text:
Entry-Level Financial Advisor
Realize Your Potential:
Being a Mutual of Omaha advisor is a challenging yet rewarding experience. Right away, you'll meet prospects with your manager or another mentor to learn the business. This joint work will allow you to see what it takes to be successful and also start building relationships with your peers. Start making a name for yourself by creating a solid marketing plan, positioning yourself effectively in the community and on social media. Speak passionately to people about helping them provide for their families for the rest of their lives.
We will encourage you to become a student of the industry so that you can use your knowledge to help people in a way others can't. Start your way down a path that includes partnering with our broker dealer, Mutual of Omaha Investor Services, Inc. to help people pursue their wealth accumulation goals by offering them a wide range of insurance and investment products. Getting started the right way is important to success, and we will have specific goals for you during your first three years.
We're in the business of developing management talent, and it all starts here. Later, you may have a shot at leading your own team if you feel you have what it takes. Set an example for others with your hard work, determination and love for inspiring colleagues.
Desired Skills and Experience:
We're looking for people with:
• An appetite for success and natural leadership ability
Our best advisors make an impact with their clients and with their colleagues. We believe in a grassroots approach, developing you into a mentor and ambassador for our company
• Charisma and strong conversational skills
Above all else, this is a people business. Developing rapport with people easily is one of the main keys to success. You're going to need to invest a lot of energy into connecting with lots of different people, and we need people that can do it effectively
• Really thick skin and a motor that doesn't stop
If this were easy, everyone would do it. If you love chasing the finish line, and are motivated by setting your sights on ever-increasing goals, this is for you
• An entrepreneurial spirit and solid determination to run their own business
We want someone that possesses business savvy skills and can make smart decisions. Our advisors are also backed by an extensive support network in our home office. If you bring your A-game every day, the home office promises to bring theirs
A career with us will provide you with:
• A marketing plan we help you customize to build your brand effectively
• Financial support during your early years to help you build your business
• A comprehensive training program focused on people & marketing strategy


text:
So, the correct plural form of medium is media. Of course, there are exceptions, and the words have taken on new usages (such as adding a definitive article "the" to media, making it singular), but isn't the word multimedia redundant? What you are really trying to say is multiple mediums -- or just media.
I imagine it started in the 50s or 60s. Did it start as a "buzzword" or some sort of industry jargon? Perhaps it is a byproduct of the aforementioned exceptions, in that "the media" became singular, and thus a new pluralized form had to be developed?

subset: commoncrawl


text:
Judge orders James Brown documents made public
COLUMBIA, S.C. (AP) — A judge has ordered South Carolina's attorney general to turn over documents to a freelance journalist investigating the fight over the estate of soul singer James Brown.
Sue Summer wants to see the diary of the woman who said she was Brown's wife when he died in 2006, an appraisal of Brown's assets and other records she requested under the Freedom of Information Act.
Circuit Judge Eugene Griffith Jr. ruled against Attorney General Alan Wilson earlier this month. Wilson said he shouldn't be forced to release the records because they are part of different lawsuits over Brown's estate.
Wilson is asking the judge to reconsider his ruling.
Summer says she wants to make sure Brown's dying wish to give scholarships to poor children is followed.
Follow Jeffrey Collins on Twitter at http://twitter.com/JSCollinsAP
Sorry we are not currently accepting comments on this article.


text:
Second grade student brought gun to school
A second grade student brought a handgun to school Tuesday, Johnston Community School District officials said.
School officials said they confiscated the gun as soon as they learned it was on school property. Police and administrators were called to Lawson Elementary at 5450 Northwest 62nd Avenue about 11:50 a.m.
No students or staff were harmed, officials said.
"This is an unfortunate incident," said Superintendent Clay Guthmiller. "Our staff responded to the situation immediately and we are thankful that no students were harmed. It is our goal to provide a safe and secure environment for learning. We continue to work with the Johnston Police Department on this issue."
The student's parent was notified and the matter was turned over to police, school officials said.
Johnston Police Chief Bill Vaughn told KCCI's Emily Price that the boy is 8 years old.
Vaughn said charges against the parents are a possibility. The department is working with the county attorney on the case.
Look for more on this story coming up on KCCI-TV, KCCI.com and our mobile website m.kcci.com and apps.


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text:
"HRT can cut heart attack risk, study shows," The Guardian reported today, while the Daily Telegraph said that women should "'no longer be worried' about taking HRT to combat symptoms of the menopause".
The story is based on research which found that recently menopausal women who took hormone replacement therapy (HRT) for 10 years were less likely to die or suffer heart failure or heart attack than women who had never taken it. The study also found that HRT was not associated with any increase in the risk of breast cancer, stroke or deep vein thrombosis.
The study was limited by its relatively small size (compared with previous HRT research), involving only 1,006 women. Because of this, its findings should be viewed with some caution as they could be the result of chance.
The risks and benefits of HRT have been the subject of much controversy over the last decade, with some but not all studies indicating a slightly higher risk of heart disease, stroke and breast cancer, while conversely, a decreased risk of osteoporosis and colon cancer. Additionally, the positive effect HRT can have on a woman's quality of life also has to be considered.
Most experts agree that if HRT is used on a short-term basis (no more than five years), the benefits outweigh the risks. If you are taking HRT, discuss your individual risks with your GP and review them on an annual basis, especially if you are taking it for longer, particularly for more than 10 years when the risk-benefit ratio becomes less clear.
Where did the story come from?
The study was carried out by researchers from Hvidovre Hospital, Arhus University Hospital, Svendborg Hospital, Hillerod Hospital and Rigshospitalet, all in Denmark. It was funded by the University of Aarhus, a charitable foundation, and two pharmaceutical companies which make HRT and which also provided the study drug free of charge.
The study was published in the peer-reviewed Journal of Family Planning and Reproductive Healthcare.
The study was reported uncritically in the media, although both the BBC and the Daily Telegraph included dissenting comments from independent experts.
Studies such as these should be interpreted with caution. Much of what has been reported on the risks and benefits of HRT is both contradictory and controversial.
Reported findings may be the result of chance. As was the case with this study, researchers often pool the results of studies in order to include enough subjects to reduce the possibility of chance results. But this method does reduce the weight of evidence.
What kind of research was this?
This was a study reporting the long-term observations from a randomised controlled trial. This reported the 10-year effect of HRT on cardiovascular events and on overall mortality in recently menopausal women. It was an open label trial, which means that there was no blinded control group and that the researchers and the women involved knew whether they were in the HRT or the control group. An open-label trial may be unavoidable in some circumstances but there is a risk that the results may be influenced by conscious or subconscious bias.
The researchers pointed out that the risks and benefits of HRT have been the subject of much discussion. While some earlier observational studies showed it reduces the risk of cardiovascular disease, later research with confounders accounted for showed no benefit. This has led to the theory that the differences in these results may be accounted for by the length of time after reaching the menopause that a woman starts HRT.
Women taking HRT for long periods have been shown to have a slightly increased risk of breast and ovarian cancer.
What did the research involve?
The original trial was first intended to test the effects of HRT on osteoporosis. Between 1990 and 1993, researchers recruited 1,006 healthy, white and recently menopausal women aged between 45 and 58. Women were excluded from the trial if they had had bone disease, uncontrolled chronic disease, cancer, alcohol or drug addiction or had used HRT within the previous three months.
They were randomly allocated to receive HRT (502) or no treatment (504). Women who still had their wombs were given combined HRT (which includes the hormone progesterone to protect against endometrial cancer, which is cancer of the lining of the womb) and those who had had a hysterectomy received oestrogen-only HRT.
All the women underwent a physical examination and biochemical screening at baseline. They were subsequently seen by researchers after six months, one year and two, three, five and 10 years.
The planned duration of the study was 20 years, but after about 11 years all the women were advised to stop treatment after adverse effects of HRT were reported in other trials. Researchers continued to follow the women for a further 5.7 years, with an average follow-up time of 15.8 years.
In 2008, researchers looked at overall mortality rates among the two groups of women and also whether they had been admitted to hospital for heart failure or a heart attack. They obtained this information from national death and hospital discharge registers and combined it into a "composite" endpoint including death, admission to hospital for myocardial infarction or heart failure. They also obtained data on breast and other cancers and admission to hospital for a pulmonary embolism (a blockage of the main artery between heart and lung) or deep vein thrombosis.
They analysed the data using standard statistical methods.
What were the basic results?
After five years, 75% of the women were still following their allocated treatment for 80% of the time.
After 10 years no results were statistically significant except the first listed:
- 16 women who had been taking HRT had either died or been admitted to hospital with heart failure or heart attack, compared with 33 in the control group (hazard ratio [HR] 0.48, 95% confidence interval [CI] 0.26 to 0.87).
- 15 women taking HRT had died compared with 26 in the control group (HR 0.57, 95% CI 0.30 to 1.08).
- Heart failure was diagnosed in 1 woman in the HRT group and 7 in the control group (HR 0.14, 95% CI 0.02 to 1.16).
- Heart attack was diagnosed in 1 woman in the HRT group and 4 in the control group (HR 0.25, 95% CI 0.03 to 2.21).
- The reduction in cardiovascular events was not associated with an increase in any cancer (36 in treated group versus 39 in control group, HR 0.92, 95% CI 0.58 to 1.45) or in breast cancer (10 in treated group versus 17 in control group, HR 0.58, 95% CI 0.27 to 1.27).
- The hazard ratio for deep vein thrombosis (2 in treated group versus 1 in control group) was 2.01 (95% CI 0.18 to 22.16) and for stroke (11 in treated group versus 14 in control group) it was 0.77 (95% CI 0.35 to 1.70).
- After 16 years the differences between the two groups in mortality rates and admissions to hospital for heart failure and heart attack was still present and not associated with an increase in any cancer.
How did the researchers interpret the results?
The researchers said that the findings suggest that starting HRT early after menopause reduces the combined risk of death, heart failure and heart attack without any apparent increase in the risk of cancer or stroke.
The results of this study, which followed women for nearly 16 years, does not provide much of a useful addition to the existing research on HRT and the findings should be viewed with caution. It had several limitations, mainly due to its small size, therefore a chance finding of significance cannot be ruled out.
- It was an open label trial with no placebo. As the researchers pointed out, knowledge of which group the women were in may have affected medical diagnoses.
- Only three-quarters of the women stayed in the group to which they were allocated, whether treatment or control.
- It is difficult to interpret the figures given at 16 years of follow-up since it is uncertain whether or not women continued with HRT after being advised to discontinue after 11 years.
- The study was not specifically designed to look at cancer or other risks so its results for breast and other risks may not be reliable.
- The results apply to white women and may not apply to other ethnic groups.
The primary endpoint for this study was a composite of death, admission to hospital for myocardial infarction or heart failure. This was specified before the study started. However, the results for this outcome demonstrate wide confidence intervals and there were small numbers of events in either group. This suggests that larger studies would be needed if a more precise estimate of the risk were required. It seems unlikely that such a study would be conducted now as far fewer women currently choose HRT compared with the 1990s and other treatments for osteoporosis are available.
The current consensus of expert opinion on the risks and benefits of HRT would appear to be still valid. That is, if HRT is used on a short-term basis (no more than five years), the benefits outweigh the risks. If you are taking HRT, discuss your individual risks with your GP and review them on an annual basis, especially if taking it for more than 10 years when the risk-benefit ratio becomes less clear.
Analysis by Bazian
Edited by NHS Website
Links to the headlines
HRT can cut heart attack risk, study shows
The Guardian, 10 October 2012
HRT is safe and cuts heart deaths 'significant study' finds
The Daily Telegraph, 10 October 2012
HRT reduces risk of heart attack, study suggests
BBC News, 10 October 2012
HRT 'is safe and can cut the risk of heart disease without increasing cancer chances'
Daily Mail, 10 October 2012
Links to the science
Schierbeck LL, Rejnmark L, Tofteng CL et al.
Effect of hormone replacement therapy on cardiovascular events in recently postmenopausal women: randomised trial
BMJ. Published online October 9 2012


