until Thursday when he told the board that his administration was being sidelined from decisions affecting the department. As one example, Paige said he was surprised to learn Clark had switched the department's health care broker to a union broker who appears not able to handle the job.
The board quickly voted to remove the broker and adjourned into an previously unannounced executive session to discuss Paige's "role as fire chief." State law requires public agencies to list executive sessions on their agendas.
UConn athletic success is good for state, but I don't see it happening
EB purchases two Eastern Point homes, in discussions with other homeowners
Puerto Rico leaders meet to fight rise in brazen daylight violence


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Industry Night @Cooper's Hill Public House
July 9 @ 4:00 pm - 11:00 pm
|Recurring Event (See all)
An event every week that begins at 4:00pm on Tuesday, repeating indefinitely
Tuesdays are Industry Nights at Cooper's Hill. 15% off your tab all night if you work in the food/beverage service industry!
*Please present your current pay stub to receive this discount
*This is a reoccurring event and changes in the schedule may not be listed here.*


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Note: Programs listed are effective from September 1, 2013 unless otherwise stated in the Calendar or on the Program's web page.
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2:00 am
Nature "Survivors of the Firestorm" The wildfires that tore through the Australian state of Victoria in February 2009 incinerated more than a million acres, leaving death and destruction in their wake. Volunteers nurse burned and traumatized wildlife - even fish - back to health at wildlife hospitals and private facilities. Meanwhile in the forest, renewal is taking place too. One year later, the natural world is well on its way back to health.G
3:00 am
Outdoor Idaho "Adventure Racing" The Funtastics Adventure Racing Team of Coeur d'Alene joins fellow adrenaline-seekers who take part in Adventure Sports Week at Farragut State Park. The two-day competition offers 63 miles of biking, 22 miles of running, 19 miles of kayaking, and a swim across a bay on Lake Pend Oreille.G
3:30 am
Dialogue "Sandra Day O'Connor" The first woman to serve on the U.S. Supreme Court talked with host Marcia Franklin about her current interests - civic education for children, judicial independence, and fly fishing. O'Connor was in Idaho as keynote speaker at the Andrus Center for Public Policy's conference on women and leadership. Franklin also talks with David Adler, director of the Andrus Center.G
4:00 am
Sesame Street "Firefly Show" Baby Bear and Telly have trouble trying to catch a firefly and must problem solve to figure it out. Educational Objectives: Cognitive Reasoning. D
5:00 am
Daniel Tiger's Neighborhood "Daniel Waits For Show And Tell/A Night Out At The Restaurant" Daniel Waits for Show and Tell - Daniel is so excited to share a book he made with his class at "show and tell," but he's finding it very difficult to wait. He finds that singing on Trolley, playing during science time and imagining make the waiting much easier! A Night Out at the Restaurant - Daniel and his family are going out to dinner, and Katerina is coming too. Daniel and Katerina have a hard time waiting at the restaurant, but soon learn ways to make the waiting time easier. D
5:30 am
Martha Speaks "Martha: Deadline Doggie/It's The Giant Pumpkin, Martha" Martha: Deadline Doggie - When Martha begins to sniff out leads for Carolina's paper, the news is not fit to print. Can Martha redeem herself before she puts the paper out of business? Vocabulary: (E) article, deadline, eavesdropped(ing), gossip(ing), private (I) type(ing), read(s)(ing), tip, paper, surprise. It's the Giant Pumpkin, Martha - With The Ronald Report as her new competition, Carolina needs stories, big stories, to keep her paper afloat. D
6:00 am
NOVA "Crash of Flight 447" A team of seasoned pilots, engineers and safety experts examine the evidence that emerges in the weeks following the disappearance of the Rio de Janeiro to Paris flight that flew straight into a towering thunderstorm. Expert testimony, messages from the plane's computer system, CGI weather reconstructions and an airbus simulator provides a forensic view of events.G
7:00 am
Rick Steves' Europe "Provence: Legendary Light, Wind and Wine" Rick climbs Roman ruins in Nimes, explores a papal palace in Avignon, and savors vivid views immortalized by van Gogh in Arles. He crosses acres of wispy vineyards, explores the Cotes du Rhone and seeks out more wonders of the South of France.G
7:30 am
Smart Travels - Europe with Rudy Maxa "Bologna & Emilia Romagna" Known the world over for its wheels of golden cheese, its sweet prosciutto and divine vinegar, this slice of Northern Italy is a feast. From our base in Bologna we eat our way across the region, taking in the glorious art and culture along the way: cheese and mosaics in Parma, Balsamic vinegar and racecars in Modena, ham, pasta and university life in Bologna. An excursion to the mountainous Apennines, a trip to Ravenna's brilliant 6th century mosaics and a beach resort at Rimini round out the adventure. D
8:00 am
The Desert Speaks "Royal Road Across The Frontier" In the second part of the journey along the ancient highway, learn about the traditional hot springs of Aguas Calientes that gave the ancient traveler a brief respite from the dry, dusty roads. While the springs no longer exist, the town still marks the boundary between the lush green landscape behind and the dry dangerous desert frontier that looms ahead. The first stop in the desert is the mining town of Zacatecas. D
8:30 am
Kevin Dundon's Modern Irish Food "Savory to Sweet" Kevin serves up a warming courgette and almond soup followed by a rack of Wexford lamb with an Asian twist served with a potato rosti. Plus, caramelized apple chutney; dandelion salad with bacon and poached eggs; and orange marmalade pudding. D
9:00 am
Taste of History "Continental Congress & Constitutional Convention" Join Chef Walter as he tours Carpenters' Hall in Philadelphia, home to the first Continental Congress and Benjamin Franklin's library. We then learn about James Madison and the Constitutional Congress. In honor of Franklin and the Congress, Chef Walter prepares Fried Calves Feet with Curried Remoulade along with Beef Olives, Mashed Potatoes and Broccoli. D
9:30 am
Simply Ming "Richmond - Andy Liu" On the road in Richmond, British Columbia, Chef Ming Tsai and Chef Andy Liu cook with one of the region's best local ingredients, crab. On this episode of Simply Ming, they cook crab together, not one, not two - but four different ways - combining their own tricks and techniques for getting the most flavor. D
10:00 am
The Jazzy Vegetarian "Spectacular Summer Salads" Host Laura Theodore prepares flavorsome salads featuring seasonal, local produce. Main dish options include, "Penne and Black Bean Salad"- a jazzy twist on a classic cold pasta dish, and colorful "Red Quinoa and Avocado Salad" highlights tempting textures. "Easy Summer Cucumber Salad" adds a crunchy sweet and sour flair to any hot weather meal, while "Quick Tomato Salad" tastes like summer in a bowl. D
10:30 am
Chef's Life "Collard Green Queen" Vivian spends the morning with her neighbors, the Mills brothers, participating in their 100-year-old all-male family tradition of making collard kraut. Vivian visits Warren at Brother's farm to talk about the Eastern Carolina ingredient with a cult following, the cabbage collard. Vivian prepares for an event called Terra Vita, where she will serve three courses to 100 people and make collards the star they deserve to be. D
11:00 am
Austin City Limits "Bon Iver" The Grammy-winning group performs material from its self-titled second album.G
12:00 pm
Sesame Street "Failure to Launch" Hubert the Human Cannonball comes to Sesame Street to be launched out of a cannon, across the yard, and into a bucket of blue gelatin. He starts to set up all his stuff in the arbor and takes out a ruler so he can make sure the bucket is exactly five feet from the cannon. Baby Bear helps him measure it, Elmo and Telly help him into the cannon, and?drum roll please?there's a poof and Hubert tumbles out. D
