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ISGMH was proud to host our first Current Issues in LGBTQ Health lecture in Evanston last week. Dr. Jennifer Brier, the director for the University of Illinois at Chicago's program in Women's and Gender Studies, examined the history of HIV/AIDS in a talk titled "How to Have History in an Epidemic: Can History Make You Healthy?" Dr. Brier shared oral histories from Chicago women living with HIV/AIDS to showcase the voices that aren't traditionally heard in our narratives around the HIV/AIDS epidemic. She stressed that "AIDS was never a white gay man disease – AIDS follows lines of structural inequality." Dr. Brier and audience members wrestled with the complexities involved in stringing together a complete, intersectional narrative of the epidemic. Dr. Brier argued that an understanding of the intersectional history of HIV/AIDS is necessary for developing culturally relevant and effective prevention and intervention efforts. A recording of the lecture can be viewed here.
ISGMH thanks the Sexualities Project at Northwestern (SPAN) and the Chabraja Center for Historical Studies for their co-sponsorship of this event. Read about our upcoming Current Issues in LGBTQ Health lectures here.


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The Essentials of Services – Getting to Point A

subset: commoncrawl


text:
One Horror Fan's Attempt to Reconcile the constant remaking of her Beloved Genre
I don't feel it necessary to explain too much what this is about. I think the title of this piece is enough to hit the chords of many a horror fan heart strings and burn a little. Like the Xenomorph bursting through John Hurt's chest, the moment a horror film remake is announced, many of us decry the arrogance of producers who feel they have the crack formula for not only remaking a film, but making it better. More topical, more of the time, reimagining key elements of the story to vindicate their delusion that they, as educated producers of their era, have the technology to "Million Dollar Man" a classic. Of course they cannot. In our minds at least, there is undeniable blasphemy in a remake.
But this has been the way of horror for decades. The 1980s were rife with remakes of 1950s fare. The 2000's ran the gamut of 1970s genre revisits. Why is the immediate visceral hatred at the announcement of a remake so daunting and painful now? Or is 30 years the magic number of decades that allows us to set our overflowing cups aside and breathe a little? It hasn't felt that way.
And yet, as I sit here watching Pet Sematary 2, after rereading the novel and rewatching the 1989 film, I cannot deny the feeling that these Wendigos are cannibalizing our originals which hold so much love and nostalgia in our guts. And yet, I know this is something I have to work through. I hope you'll come with me.
Stage 1. Shock and Denial
When it was announced that Luca Guadagnino would be helming a 2018 adaptation of Suspiria, I was beside myself. The Argento classic, a wholly original film that sank its teeth into the giallo tropes of Mario Bava, hung rainbow curtains on a psychotic fairy tale world. It was ungracious to allude that the Call Me By Your Name director could successfully pull off the feat. Even after reading the Fangoria article in which Luca's open love for the original put understanding into focus, I wholly denied this Suspiria could be anything more than cheap imitation. His atrocious allegations that he wanted to "remake the feeling" were spellbinding. Why not just make your own feeling? Or use that feeling to make something original?
In the magazine, not two pages from Guadagnino's interview, Don Coscarelli returns to the making of Phantasm, and his many influences which led to an original film. I often wonder if the editors at Fangoria were playing a joke on us readers by juxtaposing an article about an ambitious remake next to one about a wholly original film that was influenced by so much without remaking it.
I still haven't seen the new Suspira. I doubt I will ever get the "feeling" to watch it, opting for Argento's original every time. I find the not-quite right ADR endearing. My denial on that one hasn't passed yet.
Stage 2. Anger
Take it to the streets, and by streets, I mean social media. Every outlet that has ever allowed me a voice. Scream at the rooftops that this movie, whatever it is, will never be as good as the original. Here, on the digital streets, I will find like-minded people stamping their feet with me. We will all have the same view. We will step inside Brundle's transporter and come out on the other side a sloshy shunted meld of voices clamoring for "No More Remakes!"
Oh wait. Wasn't Cronenburg's The Fly a remake? It's okay. Yuzna's Society was not. We're on the right side of this. I think…
Stage 3. Bargaining