text:
Sandy Hook design required special reverence
NEWTOWN -- The challenging terrain and the trauma attached to the former Sandy Hook Elementary School is not lost on the architects selected to build a new school that is safe without becoming a fortress and incorporates the beauty and sanctity of the 12-acre site off Dickinson Drive.
Principals Barry Svigals and Julia McFadden of Svigals + Partners of New Haven, credit the community -- some 200 or more voices -- with providing the "creativity, intelligence, compassion and diligence'' that they translated into designs for the institution's next generation.
On Tuesday at 7 p.m. in the Reed Intermediate School library, the Public Building and Site Commission will be given a full presentation of Svigals' perfected concepts.
The proposed two-story structure is arranged to abut the natural woods, have wide, connecting "Main Street'' boulevards on the interior, four "tree houses," footbridges, courtyards, and a landscaped swale suitable for growing cattails.
Lots of natural light streaming from large windows will surround children with nature, the architects said.
Svigals said his firm started its work with a "fundamental belief that everyone has extraordinarily deep creativity to contribute,'' and the design that evolved reflects a community-within-a-community spirit.
More InformationSee the plan
The Public Building and Site Commission will meet Tuesday at 7 p.m. in the Reed Intermediate School library for a presentation from Svigals + Partners of the schematic design concepts for the new Sandy Hook Elementary School.
"We should say right in the beginning that Newtown has been extraordinary in this experience,'' said Svigals of people's many suggestions for the project.
"The people with whom we've worked have been remarkably open and wholehearted in their participation. The success of this really is dependent upon that kind of participation. It couldn't happen without them.''
Unlike a more typical school construction project, the architects and other officials have said this now-sacred ground needs to be treated with special reverence to honor the memories of all who roamed the hallways of the half-century-old school before a gunman blasted his way inside and killed 20 first-graders and six educators on Dec. 14, 2012.
Site commission chairman Robert Mitchell, an architect, lauded the Svigals firm for its commitment to hearing all voices and planning a place that will be the gold standard for school construction in the future.
He said the architects have proven why they were chosen from a pool of 10 firms from across the country.
For this project, Mitchell said, the town was not confined to the lowest bidder, but rather the company believed to have the strongest credentials combined with ability to meet the parameters of the state's $50 million construction award.
On a difficult, triangular parcel, complete with wetlands and ball fields -- and with a commitment not to build in the precise footprint of the now-demolished school -- Mitchell said the architects have created what he calls a "Jacob's ladder''-type interior.
Interactive spaces wind along the corridors, and the structure is graded to add extra protection without barring students from connecting to the landscape beyond.
"This is the best elementary school I've ever seen,'' Mitchell said about special elements for the space.
"It is a very simple, yet elegant design,'' said school board member Michelle Ku.
The school board and commission were given three designs in February, and although no formal vote was taken, they favored the "Main Street" theme, with its gentle curves that begin at the entrance, Ku said.
"It's like open arms welcoming you into the school, and that is just really fitting for our community,'' Ku said.
"One of the aspects that we worked through with folks at our workshops was understanding the challenges and the opportunities of that particular site, with the dichotomy being the challenges of the memories and the history against a desire for a new vision and hope and aspirations for what the community wants for its schoolchildren coming back to that site,'' McFadden said. "And it's a difficult balance.''
"We were walking with them through the opportunities, discovering those together,'' Svigals said of the public input. "There was not a moment when we went and did things independently. We were just putting form to the (community's) discussions and aspirations.''
"It was not about owning an idea, but creating one together,'' he said.
email@example.com;203-731-3332; http://twitter.com/NTNanci


text:
The Australian office of a lift and escalator company has seen more than 70 per cent of employees use Nokia Lumia handsets running versions of Windows Phone under its bring-your-own-device (BYOD) strategy. However, a recent Forrester study painted a less rosy picture for the popularity of Windows Phone in Australia.
KONE Australia has a hybrid BYOD strategy allowing its staff to use their private phone or choose a smartphone from a specified set of manufacturers including Nokia, Samsung, HTC and Apple.
The elevator company has offered the Lumia 610 as an option for operational employees and a Lumia 920 for director-level employees. The Lumia 800 and 710 are also options.
However, when Forrester asked Australian information workers what their next smartphone would be, only 7 per cent said they wanted a Windows Phone.
Some 35 per cent of users surveyed said they would get an Apple iPhone, while 22 per cent chose a Google Android device and only 3 per cent said they wanted a BlackBerry. The study was conducted before the January launch of BlackBerry 10.
Forrester reported that 16 per cent indicated other devices and 17 per cent said they don't plan to use a smartphone for work.
Also, the Forrester study found that iPhone was used by 46 per cent of Australian information workers who already use smartphones for work.
Follow Adam Bender on Twitter: @WatchAdam
Follow Computerworld Australia on Twitter: @ComputerworldAU, or take part in the Computerworld conversation on LinkedIn: Computerworld Australia


text:
The Grange restoration work continues
September 30th, 2010
We don't have much to report on this week although work is continuing. Under the portico, the air intake duct has been removed on the west side and we have a clearer view of the situation with the foundations. The pier next to the house has been badly impacted by the duct and we will likely have to replace it with concrete bricks. The outermost pier is in better shape and we can use a mix of replacement stone, existing stone and concrete brick. The question still to be answered is how far down we need to go. The reason for using concrete brick rather than normal brick is that the former is less effected by moisture and will last longer.
Cleaning of the walls of the house continues and painting of the windows has begun.
Generously sponsored by:


text:
First, as always there are some requirements, You will need one or more of the following:
Visual Studio [2008 +] C# Express will work as well as full versions
Knowledge of the Barebones [Creating Variables, Using Methods etc..]
Ok, Lets begin the tutorial with a bit of theory and logic before we start firing up Visual Studio or Text editors carefully organised by some not-so-fancy sub headings
What is a Class?
As a very good teacher of mine refers to it, "A Class is a blueprint of an object" and in this class you define your objects methods and it's properties and what they do. I'll use an example, Say you have a Word Counter, You don't need to put all that code in your form making it look all messy and out of line and not very dynamic! So lets sweep it under the nearest piece of furniture and shove it in a class called WordCount!
So, WordCount class would have the content of what the name suggests, A method that calculates the total words in a string which could be a Rich Text Box. In order to create this we could have a property for the amount of words in the string which we can return in the end to be able to assign it to a label so the user can see how much work they have or haven't done.
We would also need to make a method for it to actually count the words in the string, that would go in the class too.
Now the great thing is that, once you've made your class you can re-use it anywhere in your project that you want to! which I will explain how to do later in this tutorial. The reason that being able to re-use code is so that we don't have to endlessly (and frankly, wastefully) declaring variables over and over again, and reproducing for every form you have or want to use.
Classes provide us with structure and a method of organising our sometimes vast seas of code, they also provide from a design point of view a very logical outlook on what exactly you need to think about when you set about making your program, Because you can create empty classes for all your objects that you want to use and what kind of methods and properties they will have.
Also, there are some neat and magical things that you can do with classes too such as Inheritance which the clue is in the name really, allows you to inherit properties from a previous class and use them in another class so if you wanted to make a base class of Parent, The child might have some of the same bits from the parent but they need to be slightly altered so this way you don't have to re type all the codes from the parent class just to do the child class!
Pfft, Why would I use that?
Because programming is a LOGICAL task and keeping your code organised in a logical way is a big part of this logic, There is no point having a pool of codes hoping that it works and if it doesn't adding more code to fix it because it's about as useful as throwing some cabbage at a duck. Which brings me onto point two, Optimization, You don't need to waste your time endlessly re-writing or re-configuring code you have already written right? Not very logical if you ask me... So you use classes to keep yourself organised and your program organised.
Classes are a fundamental part of most Object Orientated languages and they save the programmer so much time compared to having one big un-organised, grey and damp file that only IBM's RoadRunner can read. Don't dismiss them and don't be scared of them if you are new to programming because they're very nice really under all that code
Ok!, Ok! I give, How do I use it!
They are surprisingly easy to use, If you've just started C# and you make a new class you might feel depressed by the four or five lines of code provided in the template with no indication on what the heck your meant to do in this void of white-code-less-ness.
Lets understand the template that Visual Studio provides
using System; using System.Collections.Generic; using System.Linq; using System.Text; namespace Form1 { class Class1 { } }
As you can see, this code is very boring and brief which doesn't really make a whole lot of sense as a whole but lets de-compile it and see what we can understand from it
using System; using System.Collections.Generic; using System.Linq; using System.Text;
These of course are the libarys, All come from the Microsoft .NET Framework which is very handy, for instance when you make a button, your actually making a new instance of the Button class found in the .NET Framework which some poor sod has already made for you to use however you want to
namespace Form1
This is the namespace, This is a vital part of the code because it is telling us what it's related to in a sense, If I had a project called Form1 all of the classes I used would have their namespace as Form1, This is needed in the Non-GUI version specifically.
class Class1 { }
This is where all of our code is going to go, in the middle of our little curvey friends, The class Class1 is where we are defining the name of our class, We could call it anything we wanted to, So for now just to lemon the mundanity of your day, Lets call it uh, Turnip..
class Turnip { }
Now that our mundanities are sufficiently lemoned, lets work out what makes a turnip.
Ok, Turnips are... sort of purple and white but for arguments sake lets say their purple..but then again they could be other colors, Lets let the programmer decide! So we need to make a property for our Turnip for "Color" (American spellings in programming remeber!)
NOTE! You need to add this line to your libarys to use the color class:
using System.Drawing;
Heres how we will do it:
public Color T_Color { get; set; }
Lets go through it line by line...or rather word by word
public means that it is accessible for use OUTSIDE of the class as well as inside, Since we want it to be accessible lets leave it as public, The first Color is the .NET Framework class for Color, and T_Color is the name of our property and the
{get; set;}
means that we get to chose if the programmer can just get the color of the turnip or set it too, Since turnips are of questionable colors we want them to set it too to avoid turnip-related frustration.
And there you go! You made a property! but how do we use it? Easy! In your form or console code you need to make a new instance of the class, all this means is that we introduce a new variable as it were for us to play with, without messing things up .
Turnip Bob = new Turnip();
There we go, We now have a new friend to play with called bob, Bob has all the properties of a Turnip and all the methods of a Turnip that's why we declare bob as a Turnip.
So, Now we have Bob we can use him just as you would use any other control, e.g. textbox1.Text you can use bob in the same way like so
Bob.T_Color = Color.Purple;
Now we've set our custom property to purple on Bob just as if you were changing a labels text property Right so we've covered properties and how to use the class in your codes so lets cover methods next!
Methods in classes are somewhat easier than properties, A Method of a turnip could be Grow();
So lets make a method that makes the turnip set about growing some more..
public int Size { get; set; } public int Grow() { Size++; return Size; }
What we've done here is make our turnip fatter when the method of Grow() is called, I added a new property called Size so we can keep track of how big it is.
Size ++ means that we add 1 to the size and return Size means we're returning the value of Size to the programmer or user, It's easy!
So then, If we wanted to call that method on bob we would just use this code:
So, Now you know what classes are for, What they do, How to use them in a program, How to make a property and How to make a method.
That's all the classes information for now, Part II will come soon if anyone reads this tutorial
If you liked this tutorial then don't forget to press the green plus!
This post has been edited by Fungle: 16 January 2011 - 12:21 PM