1:00 pm
Dinosaur Train "I'm A T. Rex!/Ned The Quadruped" I'm a T. rex! - Buddy travels to Rexville on the Dinosaur Train and meets Delores Tyrannosaurus and her daughter Annie. When he sees that he shares all the same features, Buddy learns that he is a Tyrannosaurus rex! Ned the Quadruped - Buddy and Tiny tour the Dinosaur Train and earn their Junior Conductor hats while their friend Ned, a four-legged, long-necked Brachiosaurus and regular Train rider, tags along. D
1:30 pm
Peg + Cat "The Three Bears Problem/The Giant Problem" The Three Bears Problem - Fairytale Land. Peg and Cat bring the Three Bears, the Three Little Pigs, and the Three Billy Goats Gruff together to form a super group: "The Electric Eleven." Primary Content: Adding 1; Secondary Content: Counting to 11. D
2:00 pm
Cat in the Hat Knows A Lot About That! "Many Ants Make Light Work/Nest Best Thing" Many Ants Make Light Work - Nick and Sally are trying to put up a tent in their backyard but it's not working! Nick is pulling when Sally is pushing and it's just making a giant heap! Good thing the Cat knows a million trillion friends who are experts at teamwork! He whisks the kids off to visit an ant colony where Nick and Sally learn that you can do anything when you work together! Nest Best Thing - Nick and Sally have found some bird eggs in their backyard, but their nest is destroyed. Where are they going to keep them? The Cat in the Hat brings them to an expert nest builder, Mrs. Robin, who shows the children how to build a nest especially for those robin eggs. D
2:30 pm
WordGirl "Plain Old Mischief Makers/House Arrest" PLAIN OLD MISCHIEF MAKERS - When best friends Big Left Hand Guy and InvisiBill risk losing their super villain status, they decide to pull off their biggest heist to date. Can WordGirl stop this determined duo who always manage to escape her at the last minute? Vocabulary Words: Diminish, Declare. HOUSE ARREST - While Chuck's jail cell is being painted, he's put under house arrest at the Botsford's. D
3:00 pm
The Mind of a Chef "Soy" Savor an entire episode devoted to soy. David Chang visits tofu and miso factories in Japan, Chef Christina Tosi makes burnt miso apple pie, Laurent Gras takes on tofu, Chang makes his classic corn miso and the Torrisi boys compare making tofu to making mozzarella. D
3:30 pm
Rick Steves' Europe "Tuscany's Dolce Vita" Rick explores the small towns and rural countryside of Tuscany. He hunts for truffles in an oak forest, nibbles through an artichoke festival, shares a farmhouse feast, climbs the Leaning Tower of Pisa, and rides in a classic convertible through the cypress groves of Mona Lisa's backyard.G
4:00 pm
Song of the Mountains The SteelDrivers. D
5:00 pm
PBS NewsHour NULL
6:00 pm
60s Girl Grooves (My Music) Join host Mary Wilson of the Supremes as she celebrates the great girl groups and solo singers of the 1960s, including archival performances by the Supremes, Dusty Springfield, Aretha Franklin, Petula Clark, and Martha & the Vandellas.G
8:00 pm
Doo Wop Love Songs (My Music) Doo Wop's biggest and best hits are back, assembled into an all-new DVD collection featuring the most romantic teenage love songs for sweethearts. Following the recent major pledge success of Rock, Pop & Doo Wop, an updated classic arrives from the My Music archives. Hosts Jerry Butler and Cousin Brucie Morrow bring the backseat memories to the forefront in an updated PBS celebration of great vocal groups love songs. D
10:00 pm
Horses of the West: America's Love Story From elegant Arabians to a gentle therapy horse, from the open runs of wild horses on the range to the muscle and skill of working ranch horses, this film takes viewers on a horseback journey. Actress Ali MacGraw narrates this special, which celebrates the relationship of horses and the humans who love them, while offering a broad overview of the many different roles horses play.G
11:00 pm
Antiques Roadshow "El Paso, TX - Hour One" Host Mark L. Walberg and appraiser John Buxton head to the Centennial Museum to check out pre-Columbian pottery from the Casas Grandes culture. Highlights include Andy Warhol's 1966 artist's proof of a print of Jacqueline Kennedy, and a 1937 first edition copy of The Hobbit, with original dust jacket. Part 1 of 3G


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1. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 14, 2011 7:03 AM (in response to Dean Utian)
Jesus, Dean - its already after meeting and normally It would be entirely published as audio on Tweeter or whatever but not in case of Director... It's damn magma - a saucerful of secrets - we do not know nothing. This only enhances the nasty athmospere around Director - muddy software, muddy peaple, muddy ground.
Honestly - I seriously doubt anybody is going to follow this nonsens...
Dean - you make a ridicule. Publish what you have asap and stop doing like Adobe's advocat. There is nothing to clarify. This software is dead. KAPUT. This is decision by Adobe - f.u.c.k them and their mysterious communications! Who cares...
2. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 14, 2011 7:19 AM (in response to Ziggizag)
>Jesus, Dean...
>Dean - you make a ridicule.
First, it's important to realise that any frustrations you have with Adobe or Director should not equate to a negative perception of my effort.
The Director ecosystem does work differently to others. Twitter, publishing to audio, video, recording in general was just not possible. Not my decision.
As I mentioned, there was not a lot of substance to what was discussed. And because I was taking notes in the talk, I wanted to make sure I was getting things down accurately before posting.
To give you something to chew on, here's what was mentioned on the feature updates for the next release :
New Features-
- Bump Map
- Parallax Mapping
- Cube Mapping
- Flash 10.2 Support
- RenderToTexture
- Option for Additive Transparency to set as a global value
- Option for creating Mac-Intel-only projector to support Apple's code signing
- Import DAE files
- Bug fixes
- And more...
3. Re: Director's Future Meeting - Summary and EvaluationShovelRider Apr 14, 2011 9:36 AM (in response to Dean Utian)
Hi Dean!
Thanks for your efforts here!
I see Flash 10.2 support... Can I interpret this to mean that AS3 is also supported?
Best wishes,
4. Re: Director's Future Meeting - Summary and EvaluationMike Blaustein Apr 14, 2011 9:49 AM (in response to ShovelRider)
AS3 is already supported as of the last hotfix (11.5.8). If you have 11.5 already, just do the automatic update under Help inside of Director and it will get the latest version. I have been doing some pretty hardcore AS3 stuff lately with no problems. You also have much better communication between Flash sprites and Director, and you can use Flex components.
5. Re: Director's Future Meeting - Summary and EvaluationShovelRider Apr 14, 2011 11:14 AM (in response to Mike Blaustein)
Thanks Mike!
6. Re: Director's Future Meeting - Summary and EvaluationShovelRider Apr 14, 2011 11:25 AM (in response to Mike Blaustein)
I just tried the update, abd it says I am up-to-date...
When I go to About Director, it does not show the update.
I went to the Director update page: http://www.adobe.com/support/director/downloads.html
It is not there...
My copy is legit, and registered. Any thoughts?
7. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 14, 2011 11:30 AM (in response to Dean Utian)
Dean wrote:
- Bump Map
- Parallax Mapping
- Cube Mapping
- Flash 10.2 Support
- RenderToTexture
- Option for Additive Transparency to set as a global value
- Option for creating Mac-Intel-only projector to support Apple's code signing
- Import DAE files
IMHO - it's mostly bunch of pointless improvements Adobe will try to sell for yet another $1000... Parallax mapping is the only real value...
No basic code refactoring, no multithreating, no DX9 (or higher)... CRAP !!!
Dean - forgive me but - tell me - why the hell do you hung on Director's wire?
It is a bit confusing to see such a mouse born from mountain. After more than two years of silence Adobe delivered a smelling furt.. No joy to participate in such a game... It's so obvious their only real target is to get these several hundreds bucks last time from the old cow they already abandoned and left to die.