This is typically the moment when I find my steam starting to wane. It's time to revisit the original, whether that be Suspiria or Pet Sematary or Evil Dead, and think about Cronenburg's The Thing. Or Invasion of the Body Snatchers. Or House on Haunted Hill. These movies I love, I grew up with them. I remember fondly and intelligently learning of their origins and watching the originals with loving patience as I admitted to myself the remakes were better, but I appreciate the 1930s, 40s, 50s way of things. I find a level of peace in the quiet contemplation, in the mornings with coffee, and start weighing my options:
(A) I do not deny myself the possible joy and enlightenment that comes with ingesting any new content from the genre I love, and I do not stint my ability to have truthful and well-meaning opinions of all imaginings by seeing the remakes and being open to the opportunities presented from new technology, FX, conceptual turns, etc, or
(B) Pretend the world of remakes does not exist wholly. Watch originals and decry the abomination of remake culture. Start finding the flaws in all things non-original and make all remakes secondary to the pieces of art that preceded them. Anything less would be utterly hypocritical…
As fans, there's no choosing option B.
Stage 4. Depression
The TV show the Outer Limits was made twice. The episodes were different, and they presented themselves differently due to the anxieties of society at the time. While science fiction/horror hybrids, they unnerved watchers to the possibilities of technology – much in the same way Black Mirror does today. Watching episodes of these shows (let's throw Twilight Zone in there, too) leaves one with a deep, meaningful ennui.
This is much the same way I feel when the point in time comes, prior to the debut of any remake, when I realize the inevitability of its release and the choice to see it or not. It is never a good feeling. Not seeing it means I am denying myself the podium on which to stand and seeing it means I could be wasting hours of my life and money I have earned…if it's terrible. If it's good, not seeing it means I denying myself the opportunity to experience a great new horror film, and seeing it means the time and energy wasted on previous steps (most importantly, that outrage sloughed out on social media) was for not. All roads point the same existential ennui at the end of each Twilight Zone.
Oh god, that's being remade too. Or is it reimagined?
Stage 5. Testing and Acceptance
I have come to the conclusion that I will be seeing Pet Sematary, most likely in theatres. After the release of the second trailer, the dread I felt was worse than anything the movie could frighten me with. I was so enraged, I took to my bookshelves and spent a weekend plowing through the novel (which is an emotionally painful journey to take in one weekend, and one that ended with me feeling very alone and very, very mortal). The experience left me knowing that the change from Gage to Ellie is a wrong decision (which I will not discuss here, but may in the future). More importantly though, it took me back to the 1989 film.
Rewatching the movie after reading the novel is like Louis Creed replaying how he could have caught Gage's jacket. You know there is more that could be done, that could have been done, to touch upon emotional cornerstones that make the novel so seminal. The movie stands alone and isn't lacking for its dismissal of the spirituality of the place, but its recognizable the pacing is off just a smidge. You know there is a sensibility there that could be captured on film because you saw it in the trailers. The trailers for the new movie…
And so, I accept it.
This may be the struggle of a re-adaptation vs. a remake, too. But that's another road. To paraphrase a friend of mine, it's a bad road.
The five stages of grief model, known as the Kubler-Ross model, was original designed to predetermine the progression of emotional states in terminally ill patients after receiving the diagnosis. I can't help but wonder: do we, as horror films, see the announcement, or "diagnose-ment," of a new horror remake as the death of an original? I suppose it would…but only if we stop watching them.
Follow me down the Micmac trail on this one.
The release of Pet Sematary has helped me come to terms with remakes in general. The themes of death, resurrection, rebirth, cannibalism, all fit neatly into the dark cavern of my soul that's filled by the horror genre and swells when a great horror film is seen for the first time. If a remake means the death of an original, we have the ability to resurrect it by returning to the former. If the remake is an abomination, the original will always exist. It's our job to bring it back to life – because, to quote that same friend from before, "what you buy is what you own. And what you own always comes home to you."