text:
This is FRESH AIR. I'm Terry Gross. This week, we're featuring some of our favorite entertainment and pop culture interviews of the year. This year, a revival of Stephen Sondheim's 1971 musical "Follies" opened on Broadway. When the cast recording was released last month, I spoke with one of the stars of the show, Danny Burstein.
Burstein was nominated for a 2008 Tony for his performance in the Broadway revival of "South Pacific," which was shown on public television. In 2006, he was nominated for a Tony for his performance in "The Drowsy Chaperone." In the HBO series "Boardwalk Empire," he plays a casino owner. He's married to Rebecca Luker, who's starred in revivals of "The Music Man" and "The Sound of Music."
"Follies" is set in an old theater that's about to be torn down, where there's a reunion of the showgirls who used to perform there decades ago in a "Ziegfeld Follies"-type review. The girls have brought their husbands to the reunion. "Follies" shifts back and forth between the present and the past, when the girls were young and performing in the review.
Danny Burstein plays a salesman married to a former showgirl played by Bernadette Peters. Let's start with Danny Burstein and Ron Raines singing "Waiting for the Girls Upstairs," in which they remember when they first started dating the showgirls who became their wives. Burstein sings first.
DANNY BURSTEIN: (As Buddy Plummer) (Singing) Hey, up there, way up there, what do you say, up there? I see it all. It's like a movie in my head that play and plays. It isn't just the bad things I remember: It's the whole damn show.
RON RAINES: (As Ben Rogers) (Singing) Waiting around for the girls upstairs after the curtain came down, money in my pocket to spend. Honey, could you maybe get a friend for my friend? Hearing the sound of the girls above dressing to go on the town. Clicking heels on steel and cement, picking up the giggles floating down through the vent, goddamnedest hours that I ever spent were waiting for the girls upstairs.
GROSS: That's Danny Burstein with Ron Raines from the new cast recording of "Follies." Danny Burstein, welcome to FRESH AIR. It's a pleasure to talk with you. I really enjoyed your performance in "Follies."
BURSTEIN: Thank you so much. It's wonderful to be here.
GROSS: "Follies" is such a famous show, and yet you'd never seen it before. So people are probably like arriving, comparing it to the original production and to revivals and to the cast recording, and it has such a kind of lore and even mythology surrounding it.
So, how did it feel to you when you were cast and you'd never seen a production, and you had to kind of start from scratch?
BURSTEIN: Well, I knew - the one thing I did know is that everybody had an opinion about the show, and they were all different. Everybody thought it should be this way, or everybody thought it should be that way. And everybody's opinion was very, very strong, and it was good because I had my own opportunity to form my own opinion about it without knowing anything about it beforehand.
So I just - I got the script, and I just kept reading it over and over and over again, first for enjoyment, and then I tried to start to make decisions about the characters and my character's arc, which was very important to me, and tried to make it as smart as possible.
I have this weird thing that I do, I sort of - every character I play, I try to make that guy the smartest guy in the room. And I try to figure out how to do that with the character of Buddy Plummer. And it wasn't easy at first.
GROSS: Well, it's interesting you should say that because I've seen a production of "Follies" in which it was a great production, but Buddy was played kind of like a real loser. And you don't play him that way. You play him as a decent guy whose life hasn't turned out the way he would have wanted it to.
BURSTEIN: Right.
GROSS: And he's in a marriage that's not really working out, and he has a girlfriend who really isn't that smart.
BURSTEIN: Right, well, he's got normal ideals, understandable ideals, universal ideals. He just wants to be in a happy marriage, and he wants to have a normal type of life. But unfortunately, his wife of almost 30 years has not requited his love, and she's been in love with somebody else all that time, and she's grown sadder and sadder over the years.
But he still has this pipe dream that their love will somehow be all right, and the marriage will be all right, even though it probably won't.
GROSS: Was it a conscious decision for you not to play Buddy as a loser?
BURSTEIN: Absolutely, absolutely. I have - it's sort of a pet peeve of mine: I don't like whiners - characters who whine on stage. And I tried to - in reading the script, that's what it seemed like to me, like the character was one sad-sack whiner.
And I thought; No, he's really - he really wants something. He wants the love of his wife, and so he's fighting for that. And so lines that could be read, you know, in a very sad way, instead, could be also read in a very positive way, in really wanting something from his wife, and not just complaining about how bad life is but telling her about it so there can be change, so they can move forward.
GROSS: Can you give me an example of a line that could be read as sad that you've made it as kind of, you know, a decent guy who wants something?
BURSTEIN: You know, it's funny you said that because I can't think of a single one at this moment.
GROSS: Thanks for coming through for us.
BURSTEIN: I know it's really great to be here, Terry, take care.
GROSS: OK, well, let's bail ourselves out with a song because there's a great song called "The Right Girl," and you explain the context of the song.
BURSTEIN: "The Right Girl" happens at the top of Act II. he's just - my character, Buddy Plummer, has just watched his wife Sally kiss his old best friend, and they've told each other that they love each other and that they want to run away together. And she even wants to marry him. And I watch this scene happen, and "The Right Girl" occurs right after that.
GROSS: And you're singing, in part, about your girlfriend, your mistress.
BURSTEIN: Yes. I in the middle of the song, he sings about his mistress Margie, and thinks that she is the right girl that he should marry. And then at the end of the song, he realizes that he doesn't even love - he doesn't love his mistress, and he doesn't love his wife of 30 years, who he's so convinced himself he loves all these years. And he finally is able to let her go at the end of the song.
GROSS: It's a great song, and you do it so well.
BURSTEIN: Thank you so much.
GROSS: So this is Stephen Sondheim's song "The Right Girl," sung by Danny Burstein in the new cast recording of "Follies."
BURSTEIN: (As Buddy Plummer) (Singing) The right girl, yeah, the right girl, she makes you feel like a million bucks instead of - what? - like a rented tux. The right girl, yeah, the right girl, she's with you, no matter how you feel. You're not the good guy, you're not the heel. You're not the dreamboat that sank, you're real when you got the right girl, yeah. And I got...
GROSS: And that was Danny Burstein singing "The Right Girl" from the new cast recording of the Stephen Sondheim musical "Follies."
Now, you know, the yeah that you do in that, when you've got - yeah, the right girl, that's such a loaded yeah because it sounds so affirmative, and you're in such kind of doubt and kind of despair in the song. And also musically it's like real powerful punctuation. So when you were figuring out how to do the song, did you spend a lot of time figuring how to do the yeah?
BURSTEIN: Oh endlessly, endlessly. It is famously a very, very difficult song for actors to do. And one thing I had to do initially was separate who I was talking to. And so I put the character of Sally off stage left, where Bernadette has just exited.
GROSS: And she's your wife in this loveless marriage.
BURSTEIN: And she plays my wife. Yes, and then the character of Margie I put out center. And so my love of Margie, you know, is focused towards the audience, and my anger is focused off stage left. So that was a huge - actually, it sounds simple, but that was a huge epiphany for me, figuring out who I was talking to in the song because it's not always clear.
And then the yeahs punctuate whether you feel ecstatic and elated and all this love for Margie, or you feel anger and disappointment towards Sally, your wife who doesn't love you. It's - it was very, very difficult figuring out which yeah worked where.
It's a very hard song, and we tried many different versions of it. Steve had us cut it in half at first and taken a lot of the dance music out. And then we put all of it back in and then cut some of the dance music down. And then he changed the lyric at the very end.
GROSS: He changed the lyric? I didn't notice that.
BURSTEIN: Yeah, he brought in a lyric that he had originally put in in London: You miss me, I knew it. Hey Margie? I blew it. I don't love the right girl. That wasn't in the script when we first started in D.C. I don't even remember what the old lyric was, but that's what we have now.
And he told me when his next printing of "Finishing the Hat" comes out that that's the lyric that's going to be in there.
GROSS: Really? You know, I know the song, and I didn't realize that the lyric had been changed. I feel foolish.
BURSTEIN: Oh, no.
GROSS: But that's a really great part of it. Actually, let's hear you sing that part.
BURSTEIN: Okay.
BURSTEIN: (As Buddy Plummer) (Singing) Hey Margie? I'm back, babe. Come help me unpack, babe. Hey Margie? Hey bright girl? I'm home. You miss me? I knew it. Hey Margie, I blew it. I don't love the right girl. Sally? I want to talk.
GROSS: That's a great part of the song because it ends on such a kind of tragic note. You've got no place to turn now. You realize you don't love your wife or your mistress.
BURSTEIN: And the song gets no applause at the end of it on purpose. That was a choice that Steve gave me. He said: Well, we could put a button on the song right there and ask for applause, or we could go straight into the scene, and I had wanted all along to go straight into the scene. It's not - it was never meant...
GROSS: Oh that's why the scene's on the cast recording, too.
BURSTEIN: Yeah, it was never meant to open Act II. When the show was originally played, it was played without an intermission, and so having that onus on it is - it's not fair to the song, in a way. So I thought it would be better just to go right from the song. He has this epiphany that he doesn't actually love his wife anymore. After all that they've been through, he doesn't love her.
And so now he can tell her, and that's why the scene that follows is in there, as you said, and it's only after he sings that song, and he has that revelation that he can actually tell his wife that it's over.
GROSS: So when you say Sondheim said, well, I could put a button at the end, what does that mean?
BURSTEIN: That means literally a musical button that asks for the applause at the end of a song. So it could be when I'd love the girl - boom, that musical boom is a button. And it basically tells the audience it's okay to applaud.
And we decided to forego the button and go straight into the scene because it seemed to come out more naturally and more organically that way.
GROSS: So let me ask you: Say you - say there was the button, you got the big applause, would it have been awkward for you right after this character's really unhappy epiphany to have to figure out what to do while the audience is applauding?
BURSTEIN: Yeah, it's an awkward moment. You know, that's the funny thing about the show: You always have to stay in it and keep the wheels spinning in your head. We spend a lot of time offstage between scenes before leads: Jan Maxwell, Ron Raines, Bernadette and myself, we'll have this very emotional scene, and then we disappear for 10, 15 minutes.
And you have to keep the emotion going while you're offstage and build it to an even more heightened emotion by the time you get out there for the next scene because of the way that the show is written. It's sort of disjointed. But it all sort of comes together at the end and makes sense.
GROSS: My guest is Danny Burstein, one of the stars of the revival of "Follies." We'll talk more after a break. This is FRESH AIR.
GROSS: My guest is Danny Burstein. He plays Buddy in the current Broadway revival of Stephen Sondheim's "Follies." One of his songs is the show-stopper "The God-Why-Don't-You-Love-Me Blues," also known as "Buddy's Blues." It's done like a vaudeville number, and you're kind of decked out in vaudeville clothing. You're wearing these, like, orange striped pants.
BURSTEIN: It's an incredible - yeah, it's incredible. Greg Barnes(ph), our costume designer, is amazing, and he designed this gorgeous, gorgeous striped orange costume for me with a bowler hat, and I love...
GROSS: Wait, can we mention the plaid bowtie and the plaid vest with the orange striped pants? It is really loud. It's...
BURSTEIN: Yeah, and it weighs about 25 pounds, too.
GROSS: Why?
BURSTEIN: Because of all the beading, I think, and the fabric is very heavy, as well. But it's a great, great look.
GROSS: And you've got to dance in that.
BURSTEIN: Yeah, yeah, I know, tell me about it.
GROSS: It's like dancing with a backpack on.
BURSTEIN: It kind of is. It kind of is. I actually said to my dresser, Phillip Rolf(ph), last night, I was wondering how much weight I lose in the second act every night.
BURSTEIN: It's one of those shows. You know, it's really hard.
GROSS: So now what's the hardest thing about singing this song?
BURSTEIN: Dancing and singing at the same time because the song is relentless. It just continues on and on and on. And I'll be perfectly honest with you: Some more nights than not, you know that feeling where you run out of breath, and you feel the dark curtains coming?
BURSTEIN: Sometimes that happens to me during that number, you know, because you're just putting everything you have into it and singing on top of all the movement. And, you know, you just make it through the number. And, you know, it's that exhilarating feeling when you finish it.
You know, I used to dread doing it because it's so hard, the lyrics, getting every lyric as clear as possible out there and getting the emotions out there at the same time. But now it is - you know, I look at it like this fantastic challenge, and I really, you know, get myself up for it every single night. It's so exciting.
GROSS: Yeah, you have to enunciate clearly lyrics that are sung very fast.
BURSTEIN: Very fast, and they're - each line is its own joke, so, you know, is its own little story. And that was very important to Steve that I, you know, made sure I got all those little jokes and stories out because each of them is so unbelievably smart.
GROSS: So before we hear you singing "Buddy's Blues," what advice did Sondheim give you about this song?
BURSTEIN: Basically just to make it as clear and specific as possible. That was it. I mean, you know, line by line, you're going I've got those God-why-don't-you-love-me-oh-you-do-I'll-see-you-later blues. So make sure each of those lines is as specific as possible. Know where - you know, the line seems like it's going straight ahead, and then you sort of want it to take a right, and it takes a left.
GROSS: Yeah, now that line you just mentioned, oh-God-why-don't-you-love-me-oh-you-do-I'll-see-you-later blues, there's - you're singing this to separate women, your wife, who doesn't love you, and your mistress who does but who you're always leaving.
BURSTEIN: Right.
GROSS: So that line is sung, half of it's sung to your wife, and the other half of the line is sung to your mistress, the way I hear it.
BURSTEIN: Correct.
GROSS: So you have to make that clear when you're singing it, kind of like with the song you were talking about before, you have to know who you're addressing in each part of the song.
BURSTEIN: Exactly, and of course it goes at a breakneck speed. So - and you're dancing. You're doing vaudeville moves.
GROSS: Right, okay, so we've got to hear it now.
BURSTEIN: Okay, wonderful.
GROSS: So this is "Buddy's Blues," sung by my guest Danny Burstein from the new cast recording of "Follies."
BURSTEIN: BURSTEIN: (As Buddy Plummer) (Singing) Hello, folks, we're into the Follies. First, though, folks, we'll pause for a mo. No, no, folks, you'll still get your jollies. It's just I got a problem that I think you should know.
(As Buddy Plummer) (Singing) See, I've been very perturbed of late, very upset, very betwixt and between. The things that I want, I don't seem to get. The things that I get - you know what I mean.
(As Buddy Plummer) (Singing) I've got those God-why-don't-you-love-me-oh-you-do-I'll-see-you-later blues, that long-as-you-ignore-me-you're-the-only-thing-that-matters feeling, that if-I'm-good-enough-for-you-you're-not-good-enough and thank-you-for-the-present-but-what's-wrong-with-it stuff, those don't-come-any-closer-'cause-you-know-how-much-I-love-you feelings, those tell-me-that-you-love-me-oh-you-did-I-gotta-run-now blues.
(As Buddy Plummer) (Singing) Margie, Margie, Margie, Margie. She says she really loves me.
UNIDENTIFIED WOMAN: (As Margie) (Singing) I love you.
BURSTEIN: (As Buddy Plummer) (Singing) She says. She says she really cares.
UNIDENTIFIED WOMAN: (As Margie) (Singing) I care, I care.
BURSTEIN: (As Buddy Plummer) (Singing) She says that I'm her hero.
UNIDENTIFIED WOMAN: (As Margie) (Singing) My hero.
BURSTEIN: (As Buddy Plummer) (Singing) She says I'm perfect, she swears.
UNIDENTIFIED WOMAN: (As Margie) (Singing) You're perfect, goddammit.
BURSTEIN: (As Buddy Plummer) (Singing) She says that if we parted...
UNIDENTIFIED WOMAN: (As Margie) (Singing) If we parted?
BURSTEIN: (As Buddy Plummer) (Singing) She says, she says that she'd be sick, bleh. She says she's mine forever...
UNIDENTIFIED WOMAN: (As Margie) (Singing) Forever.
BURSTEIN: (As Buddy Plummer) (Singing) She says I gotta get out of here quick...
GROSS: That's Danny Burstein, from the new cast recording of the revival of Stephen Sondheim's "Follies." Danny Burstein will be back in the second half of the show. I'm Terry Gross, and this is FRESH AIR.
GROSS: This is FRESH AIR. I'm Terry Gross, back with more of our interview with Danny Burstein, one of the stars of the current Broadway revival of Steve Sondheim's 1971 musical "Follies." The show runs through January 22nd.
I spoke with Burstein last month when the cast recording was released. Burstein was nominated for Tonys for his performances in "The Drowsy Chaperone" and the revival of "South Pacific." He plays a casino owner in the HBO series "Boardwalk Empire." In "Follies," Burstein plays Buddy, a salesman who's married to a former showgirl, played by Bernadette Peters.
Steven Sondheim was directly involved in the revival.
So you've told us a little of the advice that Steven Sondheim gave you. it sounds like he was very active in this production. Were there questions that you had about the melodies or the lyrics that you were grateful you were able to directly Sondheim about?
BURSTEIN: Yeah, I mean there're always - like I said, his lyrics, you expect them to take a right and they take a left. He does that with melodies as well. And actually, when you're learning the music...
BURSTEIN: Here's the truth. When you're learning the music - and I'm sure I can speak for every actor who's learned a Sondheim song - you're secretly cursing Steve Sondheim....
BURSTEIN: ...because it's so damn hard to learn his music. It also takes a left when you naturally want to take a right, melodically. But you realize the music, it doesn't go to a natural note, it goes to a - that's not an E-natural, it goes to an E-flat, and the reason it's an E-flat is because he's feeling something that's just off at that moment.
And it all is so smartly written and so smartly thought-out that a lot of it just sort of takes care of itself. And then when you, you know, when you're talking to him about specific things, he is, you know, so ridiculously helpful. And also so ridiculously collaborative, much more so than you think he's going to be. And this is my third show with him, so, you know, I think I've got a sort of a good rapport with him. I mean I hope I do.
GROSS: Could you give us an example of the musical line that takes a right when you expect it to take a left, and is therefore difficult to sing but very affecting?
BURSTEIN: Ah, well, if I could just go back to "Buddy's Blues."
(Singing) I've got those God, why don't you love me? Oh, you do. I'll see you later blues.
You know, you don't want to sing that. You just don't. That...
(Singing) God, why don't you love me? Oh, you do. I'll see you later, blues. That long as you ignore me you're the only thing that matters, feeling.
It's those notes there that tell you something's wrong.
(Singing) Matters, feeling.
That lets you know, that's an indicator, that's a stop sign that says whoa. Even though it's going at a breakneck speed, you know something is not quite right and that's exactly what he is setting up.
GROSS: And to make it even harder, is the orchestra sometimes heading in even a different direction?
BURSTEIN: Oh, yes. That's the genius of Jonathan Tunick, who's setting things up to go in a manic way and the orchestra has a life of its own. But, of course, together it sounds unbelievably perfect and of a piece. I can't hear all the orchestrations as I'm doing the show.
GROSS: Uh-huh.
BURSTEIN: I can hear sort of where I fit in the pocket every night in the orchestra. But it was only after I heard the recording just recently that I knew, oh my goodness, all this wonderful stuff is happening underneath me. It was really wonderful to hear.
GROSS: You've been in three Broadway or off-Broadway Sondheim musicals, "Company," "Merrily We Roll Along," and now "Follies."
BURSTEIN: Right.
GROSS: But the first time you did "Merrily We Roll Along" was a local production when you were in your teens.
BURSTEIN: Yeah, I was in college. I was 18 and I was going to Queens College and my professor, Ed Greenberg, a wonderful director and professor in his own right, and he was also a producer. He produced at the St. Louis Muni; amazing man. He was directing "Merrily We Roll Along" at Queens College and cast me as Frank in that production. And I was just 18.
GROSS: And this is Franklin Shepherd who's the leading character and he's a songwriter who starts off with really pure ambitions and becomes more, like, cynical and commercial as time goes on. But the story is kind of told chronologically in reverse order.
BURSTEIN: Exactly right.
GROSS: So, now I read this, tell me if it's true, that when you were in this college production, you actually wrote Sondheim and asked him for some advice.
BURSTEIN: I did. I did. I wrote him a long letter, a very, very long letter.
GROSS: What did you say in this letter?
BURSTEIN: Oh, God. I asked him all the questions about the show, how it came to be and what about the character, what the key to playing his character was, and so many questions. And he wrote me a letter back saying, all these questions, my goodness, you know, I'd have to write a letter the size of "War and Peace," and I simply don't have the time for that right now. But here's my phone number. Why don't you call me and maybe we can figure out a time that you can come over and we can talk about the show.
BURSTEIN: And I couldn't believe that I had this letter in my hand and that he'd given me his home phone number. And so I called him. I was, you know, unbelievably nervous and shaky on the phone, this 18-year-old kid talking to Stephen Sondheim. And he said, Yeah, great, you know, in two weeks on this day at - in the afternoon, 3 o'clock we'll meet. Great.
You know, and he hung up. And he gave me his address and sure enough, I walked in and Jim Lapine was just walking out as they were working on "Sunday In The Park With George" at the time. And we sat there in his living room with a carafe of white wine for three hours talking about musical theater.
And I remember having, you know, the greatest time of my life and finding it unbelievable fascinating. And, you know, that was quite an introduction to me about what it is - what it means to give back and I've been trying to do similar kinds of things my whole life because I had the best example.
GROSS: Well, Danny Burstein, it's really been great to talk with you. Thank you so much for doing this.
BURSTEIN: Thank you so much for having me, Terry. I absolutely love you. I'm such a huge fan.
GROSS: Danny Burstein costars in the current Broadway revival of "Follies," which runs through January 22nd. You can hear more of his singing on the new cast recording.
Coming up, the interview that got the most listener e-mails this year.
This is FRESH AIR.
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With an expansive dining room that takes up an entire side of the building, there is rarely a wait, which means it's great for spur-of-the-moment meals and they always accompany the check with a handful of homemade salted caramels.
remarkable evening), have had brunch there with my family and friends, and when I was working at Hearst and my office was just a couple blocks away, I would always schedule lunch meetings there.
The fact that my train station is located directly beneath it doesn't hurt either!
This creamy comfort dish originated in the Italian village of Norcia, located in the southeastern part of the Umbrian region of Italy. Norcia is legendary for its black truffles, pork, and wild boar products, particularly sausage, and to this day pork products in Italy are referred to as "norcineria."
It's been months since I've actually been to the restaurant to order it, but while poking around in my fridge the other day, I realized I had everything I needed to create a similar dish. Note that this isn't meant to be an exact copy of that dish, but it's definitely pretty close. Even better because it takes only minutes to whip up and ends up costing just a few dollars per serving.
I chopped them up coursely and absolutely loved how they seemed to melt right into the dish, adding bulk and nutrition (one cup of cremini mushrooms provides up to 18 different vitamins, minerals, and antioxidant phyto-nutrients). I infused the sauce with fresh rosemary and nutmeg, and added red chili flakes for heat--all of which gave the rich cream sauce a layer of depth that kept me going back for more.
P.S. The pretty cloth to the left of the bowl with the brown and red tree came from an incredible new company called Janum that I'll be sharing more about soon. The blue-striped cloth on the right is my sock...on my foot, which is bracing me while I snap the photo from above.
Loved this pasta recipe? Here are three other easy pasta recipes you might like:
- Chimichurri Pasta Salad
- Rigatoni with Chorizo and Spicy Chipotle Cream Sauce
- Creamy Avocado Mint Pasta
Thanks so much for reading!
Orecchiette all Norcina (pasta with sausage, herb, and mushroom cream sauce)
Inspired by a dish at Landmarc restaurant in New York City
Print this Recipe
8oz orecchiette pasta (or other small pasta such as rigatoni or penne)
Kosher salt
2 tablespoons olive or grapeseed oil
1/2 pound hot Italian pork sausage (substitute mild or turkey sausage, if you prefer)
1/2 yellow onion, diced
2 large garlic cloves, crushed
8oz cremini mushrooms, cleaned and coarsely chopped
2 cups heavy cream
2 tablespoons fresh rosemary, finely minced
1/2 teaspoon ground nutmeg
1/2 to 1 teaspoon red pepper flakes (skip if you prefer less heat; use more if you'd like a lot of spice)
1 cup grated parmigiano-reggiano cheese
Freshly ground black pepper
Bring a large pot of water to a boil. Salt and add pasta. Cook until al dente (about 10 minutes). Drain, reserving 1 cup of the pasta water.
While the pasta cooks, remove the sausage from casings and break up into small pieces. Heat 2 tablespoons oil in a heavy pan over medium heat and add the sausage. Cook for 2 minutes until lightly browned.
Add the onions and garlic cloves, saute together for 3 minutes until fragrant and soft (you don't want to caramelized the onions). Add the chopped mushrooms and cook for 5 minutes or until cooked down and any liquid has reduced.
Add the cream, rosemary, nutmeg, and red pepper. Let the sauce cook for 3 to 5 minutes, stirring constantly.
Add the cooked pasta and the cheese and toss to coat evenly. If sauce is too thick, add some of the reserved pasta water. Season with Kosher salt and black pepper, to taste. Serve immediately.