Bye Dean - I am totally disappointed!
8. Re: Director's Future Meeting - Summary and EvaluationMike Blaustein Apr 14, 2011 11:39 AM (in response to ShovelRider)
If you still have trouble, then you should open a new thread for this problem since it really has nothing to do with the stated intention of this thread which is about the Director meeting... but, you can check the version you are using by entering this in the message window:
put the productVersion
If it comes up saying that you have "11.5.8", then that is the most recent version and you have what you need. If you are using a version lower than 11.5, then you would need to purchase the current 11.5 version and update it.
9. Re: Director's Future Meeting - Summary and EvaluationShovelRider Apr 14, 2011 11:51 AM (in response to Mike Blaustein)
Thanks again Mike...
Will do.
10. Re: Director's Future Meeting - Summary and Evaluationbestwave Apr 14, 2011 4:05 PM (in response to Mike Blaustein)
Thanks for the 11.5.8 update thread. I just did the auto update, which installed Hotfix 2
and everything worked. Now, my application plays Flash 10 perfectly!
11. Re: Director's Future Meeting - Summary and EvaluationTommyTommaso Apr 14, 2011 11:29 PM (in response to Ziggizag)
well, i'm agree that Adobe is not giving us support or informations ( except for Dean's Forum work ).
Btw i'm also very happy to use Director because i'm sure it still the best multimedia - game - prototype creator program.
Thanks to Director i still have very important clients and i can "shock" them with excellent products.
With the next new features i can improve the 3D quality of my products and i can't wait to receve the v.12 !
i'm just disappointed that Android will not be supported soon...
Thank you Dean for your great job!
12. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 15, 2011 12:00 AM (in response to TommyTommaso)
OK, I said I'd post a summary. Was trying to get additional details from Adobe so could be accurate. Have got some new info. Will post what I have, starting with the questions I forwarded to Adobe. Please note that I what I cover below is simply what I understand Adobe as saying, not my view. I am saying this as there have been comments that I'm just a mouthpiece for Adobe.
Q1. Does Director have a roadmap and what is preventing Adobe from discussing it?
The answer was not very thorough or clear.
The roadmap was described as the current focus for Director being Games and in particular 3D. Part of this involves promoting Shockwave in games portals and taking a 'business model' approach, which is laying the groundwork for Shockwave business.
I spoke to Krishnan today and he said that the payload income is not the focus. They have chosen 3D features for online and offline as it was seen as the most critical area for updating at this stage. The intention is to address media support as the next key focus.
Krishnan mentioned that the Adobe team realise that Director has a lot to do to catch up. They want to get Director into a state with "robust functionality", which would be needed for attracting new users.
Q2. Does the Adobe Director team believe it is sufficiently resourced to meet its roadmap?
The short answer was yes.
Q3. Why is there minimal marketing of Director?
Answer seemed to be along the lines of this 'business model' approach in marketing Shockwave for portals and games. There was nothing to elaborate on why there isn't more marketing to new users, or why there is no dedicated Product Manager or Evangelist. I was told someone is coming on board in more of a marketing context, not sure the exact nature of this role.
Q4. Why does Adobe Director have no one to engage with the community?
No real answer - other Adobe staff will take on some community engagement roles but they appear to be spread pretty thin. Allen will do some Director evangelising but focus is on e-learning. Adobe realise they have been falling short in communication and use of social media and will said they will improve in this area.
Talking to Krishnan now, he has said there will be more discussions in the prerelease to start soon. He has also said Adobe would participate in more live discussions like the last one.
Q5. Does Adobe realise the value Xtra developers play to Director and have Adobe considered ways to maintain the life of this important business?
In the meeting, it sounded like Shockwave was the main priority to Adobe, although Krishnan has followed that up with me saying that projector development is just as important. It was mentioned in the meeting (by Adobe) that Xtras can have security issues. Adobe is open to suggestions on how to support Xtras, but is not an priority at this stage.
On the topic of Xtras, someone asked if Adobe would buy the OS Control Xtra. The answer was that Adobe is willing to buy this Xtra. The Xtra has already been sold and the speculation was that Adobe had made that purchase. Tridib said that Adobe have not bough OS Control Xtra.
Q6. How are the 3D capabilities of Director developing?
As mentioned, 3D is the main focus of the next update. Allen spoke about the features already mentioned.
Q7. Is there an intention for Director move to a 64 bit version?
Most Director libraries don't support 64 bit. 64 bit version is a high priority item for Adobe.
Q8. Is there an intention for support of new OS/Platforms? (android, ipad, iphone, symbian, windows 7 mobile, windows 7, the new mac os x version lion, linux, and others)
The intention is to support latest Windows and Mac OSs, nothing else at this stage. Adobe have an interest in mobiles but no immediate plans to move in this direction.
Q10. How is the Adobe team addressing the price of Director, which far exceeds that of other Adobe products, particularly for the education market?
The answer in the meeting suggested that a price change would not necessarily attract more users so the plan was not to make changes. However, further conversations with Krishnan suggests pricing is under review.
Well, that will be all for now.
13. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 15, 2011 1:21 AM (in response to Dean Utian)
Adobe shows some complete indolency in understanding Director's natural market.
It was never games. Games was... an incident. Now web games and gaming is Flash and Unity3D - both much better suited to needs of this market taking into account their server side environment, multiplatform suport, software integration and last but not least - user/community base.
Natural market for Director were always business multimedia applications and educational market. Online "serious games" market niche was also present but far from domination.
The reason for that was simple - wide media support, xtras extensibility and source code protection.
Rapid switching to 3D online games in case of Director/Shockwave must be a failure. What that special Director has to offer? Let's sum-up:
- poor, outdated 3D engine
- lack of integrated 3D editor
- poor integration with 3D content creation software
- crazy pricing (Director: $999 while Unity3D basic: FREE, and amazingly powerfull Unity3D Pro: $1500)
- lack of mobile platforms support
Consequently, yet another time we observe total neglect of actual Director developers needs while Adobe management tries to push Director into pointless cul-de-sac. They will loose already dimishing xtras developers, they will loose multimedia applications, they will finally kill Director for good. Idiots. And one must be an idiot too to bind his/her career with an application managed in such a barbaric way.
And last but not least...
Dean, while I understand you tried t do your best, actual body of information you were able to receive from Krishan is... microscopic. I would even say, all the information you have got "for sure" is bad news. The good news are always unclear, uncertain and foggy. No wonder if you noticed the actual situation of Director at Adobe's website. Is there any other application out there what brings you "page not found" error after clicking "Buy online" link? Try it yourself: http://www.adobe.com/go/buydirector !
Hmm - this is indeed somethng masochistic that I loose my time posting that here, but once upon a time I used to do a lot in Director. But that's over already. I was fed-up with Macromedia / Adobe's way of managing this program. I spent too much time on bloody workarounds to get the simplest, most natural functionality. Fully functional LDM were never delivered, fully functional OS GUI widgets were never delivered, fully functional bug-free text engine was never delivered, and finally they have blocked FlashXtra HTTP movie streaming what was really kind of knee-shot. Somebody at Adobe's management had thought really hard to invent this - buhahaha !
14. Re: Director's Future Meeting - Summary and Evaluationmdmoser Apr 15, 2011 1:29 AM (in response to Dean Utian)
The worst aspect of Director, and the one keeping away new users is this .w3d requirement for doing 3D. Director should import more standard 3D formats. The fact that you need to convert to w3d is terrible. There are almost no exporters for this format. The converters are bad, you lose the animation, etc..
This .w3d thing should be extinguished. By the way, the future of 3D on the web is WebGL.
15. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 15, 2011 1:41 AM (in response to mdmoser)
>> The worst aspect of Director, and the one keeping away new users is this .w3d requirement for doing 3D.
This is only one of a few "worst aspects" of Director actualy :-)
>> the future of 3D on the web is WebGL
Probably it is, but it is a long perspective... For the time being WebGL delievers 2005-like graphics quality. Complete crap...
16. Re: Director's Future Meeting - Summary and EvaluationMike Blaustein Apr 15, 2011 3:31 AM (in response to mdmoser)
Incidentally, one thing that they said at the meeting that Dean did not add in his summary, is that they are looking at adding a collada importer so users would not be constrained by the fact that most new 3d software does not come with a w3d exporter.
17. Re: Director's Future Meeting - Summary and Evaluationpuddin'head Apr 15, 2011 5:07 AM (in response to Dean Utian)
Hi guys. Dean, thanks for taking the initiative here and getting some information out.
I've got a simple question, which probably has a simple answer, but I don't know anything about software architecture or programming beyond Lingo, so I'll bounce it off you folks.
18. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 15, 2011 6:13 AM (in response to puddin'head)
Hi Puddin'Head,
Adobe Integrated Runtime, also known as Adobe AIR, is a cross-platform runtime environment developed by Adobe Systems for building Rich Internet Applications (RIA) using Adobe Flash, Adobe Flex, HTML, Javascript and Ajax, that can be run as desktop applications.That means the base runtime engine propelling AIR applications is actually FlashPlayer enhanced with several AIR-only classes.
As FlashPlayer is unable to process Director files - consequently is AIR. The reason for that is simple: Director objects and classes do not match Flash objects and classes.
For the time being maximum what was possible with Director was "export as Java" feature what used an Xtra to translate Director-specific classes into appropriate JavaBeans. That also had it's limitations as Java - by nature is platform neutral environment, while Director actually is not. There were also additional limitation related to the Java code processing slightly different to what Director does.
Please notice - the thing you can use JavaScript in Director to manipulate Director objects does not mean these objects are written in JavaScript or that they can be easily converted into JavaScript objects. Actually, core Director classes were witten in plain unmanaged C++.
19. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 15, 2011 6:23 AM (in response to puddin'head)
Hi Puddin,
I'm understanding your question to be simply - why can't AIR support Shockwave (Director published content).
First, it's important to realise that even though Adobe owns mutiple software, making them all communicate with each other is not a simple thing to acheive. Director does include a language called Javascript Syntax, but that is very different to Javascript used in HTML. Flash has a language Actionsript 3 and it's only in recent Director update that this is fully supported in Director (i.e Director can communicate with SWFs with AS3).
Next, Director differs from other content supported in AIR in that it allows for Xtras - plugins/add-ons to the software.
So, making AIR communicate with Shockwave would involve one set of functionality to just read the Shockwave specific content, then the other would be to how to deal with Xtras.
As I'm writing this, I see Ziggizag has provided an answer too. In essense eitehr Director would have to be translated into a format more suited to AIR, or AIR would have had to be designe dto have the functionality to understand Dierctor content. Either was too big a job for Adobe. Many Director developers think that Adobe would have been smarter to make Director the AIR type tool. In other words, develop up director to a greater degree to do what AIR does now. But Alas, Adobe created a new tool for this role.
20. Re: Director's Future Meeting - Summary and Evaluationpuddin'head Apr 15, 2011 7:04 AM (in response to Dean Utian)
Thanks for the clear explanations, Ziggizag and Dean. As my primary concern is 2D sort of stuff, and there doesn't seem to be much of a Director roadmap for functionality of interest to a lot of us, I guess I might have to look into Live Code.
I was really excited when I found Dean's initial thread about the meeting with the Director folks. I've been working on a Director project for about 3 years and have just been sitting on it for the last year, waiting to see if Director is going to be supported into the future. Kind of a point of no return for me, as I don't want to start over from scratch, finding out down the road that any new platform I pursue doesn't have the functionality I need. Director was perfect, but now seems limited on account of the noncommittal development approach.
Any other options for "Director like" 2D capabilities/simplicity which are being actively developed? I guess that depends on what I'm trying to do with it, doesn't it. How complex can I get with the current edition of Flash?
I know some people following this don't want to see this thread take this sort of tangent, but I think a lot of us are wondering anew "where to now?".
21. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 15, 2011 8:24 AM (in response to puddin'head)
Director's sprite engine is a disaster. Slow like hell (missing hardware acceleration), no nested movies - just single timeline (ok - you may try to use LDMs but they are pretty buggy), you can only get real speed working directly on the Image object but then you have to manage all interactivity yourself in Lingo) and there is no basic collision tests natively implemented, so you need to script them in Lingo again - with all the performance punishment.
Really - besides handling a bunch of media formats there is nothing sexy in Director any more...
22. Re: Director's Future Meeting - Summary and EvaluationVizFX76 Apr 15, 2011 10:35 AM (in response to puddin'head)
Sincerely the best approach is from Microsoft with Expression Blend but they are a bit behind with adoption of standards for various operating systems and browsers. I saw some presentations about it and I love the workflow. I think it`s the fastest tool for UI prototyping (SketchFlow - http://www.microsoft.com/expression/products/SketchFlow_Overview.aspx).
Both Macromedia and Adobe took a strange development decision. They thought Flash will replace Director. The time proved they were wrong, but Director it`s showing the age.
By the way Flash Molehill it`s a bit late at the 3D table. Maybe it will have a chance with Unity decision to publish to Flash.
23. Re: Director's Future Meeting - Summary and EvaluationVizFX76 Apr 15, 2011 9:09 AM (in response to puddin'head)
By the way – Microsoft and Autodesk learned (maybe in the hard way) that a good relation with clients in development stages and good feedback (public surveys, webinars, forum activity) it`s the best way to make a good product.
24. Re: Director's Future Meeting - Summary and Evaluationsrihards Apr 17, 2011 11:36 AM (in response to Dean Utian)
In short - that is not what i waited from this meeting.
Moving my project to Flash Platform.
25. Re: Director's Future Meeting - Summary and EvaluationCAnuszczyk Apr 17, 2011 1:12 PM (in response to srihards)
I have to agree. It's time to move on.
What are the choices? I've listed some. What are others doing?
Flash - also Adobe
AIR - also Adobe
Unity 3D
Torque Engine
I know some of these are not for the web. I develop Kiosk apps so in Director I use a projector. I really have no interest in staying with Adobe. They suffer (or rather we suffer) from customer no-service.
26. Re: Director's Future Meeting - Summary and EvaluationSean_Wilson Apr 17, 2011 10:16 PM (in response to CAnuszczyk)
LiveCode (was RunRev) has been getting a plug on Direct-L lately.
27. Re: Director's Future Meeting - Summary and Evaluationsinopsis Apr 21, 2011 10:41 AM (in response to Dean Utian)
Dean, Tks in advance for you actitude. Im Pablo, from Latin America community, and sorry for my bad english. Some words to some frustrated members: We have a hugue repository of software tools in market that can give us answers to our frustrations, if we dont find what we need on Director, and we have the intelligence to decide. Here we are a lot of old Macromedia users, that remember -almost in a romantic way- that period when Director, Havok, Shockwave 3D and Multiplayer. But! the world didnt stop, only see the smile of Flash / ActionScript 3 programmers in this days when multitouch, AR, mobile devices, and hundreds of etcs are in the top of the needs of market. Anyway, Adobe let Director too much time forgotten, and after that will be difficult to dream with that rich and not confrontational community that existed years ago. And about me, Director has given me to live, so I have more appreciation than criticism.
28. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 21, 2011 10:39 PM (in response to sinopsis)
>Dean, Tks in advance for you actitude.