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The Salesforce architect exams are some of the most rewarding and interesting exams to get. I really enjoy them because they offer a rare chance to dive very deep into a specific area of the platform. These can expand your capabilities within Salesforce, and provide you valuable understanding as you progress your career towards Technical Architect. This is the study guide for the Integration Architecture Designer certification exam.
Each of these exams has a study guide (like all other certifications), as well as a resource guide which has linked articles, Trailhead modules, documentation and more. To get the most out of those guides, I have written down some important areas to study and understand. If you understand the concepts below, you'll do well on your exam.
Integration Architecture Designer
The Salesforce Integration Architecture Designer exam focuses on your understanding of the architectural decisions necessary to facilitate integrations with external systems, options available for integration, and key considerations for developing integrations. This was one of my favorite exams because I was able to learn a lot of new concepts, all of which I have found very applicable. Understanding those items has made me a better consultant.
Key Topics
Integration Architecture Patterns
What patterns are available, and why would you recommend one over another? This PDF references the five main patterns we see in Salesforce, as well as the benefits and considerations to each. In the exam, you will be presented with sample scenarios, and you will be asked to recommend a pattern based on the requirements.
Salesforce provides several APIs, you will need to know which one to recommend given a situation. Also, you need to understand the limitations and considerations around them (record limits, call limits, timeouts, etc.). There are learning modules on each type:
Mashups and Composite Apps
When a full integration is not recommended, you may want a mashup or composite app. Understand the limitations of this option, and when you would recommend it to an organization.
WSDL Files
There are two types of WSDL available. Learn which is preferred given a situation.
When two Salesforce orgs will be sharing data, you may recommend Salesforce-to-Salesforce. Make sure you understand what is required to use this, and key considerations behind the recommendation.
Hands-On Work
Understanding the concepts is important, but this certification is difficult to get without some good study combined with hands-on experience. The Trailhead superbadge around integration is a great place to start.
Sample Questions
Universal Containers uses Sales Cloud for their sales process. Closed Won Opportunities must be sent to an external ERP system for order fulfillment. All the line items must also be sent along with Opportunities. The ERP system supports only SOAP-based messages for receiving orders. What limitation of outbound messages might present a problem in this scenario?
A. Outbound messaging does not support multiple objects.
B. Outbound messaging does not support SOAP.
C. Outbound messaging cannot be made secure.
D. Outbound messaging does not offer any reliability.
Why? One of the key considerations for outbound messaging is the limitation around multiple objects. The opportunity could be sent, but not line items.
What are the two considerations of Apex REST services that an integration architect should keep in mind when building custom integrations? Choose 2 answers.
A. They cannot utilize publisher actions.
B. They require unit and functional testing.
C. They cannot be built or maintained declaratively.
D. They consume more API limits than SOAP API.
Why? A key consideration for Apex is the additional testing required, as well as the long term maintenance as it requires code, not declarative. They don't consume more API calls, and they can utilize publisher actions.
What are two benefits of utilizing Canvas that an integration architect should consider when exposing external systems from within Salesforce? Choose 2 answers.
A. Canvas can provide authentication information via the signed request.
B. The canvas SDK can be used to make an external systems UI look like Salesforce.
C. Canvas can send data to an external system asynchronously.
D. Canvas endpoint URLs can be dynamically changed via a Lifecycle Handler.
Why? Canvas doesn't change the external system UI, but it does provide a signed request for authentication. The nature of Canvas is asynchronous.


text: y2lamanaki 2,256 Posted August 13, 2019 Last Forge & Y2 Show topic for at least a week, I promise... We're looking for guest hosts! So far @John232 and @mw2noobbuster have each been great guests on our podcast, but we'd love to have more of you join as well. It's not intimidating - all you really need is a Skype and an Internet connection for it to happen - maybe a thing or two to say about the 49ers helps as well. Just about all of the upcoming shows are going to be reviewing a game of some sort, so as long as you watch, you'll have about the same ideas of what to say as the rest of us. I also give you a nice outline so you're nice and prepared for most of what's coming your way. So please - join us for the fun! ...especially since @Forge decided to let us know AFTER we announced next week's episode that he wouldn't be around to record it, so for the moment, the show is currently going to feature y2lamanaki and special guest Evil y2lamanaki hosting next week's show. And none of you are prepared for that. 1 Quote Share this post Link to post Share on other sites