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2019 Events
Back to All Events
Earlier Event: May 5Church of the Risen Savior BeFrienders
Later Event: May 6Calvary Lutheran, Golden Valley, MN
Guest Lecturer, Women in Ministry Class, Luther Seminary, St. Paul, MN, Mid-Winter
St. Ansgar's Lutheran Church, Cannon Falls, MN, Spring Women's Weekend Retreat, Mid-April
I am excited to bring the message of living fully to as many people as possible! Because of that, I love every opportunity I receive to present or facilitate a private retreat. Here is a sampling of where I have recently presented.
St. John Lutheran Church, Shakopee, MN Council and Transition Team Presentation
St. Luke Lutheran Church, Cottage Grove, MN, Women's Weekend Retreat
Preached at Advent Lutheran Church, Maple Grove, MN
Trinity Lutheran Church, Long Lake, MN, Staff Leadership Retreat
BeFriender Leaders, Church of the Risen Savior, Burnsville, MN
Luther Seminary Women's Fall Retreat, St. Paul, MN
Augustana Lutheran Women's Ministry Event, West St. Paul, MN
ELPNA Parish Nurse Lunch and Learn, St. Paul, MN
Trinity Lutheran Church Women's Spring Retreat, Long Lake, MN
Luther Seminary, St. Paul, MN; Presenter and have led three 8 weekly courses
Church Staffs for three Lutheran churches, Bloomington, MN
St. Andrew's Village, St. Andrew's Lutheran Church, Mahtomedi, MN
Church Leader Retreat at Portico, Minneapolis
ELPNA Parish Nurse Gathering
BeFriender Ministry Continuing Education
Greater Minneapolis Council of Churches Clinical Pastoral Education
Apple Valley Villa, Apple Valley, MN
Sarah Ciavarri is a dynamic facilitator who has been trained in the Daring Way™. Her knowledge of Brené Brown's groundbreaking work on shame and vulnerability has helped individuals transform and heal their lives. Sarah offers group and individual training.