Thanks Pablo, You are right. People who are unhappy with Director can move to other applications rather than venting their frustrations on here and towards people that are not responsible for the state of affairs. And yes, a lot of existing users are people that have a romantic / nostalgic connection to Director. Regardless of what happens with Director, the community is amazing and I've enjoyed being part of it and contributing in ways I can. Hopefully, that will continue for while longer.
29. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 22, 2011 12:18 PM (in response to Dean Utian)
Honestly speaking, I am rather friendly and helpful guy, whose experience with Director is not negectable, so when somebody deserves help I try to help.
I am a part of Director community as you are. I started with Director 5 - long long time ago.... I remember this particulary open, friendly atmosphere on macromedia.director Usenet group. Consequenty, my attitude towards Director's users is very positive But this is not the case when we are talking about Adobe. I hope you can distinguish these two things and understand. I have nothing against you and I appreciate your efforts, but I do not believe in their results. If I am wrong - beter to all of us, but please, do not ask me to be enthusiastic here. Adobe remains as snotty as it used to be and I have no single reason to think anything has changed recently. So - I remain sceptical and even sardonic sometimes. And yes, I do not use Director any more (or I use it VERY rarely). I did not uninstall it for the time being - it's still a program I can very quickly do many simple things with, so I find it useful. But I do not go into serious projects with Director any more. Good days of this application have gone and it's really hardly possible anytime they will come back.
30. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 23, 2011 1:23 AM (in response to Ziggizag)
>Honestly speaking, I am rather friendly and helpful guy…
Ziggi – your last post was friendly and polite. This has not been the case with many of your others. While you say you're just angry at Adobe, you have taken that out on me. For example:
- Dean - you make a ridicule.
- Bye Dean - I am totally disappointed!
- And giving me the finger in the other thread. OK, that may have been for Adobe, but Adobe staff don't read these forums and so your message is directed to me.
I don't expect you to be enthusiastic and positive about Director, Adobe, or even me for that matter. What I don't appreciate is confrontational responses clearly directed at me when all I'm doing is trying to support the community.
31. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 23, 2011 3:56 AM (in response to Dean Utian)
"Dean - you make a ridicule" - that was indeed to you and that was about the slow and IMHO too careful way you published the chat summary. Not that offence anyway...
"Bye Dean - I am totally disappointed" - that was about Adobe. I am totally disappointed with the outcome of this chat. Adobe's guys were as usual, snotty, ignoring voice of the community, providing little or no information. Definitely it was not about you. Sorry if you did not get his.
The finger was to let everybody what I think about Adobe. You say Adobe staff do not read this thread - that only confirms what is Adobe attitude to Director community... All of us should show them the finger, IMHO...
My confrontational style is directed ONLY at Adobe not at you, Dean. Sorry once again if I hurted you incidentally.
32. Re: Director's Future Meeting - Summary and Evaluationbestwave Apr 24, 2011 5:30 AM (in response to Dean Utian)
As a long term Director developer I have been following this thread with great interest.
To say that Director has been good to me is a huge understatement. I have made my living from Director applications for business for about 14 years... and at this moment have nearly 1,200 customers around the world running my Director digital sign applications. Some of the customers include Proctor and Gamble, Nestle, Purina, Ratheon, all four branches of the U.S. military, Disney, the Bank of Greece, Coca Cola, etc etc etc. I have even produced 3D games and animations for Disney, and my kiosk applications are being used in their theme parks today.
Although Director has shortcomings that need work, it has allowed me to create applications at a lower cost than other companies could, giving me a competetive edge. The applications are solid, and work reliably for years and years, helping me earn a reputation for quality.
What is wrong with Director is the ownership. Adobe has, for years, "been going in a different direction" making Director the red-headed step child in their product lineup. They wish they could just kill it off, but it keeps generating revenue (damn!), and it has a faithful community of developers that love it.
Clearly, they do not understand the product and its uses. I believe the best synopsis was written in this forum, where someone said, "it is the Swiss Army Knife of Application Development." That is exactly it. It is awesome for putting together a solid application that runs on PC or Mac very quickly. It is really a business-to-business tool. Yes, it can be used for 3D development, but few (that I know) would use it primarily for game development.
Given the overall situation, I believe the real storyline here should be that Adobe sell Director to someone who gets it, is willing to continue its development, and is willing to promote its use. Maybe a user-community buy-out might make sense... ridding Director of the immense Adobe overhead and lack of focus would do wonders to free it up, and make it viable in the marketplace.
I would like to see these discussions with Adobe take a different tack. It looks like what has transpired so far is resulting in more of the same. A new direction is really needed.
33. Re: Director's Future Meeting - Summary and EvaluationCAnuszczyk Apr 24, 2011 5:39 AM (in response to bestwave)
Well said...
34. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 24, 2011 8:09 AM (in response to bestwave)
@ bestwave
You make valid points. I relate to a lot of what you've said. Director has been very good to me too.
The topic of Director's sale has come up before by the community (i.e. developers that appreciate its value and realise its potential).
Here's my take on things.
The problem for Director was Flash and the direction of Macromedia when it took off. I was looking at a video interview with Marc Canter (creator of Director and founder of Macromind-Macromedia) where he talks about the history of multimedia, Director and beyond:
Marc Canter: The master of multimedia speaks
Is interesting that he says he was an advocate for Director having the full vector output capability prior to the emergence of Flash. Marc was passionate about Director. He created it from scratch and saw it become the flagship product of Macromedia.
A few years on, Burgess becomes CEO of Macromedia, sees the web as the big thing and decides to ditch almost everything non-web related. Macromedia had a 3D program that was discontinued. Sound Edit, which was seen as the best sound tool of the time, ceased development. Macromedia even developed a video editing software that was sold to Apple and became Final Cut Pro.
So Burgess's focus (which seemed very narrow) was to put all energy and resources to a web focus. Director was an odd product. It could do web stuff but was so much more. But, Flash was in the limelight and imitated more and more of what Director could do. Microsoft is a company that has used its dominance in one area to try dominate another, to maintain all their products to maintain highest possible status. So, I think that type of approach could have allowed Flash to soar but still bring Director along with it. Macromedia seemed to allow the competition between Director and Flash and really let Director slide.
Then comes Adobe. It has a history of buying other companies and products to expand. It bought Macromedia for Flash. At that time, Director was a neglected product and Adobe didn't quite know what to do with it. It was bringing in revenue (from deals with Google in the toolbar addon with the Shockwave install), so they continued development, perhaps not quite appreciating what it needed.
To the question about selling Director to a company that cares. Well, perhaps Burgess did consider selling it but not for the good of the product. Am sure when he sold the initial version of Final Cut, he did not realise what it would become. Today, companies would more likely buy products simply to kill them off and prevent potential competition. Director seems a good fit in Adobe – a company that covers all areas of digital media. However, its swiss army-knife classification is not working in its favour. It does too many things so is hard to maintain all of them – the 3D side, the application development side, the multimedia authoring. Would Adobe sell it? I would not think so as they would not want to risk it actually succeeding and competing with other Adobe products.
35. Re: Director's Future Meeting - Summary and EvaluationDean Utian Apr 24, 2011 8:12 AM (in response to bestwave)
Seems my message was sent twice, so deleting this second version.
36. Re: Director's Future Meeting - Summary and EvaluationZiggizag Apr 25, 2011 4:52 AM (in response to bestwave)
>> It is really a business-to-business tool. Yes, it can be used for 3D
>> development, but few (that I know) would use it primarily for game development.
Unless Adobe understands its basic fit (B2B) - Director is "living dead". Point.
37. Re: Director's Future Meeting - Summary and EvaluationDHMerritt May 26, 2011 1:04 AM (in response to Dean Utian)
I would like to fall onto the bandwagon here. I support Ziggizag 100%.