text:
In Petrobras, the Second Circuit's clarified its 2015 decision in Brecher v. Republic of Argentina.[3] While the Petrobras defendants argued that Brecher required a showing of administrative feasibility, the Second Circuit Panel responded that the defendants had largely relied on Third Circuit authority. The Second Circuit Panel declared that its Brecher decision "ask[ed only] whether the class was defined by objective criteria that made the class's membership sufficiently definite, not whether the class was administratively feasible." The Third Circuit's administrative feasibility standard would require a difficult showing at the class certification stage that a method exists pursuant to which a district court could easily identify potential class members and verify or confirm through purchase records or other evidence of class membership that putative members were properly within the boundaries of the proposed class.[4]
Instead, according to the Second Circuit Petrobras Panel, the proper ascertainability requirement calls only for class plaintiffs to undertake a "modest" inquiry of determining "whether a proposed class is defined using objective criteria that establish membership with definite boundaries." The Panel underscored the simplicity of this burden at the class certification stage, noting that "identifiable does not mean identified; ascertainability does not require a complete list of class members at the certification stage." Nor does the inquiry concern itself with "the plaintiffs' ability to offer proof of membership under a given class definition." Instead, the inquiry is satisfied unless the "proposed class definition is indeterminate in some fundamental way," such that there would be no "clear sense of who is suing about what."[5]
"With all due respect to [their] colleagues on the Third Circuit," the Petrobras Panel took issue with the line of cases from that circuit—including its most recent Byrd decision—holding that not only must a "class [be] defined with reference to objective criteria," but also that "there is a reliable and administratively feasible mechanism for determining whether putative class members fall within the class definition." Noting that "[c]ourts are not free to amend [the Federal Rules of Civil Procedure] outside the process Congress ordered," the Second Circuit Petrobras Panel stressed that the heightened ascertainability requirement adopted by the Third Circuit was neither "compulsory" under, nor "complementary" to, Rule 23, adding that the "text of Rule 23 limits judicial inventiveness" as to the requirements imposed on class action litigants.[6]
To the contrary, the Second Circuit Panel noted that while, "[o]n its face," the heightened requirement appeared to simply "duplicate Rule 23's requirement that the district courts consider 'the likely difficulties in managing a class action,'" the defect in the Third Circuit's reasoning is more than a "redundancy." "Ascertainability is an "absolute standard," while manageability "is a component of the superiority analysis," which is "comparative in nature" and asks whether a class action is "superior to other available methods for fairly and efficiently adjudicating the controversy."[7]
According to the Second Circuit Panel, imposing an absolute ascertainability requirement that mandated administrative feasibility could cause dire results: it could counsel against certification in actions "in which there may be no realistic alternative to class treatment"—such as consumer class actions where a defendant may not have maintained accurate records—which would run contrary to the purpose of Rule 23 and the very purpose of the superiority prong's balancing test. Noting that "it may be that challenges of administrative feasibility are most prevalent" in such cases, and underscoring the admonition that "failure to certify an action under Rule 23(B)(3) on the sole grounds that it would be unmanageable is disfavored and should be the exception rather than the rule," the Petrobras Panel "conclude[d] that an implied administrative feasibility requirement would be inconsistent with the careful balance struck in Rule 23."[8]
The Second Circuit Petrobras Panel then applied the clarified requirements to the district court's certification order in the case before it. The class certified below included "persons who acquired specific securities during a specific time period, as long as those acquisitions occurred in 'domestic transactions.'" These criteria were "clearly objective." While appellants vigorously challenged the "practicality of making the domesticity determination for each putative class member," the court emphasized that the ascertainability requirement only requires that such a determination be "objectively possible." Courts are not free to expand upon this requirement, which may be modified only within the Congressionally-mandated rule-making processes. With that recognition in mind, the Petrobras Second Circuit Panel affirmed the district court's certification order as it pertained to ascertainability.[9]
As had been adopted by the Sixth, Seventh, Eighth, and Ninth Circuits, the ascertainability requirement espoused by the Second Circuit in Petrobras would appear to be the correct interpretation of Rule 23. There clearly is an ever-widening chasm between the "growing consensus" of like-minded circuit courts and the Third Circuit, which after Petrobras, still stands alone.
For this reason, as third Circuit Judge Rendell stated in his concurrence in Byrd, it may be time for the Third Circuit to "retreat from [its] heightened ascertainability requirement" by eliminating the administrative feasibility prong born of its prior decisions in Carrera and Marcus. If not, the Third Circuit may continue to impose unwarranted burdens on class action litigants practicing within its district courts while simultaneously exposing itself to criticism from above should the issue wind its way up to the Supreme Court.[10]
[1] 862 F.3d 250, 265 (2d Cir. 2017).
[2] See Byrd v. Aaron's, Inc 784 F.3d 154 (3d Cir. 2015); Carrera v. Bayer Corp., 727 F.3d 300 (3d Cir. 2013); Marcus v. BMW of N. Am., LLC 687 F.3d 583 (3d Cir. 2012).
[3] 805 F.3d 22 (2d Cir. 2015).
[4] Petrobras, 862 F.3d at 265.
[5] Id. at 266.
[6] Id. at 267-68.
[7] Id. at 268.
[8] Id. at 265.
[9] Id. at 269-70 (emphases added).
[10] Byrd, 784 F.3d at 177 (Rendell, J. concurring).
*Gary I. Smith, Jr. is an associate in the Philadelphia office.