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Car electronics add extra functionality to vehicles for a safer and more enjoyable ride. Whether you want to install a car alarm or a keyless entry system, Sears has the tools to enhance your driving experience. Pull out an auto body tool set and install the latest technology and other key features to your car that you've always wanted.
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'Lawyer' For Wang-Handled Santa Tries To Stifle Reports About Santa's Wang-Handling
from the everybody-wang-chung-tonight dept
If there is one single lesson to be learned from the Streisand Effect, it's that the cover up is always worse than the crime. This comes into play often when people or companies turn to their legal teams to stifle news and speech about their transgressions. What ends up happening is that news about the original sin spreads in supercharged fashion by being in the news twice while simultaneously making the attempted speech-stifler look all the more evil and/or petty. We saw this when media members went after parody Twitter accounts, when professional sports leagues attempted to stifle documentaries about how dangerous their sport is, and when famous people have attempted to erase online reports of their less-than-stellar acts. So, what's worse than someone attempting to stifle speech by threatening legal action via their attorneys? How about when there is no attorney and the legal threat comes from the subject of the articles impersonating an attorney?
Hey, everyone, it's Christmas time, which in various cities apparently means that there is something called SantaCon where a bunch of people with too much time on their hands occasionally dress up as Kris Kringle and then start drinking heavily with others dressed like Santa. Sometimes those Santa-clones have a bit too much of the old Irish eggnog and attempt to get their North Pole cleansed in public by the woman who agrees to date said Santa-clone. And then, sometimes, that Santa-clone gets embarrassed and an online news publication (in this case, Gawker) gets a letter threatening legal action if the post is not taken down. The letter was signed by a Tyler Van Buren, Esq. (Esq. means practicing lawyer -- and also that you're pompous), and it included this threat:
My client is a successful New York business man who was simply trying to get home with his girlfriend who had a little bit too much to drink while at SantaCon. The articles that have been posted are extremely hurtful, derogatory, and are simply a defamation of character. The accusations being made have no merit and no basis and are not only inappropriate, but damaging for my client and his girlfriend's reputation and their respective careers.Here's where this gets fun. Gawker, being the hilariously antagonistic fun-bags they are, decided to do a little digging on Tyler Van Buren, Esq. What they came up with is initially quite confusing. Checking the Google+ page associated with the email account from which they got the threat, as well as searches for Van Buren's name in LinkedIn, suggest Van Buren is not a lawyer at all. Instead, he's almost certainly a biology graduate from UCSD who works as a Specialty Pharmaceuticals Analyst for Cowen & Company, headquartered in New York City. Checks in various states' directories of attorneys also did not turn up a Tyler Van Buren.
I am drafting up a lawsuit as we speak and I will pursue several charges against the Huffington Post for the untrue, damaging, and hurtful article that has been posted about my client and his girlfriend. Unless this article is removed within the next 24 hours I fully expect to seek damages for my client and his girlfriend. I imagine that this is something your legal team does not want to deal with, but I have been retained by my client and I am fully prepared to seek corrective actions.
Please give me a call at [REDACTED] at any time to discuss this matter or confirm that the posting will be removed.
Tyler Van Buren, Esq.
So what's the deal? Gawker then reveals their final card:
Lastly, while we initially didn't post a second (since removed) video from "Peeping John" Wilson's Instagram page showing a much clearer image of Tyler Van Buren, Esq.'s client, we now feel it's worth a closer look:That sure looks like the same dude to me. Which means that the Santa getting a handy and Tyler Van Buren are likely the same person and Van Buren misrepresented himself as an attorney threatening legal action. That's going to be a problem, since New York law is pretty clear that you're not allowed to do that. Impersonating a lawyer is a fairly serious offense. So I guess we'll have to open up a new category in our Streisand Effect Hall Of Fame for people who not only made their situations worse by going legal, but may actually have brought legal action on themselves as a result. Golf claps for you, Santa jerk!
Filed Under: impersonating a lawyer, new york, santacon, streisand effect, tyler van buren


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Jeanette Fontaine
Jeanette is an opera singer! Mezzo-soprano. We look forward to hearing her sing!! She also earned a great deal of experience working in 3 different university libraries over the 8 years before she joined us, performing a variety of jobs from cataloging to archivist to scanning for digitization. Jeanette is very dependable, and her work is always great. Lately she's been digitizing the Crimson and White issues from the early 60's, which will soon show up online. Before that, she spent many hours toiling with the French Revolutionary Pamphlets and the Wade Hall Sheet Music. We often assign Jeanette to work on the overhead, which is one of our more complex pieces of equipment... and she has quickly become one of our most reliable workers.


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Police are appealing for help to find the person who shot dead a "majestic" red kite near Harewood.
Officers were first alerted to the crime – it is an offence to take, injure, kill or disturb the species – last autumn, after the shot bird had been taken to the Harewood House Bird Garden.
But the police are still searching for the perpetrator, and this week renewed their appeal for anyone with information to come forward.
North East Leeds Wildlife Crime Officer PC Andy Katkowski, a member of the Wetherby and Harewood Neighbourhood Policing Team, said: "We were called to reports of a dead red kite that had been found in Carthick Woods, next to the River Wharfe between Harewood and Collingham.
"It had been handed it at the Harewood House Bird Garden and officers attended on November 7 last year.
"Tests established that the bird had been shot – which is a crime – and an enquiry was launched. Despite a high-profile media appeal, we have so far been unable to establish who shot this majestic creature, and I would again appeal for anyone with any information about this to come forward by calling the police on 101."
Red kites were reintroduced to Yorkshire at Harewood in 1999, and have gone on to become a major conservation success story, growing quickly in both population and distribution.
But Doug Simpson, the project officer involved in releasing the first kites, said the latest incident proved there was still a "hard core" of people who were determined to flaunt the law and harm the birds.
He said: "Since 1999 we have lost around 30 birds as a direct result of illegal activities such as poisoning and shooting.
"However, this is the first confirmed instance of a red kite persecution victim having been found in West Yorkshire.
"It highlights the fact that there is a widespread, hard core of people out there who are prepared to break the law.
"Kites which have been poisoned may have fed on illegal poison baits intended for other species – a method of attempted pest control which was outlawed more than 100 years ago.
"However, where a kite has been shot, there can be no doubt whatsoever that it was the intended target.
"The area in which this bird was found is close to the south bank of the River Wharfe and it is possible it was shot from the north bank of the river – which would actually place the offence in North Yorkshire."
Red kites are afforded the highest degree of legal protection under Schedule 1 of the Wildlife and Countryside Act 1981, and anyone found guilty of deliberately disturbing or injuring the birds can receive fines of up to £5,000 and/or a prison sentence of up to six months.


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I write. A lot. The word Obsessive has been thrown around once or twice in my presence – behind my back as well, I'm certain. OCD. Cray-cray. Julie. I'm okay with that.
But, I learn stuff. Like, this new something sinking into my brain lately. It seems to me each new manuscript unfolds differently in my life. I love them all the same, but every main character, every plot, every world seems to come at its own pace. The pace is a bit reflective of the story also (utter side note – disregard) in my experience. I think this is a brilliant self-discovery. LOL *Nerd alert* You know what they say. "Once a psych major, always a psych major." What? People say that. All right, I made it up. Go with it.
Anyway. I was disappointed as I muddled through the first 10K of my new WIP. Coming off a full-speed-ahead YA where words flew through my mind faster than I could get them on paper, where I ran through dozens of notecards and notebooks aligning all the fantastic juicy details, the new WIP is more like watching grass grow. A little yawny at times. (The process not the story I hope. Yikes). The YA was an obsession. I couldn't turn it off. This new WIP? Very very different. This is a sweet romance. I love writing these, but I'm targeting a specific line this time and struggling to make the words heavy with story, but light with attitude. This experience is like lifting weights. Slow and steady. One workout at a time. Snore. Beg. Stare. Tap on screen. Moment of brilliance. Silence. Repeat.
I realized today this is more typical than I've realized before. These two stories are so opposite that the process was like a flashing neon light this time and I finally noticed. Each story has it's own lifeforce. Some need told desperately and don't care if they bleed out of my face so long as they're heard. RIGHT NOW. Other stories, like my current WIP, are slower. They want to be savored, unfurled slowly and absorbed. These characters have lots of time and lots of turmoil. Each one needs explored and I haven't found a fast way to do that, so I linger in this world longer. And that's okay.
Nnow that the proverbial light has flickered on in my cob-webby head, I'm willing to go with this. It's a slower roll. Okay. I can do that. Slow and steady…something about a race…hey, I didn't say the light was a spotlight or anything.
Conclusion: Don't draw an invisible shape in the air and try to shove every story you write through it. Characters could lose limbs that way and no one wants that.