I have been using Director since it was owned by Macromedia and way back then Director was the way to go (I believe). Since then it has lost ground and speed in terms of development, support and keeping up with the times. Flash has definitely surpassed Director.
We, like puddin'head have created almost all of our content in Director and every year we hang in their hoping for some miracle to happen, the hype builds up towards an new release, which was/is long overdue, and then the upgrades are minimal compared to what one has to pay for the upgrade. We have this year made the call to move on, only after having tried to talk to somebody at Director (which is virtually impossible). It sounds like an easy decision but the implications are far reaching BUT hanging on like this is really not worth it.
Thinking back to the conversation, there were simple things that I suggested e.g. almost all of Adobe products have training available on Adobe TV. I asked why Director was not on there? The answer.... "it will not happen". Nothing more. Negative and a sign that there is no life left in Director.
Dean I thank you for all your effort but I must say the feedback to me looks so negative, life tapping and hanging onto something that will linger on like cancer (eating away slowly at the human body).
I personally wish that Adobe could make a stand and give us clear cut direction. All this up in the air stuff is going to cost my company a lot of money and I would like to point a finger in their direction.
To me this is sad!
38. Re: Director's Future Meeting - Summary and EvaluationZiggizag May 26, 2011 3:20 PM (in response to DHMerritt)
Hi DHMerritt,
You know what - I believe it's a little bit cultural issue how people perceive the faith of Director.
For most of the people of anglosaxon/american culture (let's call them the "yes-men") - the principal life strategy is optimistic. If there is a Director team within Adobe, if there is some Director-related development plan - wow - they tend to believe it's a sign of progress and they try (desperately) to keep optimism about the issue.
In a contrary - the (european) continental menatality is much more pessimistic - we do not trust corporate "wisdom". This is too dependent on unknown factors what we do not know. We observe facts. And what are the facts in case of Director? - You have already answered. We are coming to mid 2011 and what has happened? Besides this pointless "teleconference" - nothing actually! We can see Flash platform steady developing into all areas and the only difference between Director and Flash is... Adobe controlls all aspects of Flash while Director is extensible with xtras. This is the only difference. This is the true reason they decided to kill Director. They mimic the paradigm of Steve Jobs - "the ultimate controll". Point.
39. Re: Director's Future Meeting - Summary and EvaluationDean Utian May 26, 2011 10:10 PM (in response to Ziggizag)
I appreciate what you're saying. It is sad to see developers leave the product. I certainly understand the reasoning.
I'm not sure if it's a cultural mindset. The way I see things, many of the long-time Director users understand the great value and potential Director provides. It is this that drives their desire to see its life extended. Signs of life are appreciated. However, expectations have increased. For most, the online meeting was not sufficient, as we can see here. As time goes by and Director falls behind, people who rely on income from software have moved beyond Director as the only tool in their expertise. I find Director a remarkable product and the community is pretty amazing too. So, maybe the nostalgic side of me hangs on to that too.
I don't think the fact that Xtras are out of Adobe's control is why that Director is being killed. I think the current state is a result of
1. Macromedia making mistakes in under-resourcing Director's development because the focus was on Flash.
2. Adobe not being able to turn around the dated and underdeveloped areas of Director quickly and efficiently, and thereby build up momentum and excitement around it.
3. Adobe not really defining Director well in the Adobe family and so it becoming a black sheep that has lesser priority than other products.
So, what next. Well, don't think anyone is in a position where Director can be used indefinitely if it remains dated. Some can hang on longer than others. Many have moved on already but keep an eye on Director to see what may change.
For me, I still see Director in its current form as offering some value and will push Adobe to extend on it. But, I am realistic in that other options need to be explored.


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I just logged into edmodo and saw a teacher asking for resources for starting Literature Circles. We introduced Literature Circles at my school about three years ago. I've had great success with the activity. I run a fairly regimented routine and students seem to respond well with it. I mean, after all the students do get to read a book of their choice in groups with their friends … that kind of thing needs structure so that they can actually get the reading and learning happening without being distracted too much by their mates.
Anyway, here are the documents that I've used for the last few years. I've borrowed heavily from a range of sites which are referenced at the bottom of the pages. I hope they help someone, somewhere. Please feel free to ask questions etc about the process at our school.
Literature Circles Roles Handouts[1]
Correct_Teacher Manual to Literature Circles[1]


text: You serious? I did not know that! had to Google it: https://www.schoolism.com/lp/essenti...than-hardesty/ I am sure it would be pretty cool to learn from himself - especially if you have been studying how he has evolved with his art. Still kind of sad we can't view all his work... Feel like it would be really amazing if we could be able to have all of his art (including the earlier work) in one place, kind of like when you have a digital flip sketch book. You know what I mean? Something like this https://fineartdoc.net/engaging-cust...o-alternative/ which allows you to put everything together. This way everything would be collected in one place where you can flip through. Anyways I'm mindblown that he teaches at schoolism -might have to try it out as there is some really nice feedback on the site about his course!! Are you planning on taking one of his classes?


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Electromagnetic fields
- What are electromagnetic fields?
- Static and low-frequency fields
- What are static and low-frequency electric and magnetic fields?
- Direct and alternating voltage
- Application/occurrence
- Effects of static and low-frequency fields
- Protection
- Reports & Evaluations
- Radiation protection relating to the expansion of the national grid
- Basics transfer of electrical power
- Effects
- Protection
- High-frequency fields
- What are high-frequency fields?
- Applications high-frequency fields
- Effects
- Protection
- Radiation protection in mobile communication
- What is mobile communication?
- Effects
- Protection
- Reports and evaluations
Optical radiation
- What is optical radiation?
- UV radiation
- What is UV radiation?
- Sun but safe!
- Sunbeds
- Effects of UV radiation
- Protection against UV radiation
- UV index
- Infrared radiation
- Laser
Ionising radiation
- What is ionising radiation?
- Radioactivity in the environment
- Where does radioactivity occur in the environment?
- What is the level of natural radiation exposure in Germany?
- Air, soil and water
- Radon
- Foodstuffs
- Building materials
- Relics
- Industrial residues (NORM)
- BfS laboratories
- Applications in medicine
- Diagnostics
- Radiotherapy
- Radiation protection in medicine: international activities
- Applications in daily life and in technology
- Radioactive radiation sources in Germany
- Register high-level radioactive radiation sources
- Type approval procedure
- Cabin luggage security checks
- Radioactive materials in watches
- Ionisation smoke detectors (ISM)
- Effects
- What are the effects of radiation?
- Effects of selected radioactive materials
- Consequences of a radiation accident
- Cancer and leukaemia
- Genetic radiation effects
- Individual radiosensitivity
- Epidemiology of radiation-induced diseases
- Ionising radiation: positive effects?
- Risk estimation and assessment
- Radiation protection
- Basic information
- Occupational radiation protection
- Nuclear accident management
- What is an emergency?
- What happens in an emergency?
- Federal and state tasks
- In the event of an emergency
- Measuring networks
- Exercises for emergency situations
- Defence against nuclear hazards
- Service offers
- Radon measurements
- Incorporation monitoring
- Biological dosimetry
- ProZES
Media centre
Media centre
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- Brochures
- Reports
- Online library
The BfS
The BfS
- About us
- Science and research
- Research concept
- Scientific collaborations
- EU research framework programme
- BfS research programme
- Third-party funded research
- Departmental research
- Selected research projects
- Selected research results
- Professional opinions
- Science Council
- Laws and regulations
- BfS Topics in the Bundestag
- Links
Transformer station
Transformer stations (final distribution substations) are used within distribution networks to transform the electric energy from several thousand volts (medium voltage) to 230 or 400 volts (low voltage) used in homes.
One transformer station can feed several low voltage circuits and serve some ten or hundreds households. Total electric current in the low voltage circuits is higher than the current in the medium voltage circuit. Because the low frequency magnetic field strength depends on the amount of electric current, conductors within the low voltage circuits are the most relevant field sources.
Magnetic flux densities of about 100 microtesla can occur at the outer walls of transformer stations. At a distance of a few meters from the stations field levels are considerably lower.
State of 2018.02.22


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Census Day Repackaging
A common practice in the CSU system and nationwide is to recalculate student financial aid awards (specifically for the Federal Pell Grant, Cal Grant and State University Grant funds) based on changes in the student's enrollment as of a designated "freeze date" each term. This freeze date is determined by the school and is commonly associated with Census Day (a date which typically occurs at CSUB in the third week of each term).
Based on federal financial aid regulations, as well as "best practice" in the CSU system, the CSUB Office of Financial Aid & Scholarships has instituted a policy of repackaging financial aid awards as of Census Day each term.
Repackaging aid as of Census Day
It is important for students to understand the financial aid ramifications of dropping units at any point during the term.
For example, if students are initially enrolled in 12 units (i.e., full-time undergraduate enrollment), and their financial aid is disbursed into their CSUB student account, then they drop to 9 units (i.e., 3/4-time enrollment) on or before Census Day, their Pell Grant, Cal Grant, and/or State University grant awards will all be prorated down to 9 units for the term. The student will then owe the prorated difference back to the University. A "hold" will automatically be placed on the student's future registration and transcripts until payment arrangements are made by the student for their balance (which may include a payment plan, an emergency loan, and/or other aid).
If students drop units after Census Day, they will be subject to the Satisfactory Academic Progress (SAP) Guidelines, as outlined on our web page, which requires them to complete a minimum GPA, and/or percentage of their units attempted as of Census Day, each term. Therefore, it is important for students to understand the financial aid ramifications of dropping units at any point during the term.
If students completely withdraw from all classes in any term, they are subject to the CSUB Withdrawal Policy as outlined on our web page.
Should you have any questions concerning this policy, please feel free to contact our office.
Important note:
- Students are initially awarded financial aid based on an expectation of full-time enrollment each term. If a student does not initially enroll in 12 units or more for a term, their Federal Pell Grant, Cal Grant and/or State University Grant funds will be revised to match their enrollment level.
- Units added to a student's enrollment after Census Day will not be counted in determining financial aid eligibility (including units for late start classes).
- To be eligible for most types of financial aid disbursements, students must have at least half-time enrollment by term. Undergraduate, 2nd Bach, or Credential students >= 6 units, Masters >= 3 units. Students with less than half-time enrollment are NOT eligible for financial aid disbursements.
CSUB Office of Financial Aid and Scholarships
9001 Stockdale Highway
Bakersfield, CA 93311-1022
Phone: (661) 654-3016
Fax: (661) 654-6800
Email: firstname.lastname@example.com
Federal School Code: 007993
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MACON, Ga. (March 3, 2011) - Coming off a strong test by Lipscomb in the General Shale Brick Atlantic Sun Conference Quarterfinals, the top-seeded Lady Bucs now turn their attention to the fifth-seeded Jacksonville Dolphins on Friday afternoon for their conference semifinal matchup. Tip is slated for noon inside Mercer's University Center and will be televised regionally on CSS.
The Lady Bucs and Dolphins have a history of meeting up in March as these clubs have met three times in the conference tournament. ETSU has won all three of the contests - including two in the championship game.
On Wednesday, junior forward Gwen Washington (Manassas, Va.) scored a career-high 24 points, while senior captain Tara Davis (Murfreesboro, Tenn.) added 23 points, seven rebounds and five steals in 37 minutes of play. As a team, ETSU scored 34 points in the paint and registered 23 points off 21 forced turnovers.
With the win, the Lady Bucs improved to 19-11, while also recording their tenth straight A-Sun Tournament victory, marking the longest stretch since Georgia State accomplished the feat from 2001 through 2004. A win on Friday would give the Blue and Gold their fifth consecutive 20-win season.
Washington, who is averaging 16.0 points and 5.8 rebounds in her last four games, has also made 23 of her 24 free throw attempts during this stretch. Meanwhile, Davis made history on Wednesday by setting the ETSU single-season mark for free throws made after going 11-for-15 against the Lady Bisons. Davis has now made 159 free throws on the year, breaking former Lady Buccaneer standout and current associate head coach DeShawne Blocker's record of 149 set in 1994-95.
Jacksonville advanced to the semifinals after posting the first upset of the conference tournament by knocking off fourth-seeded North Florida, 56-52, on Thursday.
Jacksonville's Jessica George led all players with 17 points on 4-of-6 shooting from beyond the arc, while Lynsey Paschal added double-double (11 points/10 rebounds). The Dolphins out-rebounded North Florida by seven, 43-36, while Jacksonville scored 14 second-chance points on 16 offensive rebounds.
ETSU leads the all-time series, 13-1, and has won ten straight in the series. The Lady Bucs used strong free throw shooting to defeat the Dolphins back on Jan. 15 in Jacksonville, 69-62. The Lady Bucs went 25-of-30 at the free throw line - including Davis going 16-for-18 at the charity stripe inside Veterans Memorial Arena. Then, on Feb. 14, the Lady Bucs rallied from a 14-point halftime deficit to knock off the Dolphins by ten, 75-65. Freshman guard Shawn Randall (Orlando, Fla.) scored a career-high 21 points while making her first collegiate start.
Along with the game being regionally televised on CSS, fans can also watch the game live on ASun.TV. Live stats will also be available courtesy of Mercer athletics. Friday's game can be heard in the Tri-Cities on WXSM-AM 640 as Voice of the Bucs Jay Sandos will carry the play-by-play.
For more information on Lady Buccaneer hoops, visit www.ETSUBucs.com.


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Cenobitic (also spelled coenobitic) is the name associated with the monastic tradition that emphases regulated community life, that is, in which the monks live together under a set of rules established by the ruling abbot. The opposite style of monasticism is called eremitic in which monks live in isolation as hermits.
The words cenobite and cenobitic are derived, via Latin, from the Greek words κοινός and βίος (koinos and bios meaning "common" and "life"). The group of monks is sometimes referred to as a 'cenobium'.
Christian monasticism had its beginning in the early centuries of the Christian era. The early Christian monks were usually hermits, especially in the Middle East. The hermits lived mostly in solitary cells or caves and met together once a week for common prayers. Some of the hermit monks found this eremitic life too lonely and difficult, that sometimes led individual monks to have mental breakdowns. In response to these conditions many monks began to spend more time together in organized monastic groups in common prayer on a regular basis.
By the fourth century in Egypt, organized monastic communities often developed in or near villages. The cenobitic monks found themselves in contact often with local village people, whereas the eremitic monks tried their best to keep to the solitary life, meeting only occasionally for prayer. The living arrangements for the cenobitic monks came to differ from that of the eremitic hermits as the monks settled into separate rooms or cells in houses. This arrangement of living, particularly in the merging of smaller communities and monasteries into larger monastic communities, has been attributed to St. Pachomius who is thought to have come up with the idea from his experience serving in the Roman army: as it was "reminiscent of army barracks". His monastery in Thebaid, Upper Egypt was the first "modern" cenobitic monastery.
While Pachomius is generally considered by some as the father of cenobitic monasticism, some scholars note that other cenobitic groups had preceded his efforts. Examples of such groups included communities of heretical Melitians and Manichaeans who may have adopted the idea from other cenobitic monastic groups, such as the Buddhists and Elkasites, who already were practicing the cenobitic tradition. Thus, the idea of cenobitic monasticism cannot be traced to a single source. In the history of cenobitic monasticism, Pachomius was the first to bring separate monasteries together in a larger, more organized structure.