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667 0021
33 Diode Cluster Applicator, 1440 mW
Ideal for larger treatment areas up to 20 cm*, such as the shoulders and lower back. Twelve LEDs, sixteen SLDs and five laser diodes. All Vectra Genysis Laser Applicators are interchangeable due to Electronic Signature technology.
*This item must be ordered by a licensed healthcare professional.
Sort By:


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At Plumbing Services, we also provide services for businesses and public buildings. Darby commercial plumbing installations are more complex than residential ones, and they require immediate attention to ensure the health and safety of people using them. Don't let Darby plumbing problems cost your business - call today!
We offer commercial installation, maintenance and repair services to businesses and public facilities in the Darby area. The needs of large-scale Darby plumbing installations are different and our plumbers understand that. Plumbing problems are especially critical in high-use high-traffic buildings. Our commercial services include drain and sewer cleaning, hydro-jetting, maintenance issues, backflow prevention, pipe repair, liquid waste pumping and more.
You can't trust just anyone with your Darby business's plumbing needs. Plumbing Services is a Darby plumbing service with a solid reputation for quality, professionalism and reliability. Give us a call today at 877-235-6138 and let us help you out of your Darby plumbing problems.


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Margie O'Driscoll, Vice Chair
Our practice began modestly, attending Family Day lectures and making sandwiches for the homeless every month. I came every Saturday to the Beginner's Mind lectures and began to understand the role that meditation and Zen practice could have in my own life. After attending retreats at Tassajara and Green Gulch, I began to understand that I had now developed my own practice.
I am honored to be considered for service on the SFZC Board of Directors and I hope to bring both my volunteer and professional skills to serve the sangha. I have worked in the nonprofit sector for 30 years, as a Project Manager, Executive Director, Board member and volunteer. For the last decade, I have served as the Executive Director of the American Institute of Architects in San Francisco. Along the way, I have taught at Stanford and San Francisco State University; co-curated architecture exhibitions, and written for a variety of newspapers and magazines. I currently serve as Vice President of the Association of Architecture Organizations and serve on the Advisory Committees of WalkSF, Project Word and City Car Share.
Most importantly, I would like to extend my gratitude to all of you for your support of my practice at SFZC.
Margie O'Driscoll has a BA in Political Philosophy from the University of California, Berkeley, and an MA in Public Management from Columbia University. Prior to joining AIA San Francisco, she held senior leadership positions in the Mayor's Office and in philanthropy. Margie has been a writer in residence at Headland Center for the Arts and has taught at Stanford University and San Francisco State University. In 2009, she was voted "Executive of the Year" by her colleagues at CACE (other AIA chapters).


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The Hooktheory Book Series will concretely teach you how to craft melodies and chord progressions like professional musicians, and gain a deep understanding and intuition for how music works.
The Book Series is designed for hobby musicians at all skill levels. It doesn't require any previous music knowledge or the ability to read music.
Available for Web, iOS, iBooks, and Android.
Leave It Alone
by nofx
Please Play This Song On The Radio
by NOFX
Red Hot Moon
by Rancid
Sometimes I Do
by Social Distortion
Time Bomb
by Rancid
by Coldplay
Holy Diver
by Dio
Savior Of The Dreaming Dead
by Malcolm Brown
Drift Away
by Sons Of Zion
by martin garrix
Catching Feelings
by Drax Project
by Miley Cyrus
Had To Phone Ya
by The Beach Boys
La De Da De Da De Da De Day Oh
by bill wurtz


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Choose your room
Mimosa Apartments are a small family owned company close to the beautiful village of Paleokastritsa. Surrounded by nature at its best Mimosa Apartments is the place for your relaxing holidays on the island Corfu. A swim in the sea or the apartments pool will totally clear your mind, thats if the amazing surroundings havent already done that. The apartments are air conditioned and have a balcony so that you can make the most of the incredible weather that the island has to offer. The apartments also have self-catering facilities which leave you with the choice to either dine in one of the restaurants clsoe by or eat your own meal in a quiet and private environment.
Useful information:Other names for Apartamentos Mimosa:
Mimosa Apartamento


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Florida Green Community-The Sky Institute
From Florida soil grow the roots of what may be the next generation of sustainable communities.
In the heart of the Panhandle, surrounded by a field of tall grass, two lone figures ponder the future―theirs and ours. Here, miles from the nearest town, highway, or beach, Julia Starr Sanford and Bruce White kindly appease a couple of visitors who want to take their photograph in the middle of this green and brown expanse.
As a gentle morning breeze bends the grass and as cotton-puff clouds wallow in the blue above, Bruce points out an area of tamped-down grass where a deer had perhaps enjoyed the same scenery earlier. Julia walks over, looks down and then up to where the land and sky intersect at the edge of this open space. "When we first brought people here to discuss the development," she says, "they thought we would fill in these fields with buildings. But much of this is what we'll preserve. Some of it will be converted back to farmland; other parts will be left just as you see it now―wild and open."
A Big Leap
This is the land Bruce and Julia call Sky, a planned community to be built in Calhoun County about an hour southwest of Tallahassee. Sky may signal the latest evolution in traditional neighborhood developments. Scheduled for groundbreaking this spring, it's a largely untested concept that has become a defining project for these two Floridians, who, as the principals behind White Starr, Inc., have invested considerable time, energy, and money into its development. Talking to them, however, one gets the impression they felt they had no choice―that the creation of such a community was their calling.
To help ensure Sky is a success, Julia and Bruce assembled a team of architects, builders, and thinkers. They've heeded valuable lessons from old-world farming villages and New Urbanism communities and paired those concepts with the latest sustainable energy technologies and Green-living practices. In short, plans call for residents to take part in growing their own food, to live in neighborhoods made up entirely of homes that are certified by Leadership Energy and Environmental Design (LEED), and―perhaps in the community's most striking break from current high-end developments―to create their own energy. Sky will be "the first off-the-grid luxury town built in this country," says Bruce.
"Sky is a big leap forward," says Alys Beach Andrés Duany, whose Miami firm Duany Plater-Zyberk & Company (DPZ) is partnering with Julia and Bruce on the design of the community. Andrés is an advocate of New Urbanism and a key planner for communities such as Seaside, Rosemary Beach, and Alys Beach. "The other places we've developed are implicitly environmental―using native vegetation and encouraging walking rather than driving, among other elements," he says. "Sky will be intrinsically environmental. It's more self-sustaining because of the farming component and the energy technologies they hope to employ."
Culture and Acreage
At its core, Sky will be something of a high-end farm and garden community. It will have amenities such as horseback riding and tennis facilities, but 154 of its 571 acres will be designated as agricultural. Think Rosemary Beach or Alys Beach with life centered around farms and gardens instead of sand and surf.
Julia, a designer who has worked on projects ranging from planned communities to feature films, splits her time between Amelia Island and Rosemary Beach. Bruce, a developer and systems analyst, lives in Rosemary Beach. Both emphasize the need to preserve farm culture as well as acreage. "Sky is a model for rural development," says Julia. "It prescribes a way of life that allows the last land frontier of the state―the farmlands and cattle ranches―to be preserved."
While the Sky team plans to tend the larger tracts of land with the help of local farmers and students from area schools and colleges, part of Sky's mission will be to help residents learn how to organically garden through the Sky Institute, an all-in-one teaching, research, and conference center that will be located in the community.
A Livable Laboratory
The Sky development team plans to not just employ the latest energy technologies when building begins, but also to help develop and test more of them as time passes. For starters, Sky, in conjunction with Florida State University's Center for Advanced Power Systems, received a $1.8 million grant from the state to be used to study and implement a plan for utilities in the town.
Among the technologies under consideration are a solar energy plant, a system of cisterns that will be used as an auxiliary water source, and a chiller plant that will pump cold water to all buildings for an ultra-efficient air-cooling system. The community will also serve as something of a laboratory for new sustainable energy technologies. "We have plans for five villages," says Bruce. "Each village will have a three-year build-out from start to finish. Because of that, each successive village will be able to use the next generation of technologies."
For and of The Ages
Sky isn't, however, only about the latest technologies. Sky's five villages, which will encompass slightly more than half of the total developable area, will be surrounded and separated by agricultural land and open space. As planned, the villages will offer home sites ranging in size from 125 of an acre to 3 acres. Julia will direct much of the design protocol for Sky. "I studied and lived in Europe when I was young, and I was struck by the permanence of the buildings and public gardens," says Julia. "It is environmentally responsible to build structures that last. We hope to create buildings that last a millennium. "Sky is an opportunity for Florida to take a leadership role in the implementation of solutions for a sustainable world," she adds. "Hopefully, in 20 years, Sky will have inspired hundreds of similar communities." •
For more information: Visit www.skyflorida.net. To learn more about plans for the Sky Institute, click here.
The Sky Institute
According to its developers, one of Sky's cornerstones will be the Sky Institute. An all-in-one teaching, research, and conference center to be built on 2 acres, the institute will provide a facility for research and development of various sustainable living practices. "The Institute, at its core, will be there to provide a research arm for the basic ideas that Sky is pursuing," says Steve Mouzon, director of the New Urban Guild who is on the board of the Sky Institute.
In addition to developing new environmentally friendly energy technologies, organic farming techniques, and other Green-living practices, the institute will also work to further hone the definitions for sustainable communities and buildings. Here's what Steve and the institute are working with now.
A sustainable community must embody the following characteristics.
- Feedable: It must be able to feed its residents.
- Serviceable: All daily needs must be within walking distance.
- Accessible: Whether they're doctors, teachers, or emergency personnel, people who provide the services must live nearby.
A sustainable building must embody the following characteristics.
- Lovable: "It must be lovable," says Steve, "or it gets carted off to a landfill."
- Durable: "We must conceive of creating millennium buildings again." But, Steve adds, "the myth of no-maintenance is true if you plan on bulldozing it in 15 years." Buildings must be cared for and adaptable, which leads to the next point…
- Flexible and recyclable: The interior must be adaptable so residents can accommodate new technologies.
- Frugal: Buildings must be efficient to decrease waste.
"The Land of Sky" is from the April 2008 issue of Florida Livings, a special section of Southern Living for our subscribers in Florida.