Initially, monks were prohibited from becoming clergy. As monasticism grew its "charismatic" nature led to overzealousness and extremes, to the extent that the zealots began to adovcate monasticism for all Christians. These practices were condemned by the Council of Gangra in 343. As monasticism developed into a strong movement in the life of the church, the church reacted to make the monastic movement meet its own needs. In part this was accomplished as the church encouraged a convergence of monasticism and the clergy. Monks were now ordained in a special religious service, the tonsure, at which the monk subscribed to special monastic vows.
As monasticism spread to Asia Minor, St. Basil, Archbishop of Caesaria in Cappadocia, with influence from Eustathius of Sebastia, formulated two significant sets of rules for regulation of cenobitic monastic life. These were the "Great Rules" and the "Brief Rules", which regulate cenobitic monastic life, extolling it as the ideal Christian life while noting the dangers of solitary anchorite life. St. Basil's Rules became the Magna Carta of monasticism in both the and west. The Basilian Rule became the basis for cenobitic monasticism in the Orthodox east.
The idea of cenobitic monasticism over the next several centuries took root throughout the Christian world. Among the major cenobitic monasteries founded in the early centuries are:
- Mar Awgin founded a monastery on Mount Izla above Nisibis in Mesopotamia from which the cenobitic tradition spread through Mesopotamia, Persia, Armenia, and Georgia.
- Sabbas the Sanctified organized, in 483, the monks of the Judean Desert into a monastery that was to bear his name, Lavra of St. Savas which is considered the mother of all Orthodox monasteries.
- Benedict of Nursia, using a modified Basilian Rule, founded, in 529, the monastery of Monte Cassino in Italy which became the seed for monasticism in western Europe.
- Attridge, Harold W. and Gohei Hata. "The Origins of Monasticism" in Ascetics, Society, and the Desert : Studies in Egyptian monasticism. Harrisburg, PA: Trinity Press International, 1999.
- Dunn, Marilyn. The Emergence of Monasticism: From the Desert Fathers to the Early Middle Ages. Malden, Mass.: Blackwell Publishers, 2000.
- Goehring, James E. Withdrawing from the Desert: Pachomius and the development of Village Monasticism in Upper Egypt. Harvard Theological Review 89(1996): 267-285.
- Halsall, Paul. "Chapter XXXII: Pachomius and Tabennesiots" in Palladius: The Lausiac History. September 1998. Internet Medieval Sourcebook. 30 March 2007. [1].
- Harmless, William, S.J. "Chapter 5: Pachomius" in Desert Christians - An Introduction to the Literature of Early Monasticism. New York: Oxford University Press, 2004.
- Lawrence, C.H. "Chapter 1: The Call of the Desert" in Medieval Monasticism. 3rd edition. Toronto: Pearson Education Limited, 2001.


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The Lipscomb men's basketball team spent Wednesday traveling to the Dominican Republic for their foreign exhibition tour which runs through Tuesday, Aug. 16. This is the first of daily updates from the road with the Bisons.
For updates throughout the day, follow LipscombBisons on Twitter
Wednesday morning was an early morning for the Bisons. The team was schedule to load the bus at 3:50 a.m. to catch a 6 a.m. American Airlines flight to Miami. Coach Sanderson always runs ahead of schedule and it was not surprising that the returning players were all present before the first newcomer arrived.
The check-in process was slower than normal at the airport. The first curveball was a "box ban" that had been instituted yesterday for all travelers to Central America and the Carribean. The oversized box carrying health kits and other items to be distributed at villages had to be broken down and distributed into any suitcase with extra space.
The first segment was on a 50-seat regional jet. For a team with several players standing six-foot-eight and taller, a two-hour flight on a regional jet can be a little unconfortable. But compared to the extreme poverty level we've already seen in the Dominican Republic, there is nothing for us to complain about. It did take freshman Stephen Hurt, who is 6-foot-10 and 285 pounds, about three attempts to figure out how to get into his seat though.
After arriving in Miami the team proceeded to the next gate area for the three hour wait for the connecting flight to Santo Domingo. Soon though there was a gate change and an equipment change - a downsize from a 767 to a 757. This caused American to have to reseat almost the whole flight and bump several people. Due to the changes, the flight didn't begin boarding until our scheduled 12:25 departure time.
Once everyone boarded and the plane was pushed away from the gate, the airport was shut down because of weather issues. After a little over an hour of waiting, the airport was finally opened but the departures didn't start quickly as planes were being spaced 20 miles apart.
The plane landed in Santo Domingo about 4:15 Eastern Time, about two hours behind schedule. It took another hour and a half to clear customs.
The team was met by representatives of Score International who scheduled the trip and will accompany the Bisons for the next week. Since most of the team hadn't eaten since mid-morning, we proceeded directly to Score's facility about 30 minutes from the airport were we ate dinner.
On the highway there appeared to be tiny mini-market every several hundred yards. And most of these markets couldn't have been more than fifty square feet. They would be better described as "lemonade stands" than markets. There were also unfinished buildings everywhere. One couldn't begin to count the number of construction projects that were never finished.
Score has several groups in the Dominican this week including collegiate volleyball and soccer teams, four high school basketball teams, and a church mission trip. Dinner consisted of chips, rice and beans served with lettuce, cheese and salsa.
At Score's facility we recognized the security issues facing the country. Score had several guards with shot guns standing just feet from the dinner tables.
After dinner we proceeded to our hotel which also had similar private security guards with shot guns. The hotel is located in a gated compound that includes many mansions whose residents include many current Major League Baseball players.
The team met with David Conrady, national basketball director of Score, and Ron Bishop, founder of Score, upon their arrival at the hotel.
Thursday is a busy day for the Bisons. In the morning, the team will visit a village at a former sugar cane farm and at six p.m. central time the Bisons will play their first exhibition against Mauricio Baez in Santo Domingo.


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Beauty Brands: Young and Pure to launch next week
The second natural range for teenage skin to launch this year hits the shelves of Whole Foods Market next week. Young and Pure is a natural range for teenage skin (read: acne, oily and combo complexions). Face Boutique launched in the Greene Street SpaceNK in NYC last month and will make its way to the UK soon.
We think it's the way forward with teen skincare. When we were whippersnappers the only things to help us get through the dark days of red, inflamed skin were harsh, medicinal astringents (chock full of alcohol, which is the devil), drying lotions, oil-free face lotion (which is silly. You need oil on your skin. Duh. Like Dr. Hauschka's Normalizing Day Oil) and blemish zapping makeup... all of which just made our skin drier, more acne-prone and redder.


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Warlord of Mars #5
John Carter finally arrives on Mars. A pack of bloodthirsty green Martians led by the fearsome Tars Tarkas shows up to welcome him. Tars and Carter might become great friends and allies -- if they don't kill each other first! Carter find that Mars's weaker gravity imparts his earthly muscles with superhuman strength.


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Maury Povich Preview! "The DNA Tests Will Prove... I Don't Have 29 Kids!"
It's more denying dads and steaming mad moms on today's MAURY! Kevin says there's no way he's the father of Lauren's son. He says that his own brother is the real daddy. It's a brother vs. brother paternity throw down! Then, could Lawaza's 17-year old son be the father of 2 babies with 2 different women? Does he have even more babies with even more women? Plus, Derrick admits to having 27 children with different mothers. But now he denies that he's the father of Kathy and Tammy's babies. Will the DNA results prove that he's fathered 29 kids? We'll find out on today's MAURY!
I don't know if there's ever been a Maury post but who doesn't love this mess?