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Another buyout at the New York Times
New York Times editor of News Technology Terry Schwadron has accepted a buyout from the paper, bringing the total number of departing staffers, by our count, to eight -- though there could certainly be more.
"My other life as a musician has complemented this one: You succeed especially as a trombone player by knowing how to blend, when to lead, when to clarify, how to improvise, and how to build cohesion through skill, understanding and humor," Schwardron writes in a memo to his colleagues. "You can't play a complex piece of music alone. Is that why there's no "i" in Jazz, brass quartets or orchestra? I applaud those with whom I have worked closely and appreciate those who have offered support along the way. I'm sure there will be time to say goodbye before I leave."
Executive editor Jill Abramson had hoped roughly 30 newsrrom staffers would take buyouts by today. New York Times sports editor Joseph Sexton, classical music critic James Oestreich, Times managing editor John Geddes, culture editor Jonathan Landman, and reporters Alice DuBois, Joyce Wadler, and Jacques Steinberg have also accepted buyouts.
Read Abramson's last-minute plea urging staff members to take buyouts here.


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Assassin's Creed: Liberation is about Avaline De Grandpre, daughter to a French merchant and his African wife searching for her lost mother. Exploring 18th century New Orleans, she uncovers a slavery trade conspiracy spread throughout the America's.
Without a fluent backstory, Avaline, has one of the lightest stories in the Assassin's Creed universe. This lack of explanation works well on the go, but might lack the coherence some of the dedicated fans might miss. Assassins Creed: Liberation is an 'Animus gaming program' canonically presented by Abstergo(the fictional conglomerate behind the Assassin's nemesis, the Templar Order), although Abstergo is completely irrelevant in a story that never leaves 1765 America. The game is still presented from the prospective of someone reliving ancestral memories, but its never explains who is reliving these memories. It's a big mystery thats never hinted, and in fact, completely ignored. Compared to its console brethren, it lacks the logic that invented a cohesive world and defined the action beyond 'killing bad guys because they're bad'. It's clear the game has been put on a diet to fit a lifestyle on the run, eliminating exposition and backstory to fill your time with assassinations.
Assassin's Creed Liberation is PS3 quality game on the go, albeit stripped of its fat, meat and muscle. There are plenty to do when Aveline isn't tracking broken contracts of indentured servitude, such as eliminating business rivals, freeing slaves, or managing shipping trades, but at the end of these side objectives, I wasn't given a sense of accomplishment, like they were making some effect to the world, they felt more like filler. Most of the area that's Aveline is sent to for mission on the maps are thriving with busy citizens along with animals like pets and livestock while the other sprawls completing the map are left barren of life. It's understandable that it wouldn't be as populated as its console counterpart, but its odd that some sections in Liberation are competent with its brethren while other moments you're uselessly climbing viewpoints in a well build ghost town.
Avaline can use three personas to finish her objectives, but they boils down to various degrees of limitations. The 'Lady', can't do anything acrobatic, but she is influencing, allowing her to charm and bribe the less loyal guards. The 'Slave' persona can blend in easily with work forces, incite riots, but isn't the best in a fight due to less health and a limited arsenal. As the 'Assassin', Aveline is at full force, she can use all her weapons, climb anything, and has the best chance in a fight. The personas have pros and cons, but they're uneven, the Assassin is more or less the classic experience, with only constant low notoriety limiting her. The Slave isn't too much different, only having limited inventory compared to the Assassin. As the Lady, Aveline has most of her equipment and abilities removed, she can defend herself, and has a few items to stealthy remove guards, but she loses the sense of being an effective assassin. Missions force you into each persona to assimilate with certain mission providers, preventing you from returning to the more fulfilling personas until the mission's end, slowing the pacing down and dampers the enjoyment. A thing that did raised my brow about the personas was the update to the notoriety system around the world. Instead of the posters, heralds and witnesses that criminalizes you regardless of cosmetic changes that would otherwise aloof your adversaries, they now point to each persona alone, allowing you the ability to avoid detection while you clear your name.
Since a Playstation Vita review has to bear some mention of touch controls, Liberation's implementations are range from pleasant to frustrating, Touching the mini map sends you to the map screen, then simply touching anywhere will make a waypoint, which is nice and easy, compared to the classic buttons. Selecting weapons is done in a similar fashion, activated by touch to pause the game as you select devices from two radials. Then there's the Touch and motion gimmicks that riddle the latter experience with such acts as swiping your fingers along both touch surfaces to simulate tearing a letter, or using the cameras to searching for a light source to reveal details under a map and later uses of infuriating marble mazes. They're stretched thin enough but every one ground the momentum to a halt. Mostly useless and superficial when boiled down, they're forced small mini game to circumvent the standards of simple button interaction, and it doesn't help when you look stupid as you wonder around pointing you Vita up at the sun or twisting like you're a buttoning up a sweater inside out.
Moment to moment, I like Assassin's Creed Liberation, but when I look back after setting the Vita down I'm unsatisfied. For every thing Liberation does well, there's something bad to counter balance it, it's hard to recommend a game that has just as much bad as it does good. Liberation had a lot it to live up to in the series pedigree as well as a potential system seller for the Vita, and it'd didn't need much change to succeed, but with a lackluster story, inconsistent motion controls, and lack of vision in the personas, I'd say its best to save yourself the frustration, and leave this one alone.


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OAKLAND — Two men fatally shot Monday night as they drove through West Oakland were identified by police Wednesday.
Police identified the driver as Ronald Perry, 28 and the passenger as Erin Adams, 19, both of Oakland. Police said the men were friends.
They were shot about 9:55 p.m. as they drove in the 1000 block of Filbert Street. The Dodge Avenger they were in continued on to the 1200 block of Filbert, where it stopped on a slight hill at Lowell Park.
Police said the men may have been in the area visiting relatives or friends.
The car belonged to a friend of Perry's, police said. Police don't know if they were shot by someone in another vehicle or by someone standing on the street.
Officer Eriberto Perez Angeles said Wednesday police have gotten some information about the shooting, but have not yet established a motive or made any arrests.
Police and Crime Stoppers of Oakland are offering up to $20,000 in reward money for information leading to the arrest of the killer. Anyone with information may call investigators at 510-238-3821 or a tip line at 510-773-2805 or Crime Stoppers at 510-777-8572 or 510-777-3211. Tips can also be sent anonymously via text message. Text to 888-777 and include the words TipOaklandPD.


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History - LECTURER
Job description
Posting Detail Information
Vacancy ID L2081 Position Number 10118001 Job Title LECTURER Course Title Department History School/Parent Organization School of Humanities and Sciences Division Provost and Educational Affairs Division Employment Category Parttime-Temporary Academic Year 2018-2019 Academic Semester Fall 2018, Spring 2019 Anticipated Start Date 08/16/2018 If temporary, expected end date 05/31/2019 Faculty Status Part-Time, Per Course Position/Job Summary
The School of Humanities and Sciences is creating a pool of qualified part-time lecturers in the History Department for possible openings in the summer, fall, and spring of academic year 2018-2019.
Position/Job Qualifications
Applicants are required to hold a master's degree; Ph.D. and college teaching experience preferred.
EEO Statement
Ithaca College is committed to building a diverse academic community and encourages members of underrepresented groups to apply. Experience that contributes to the diversity of the college is appreciated.
Instructions for submitting your application:
Interested applicants must apply online at http://ithaca.edu/jobs/ and attach a resume, cover letter, and a list containing the contact information for at least three professional references. Questions about online application should be directed to the Office of Human Resources at (607) 274-8000. Screening of applications will begin immediately.
All bargaining unit faculty members shall be covered by the collective bargaining agreement between Ithaca College and Services Employees International Union, Local 200 United. Full time bargaining unit employees are all limited term faculty teaching term appointments on a full-time non-tenured and non-tenure track basis employed by Ithaca College at its Ithaca, New York campus. Information about the Union can be found here: https://www.ithaca.edu/hr/contingent_unions/.
Work authorization (select one): Visa sponsorship is not provided for this position Department description College description
At Ithaca College, a comprehensive residential campus community of 6,500 students, we strive to be at the forefront of the higher education landscape. We offer a distinct integrative learning experience that makes students ready for the personal, professional, and global challenges of our age.
We seek candidates who embrace integrative learning and want to be a part of this exciting time in Ithaca College history. We encourage creative collaboration and innovation in our faculty and staff, providing support and resources for them to grow in their fields and lead students to their own innovative ideas and achievements.
We welcome different ways of thinking and look for candidates with unique points of view and life experiences. We are inclusive of individuals with a wide range of cultural, personal, and professional backgrounds, talents, and skills. Our campus is a vibrant and rewarding community where diverse minds can learn, succeed, and excel.
When reviewing candidates, we are looking for indicators of a number of core competencies. Prospective candidates must be adaptable, collaborative, inclusive, respectful, responsive, results driven, and sustainable. They must communicate effectively, demonstrate leadership, exhibit professional integrity and ethics, take initiative, value personal and professional development, and show that they will engage in the college.
Nestled in the heart of New York State's scenic Finger Lakes region, Ithaca College sits atop South Hill overlooking picturesque Cayuga Lake and is just minutes away from the city center. Combining small town warmth and charm with the vibrancy of a college community, the thriving and culturally diverse city of Ithaca has been rated by Kiplinger's as one of the top 10 places to live in the United States.
To learn more about Ithaca College, visit us at http://ithaca.edu
FLSA Status Exempt Is this position eligible for benefits? No Is this position covered by the SEIU? Yes
Documents Needed to Apply
Required Documents
- Resume
- Cover Letter
- Reference List
Supplemental Questions
Required fields are indicated with an asterisk (*).


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Fort Rucker's website is moving to a new home! Click here for a sneak peek
This is an official U.S. Army web site.
The appearance of external hyperlinks does not constitute endorsement by the U.S. Army of this Website or the information, products, or services contained therein. For other than authorized activities such as military exchanges and MWR sites, the U.S. Army does not exercise any editorial control over the information you may find at these locations. Such links are provided consistent with the stated purpose of this Website.