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THE HAGUE, March 12 (Xinhua) -- Diplomatic tensions between the Netherlands and Turkey escalated on Saturday night after a convoy of Turkey's Minister of Family and Social Policies Betul Sayan Kaya was halted for hours close to the Turkish General Consulate in Rotterdam.
"I am being taken to Germany via the Nijmegen border with democratic and humanitarian values trampled underfoot," Kaya said Sunday on her official Twitter, "I condemn this on behalf of all my citizens."
"The whole world should take a stance against such a fascist implementation in the name of democracy," she added.
Kaya entered the country at the German-Dutch border in a convoy by car and drove straight to the consulate in Rotterdam. Near the consulate, her car was stopped by the police.
Around 1:00 a.m. local time (0200 GMT), the Turkish official left her car and was moved to another car. She was moved back to Germany under the Dutch police' escort. A team of the Dutch Special Intervention Service arrived at the consulate before midnight and assisted the intervention.
Kaya wanted to visit the Turkish consulate to speak at a rally for a "yes" vote in the forthcoming constitutional referendum in Turkey.
Rotterdam's Mayor Ahmed Aboutaleb said at a press conference at around 2 a.m. local time (0300 GMT) that the minister was seen as an "unwanted stranger," therefore she has to leave the country.
The mayor also said he felt "terribly" misled after he had asked the Turkish consul-general whether someone would come to the consulate.
"He lied to us and he has called on people to come to the consulate. And they even drove with different convoys to mislead us."
Earlier on Saturday, the diplomatic row came to a high when the Dutch government withdrew the landing rights for the plane of Turkish Foreign Minister Mevlut Cavusoglu, who had the same plan.
"The Netherlands is violating all international laws, conventions and human rights by not letting me enter Turkish Consulate in Rotterdam," Kaya said on twitter.
"This treatment against a woman minister can never be accepted", the minister wrote.
The support of Turkish-Dutch citizens, holding Turkish flags and chanting slogans like "democracy," "Erdogan" and "Turkey" near the consulate, grew to hundreds of people during the evening.
As the crowd gathered, Aboutaleb extended the Emergency Ordinance to the whole center of Rotterdam, forbidding all people, except the residents or the people who really have to be there, from entering these regions.
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I've been on Weight Watchers one week and so far, so good! I weighed in today at my second meeting and I'm down 5.4 pounds! I almost fell over when the lady told me that. I know that type of loss won't be usual but I'm really happy with my first week. I'm hoping for maybe a half a pound per week since I'm so sedentary. Once I lose a little bit and get used to the points system I will start figuring out some sort of exercise plan but right now I'm just focusing on food. I have a semi-stressful office job (which means I sit all day) and I eat when I'm stressed so it is a double whammy. Once I get home I'm so mentally exhausted I just want to sit and do nothing. If I can get my food and snacking under control, I can figure out the exercise thing.
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2018 Reading ChallengeSarah has read 1 book toward her goal of 30 books.hide


text:
Life Extension Biotin (600 mcg) -- 100 Capsules
- Biotin is a B-complex vitamin which is essential for proper hair, skin and nail health.
- Biotin synthesizes glucose from non-carbohydrate sources and also breaks down certain fatty acids.
- Biotin can help prevent hair loss, premature graying, cradle cap, and brittle nails.
Biotin is Essential to the Health of Your Hair, Skin and Nails
Biotin is a member of the water soluble B-complex family of vitamins, normally only required in small amounts. Biotin is used as a cofactor of enzymes involved in fatty acid metabolism, gluconeogenesis, and amino acid catabolism, and is essential in maintaining metabolic homeostasis. Biotin plays a vital role in metabolic functioning as a coenzyme carrier of activated carbon dioxide in the TCA cycle (also known as the Krebs cycle). In its coenzyme form, biotin synthesizes glucose from non-carbohydrate sources, and synthesizes and breaks down certain fatty acids and amino acids.
Low biotin levels have been linked to many skin conditions. Signs of deficiency include dry skin, fungal infections, depression, generalized aches and pain, nausea and vomiting. Taking a biotin supplement has shown to prevent hair loss, premature graying, cradle cap, and brittle nails.
Supplement Facts
|Amount Per Serving
|600 mcg


text: After a dozen years as a university graphic design instructor, I was ready for a change and am now pursuing freelance design work. I have a strong background in print design, photo manipulation and editing, custom branding and illustration, website design, and copywriting. I'm passionate about making a difference by volunteering my design talents for worthwhile causes, and I look forward to meeting the needs of your organization!


text:
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- Works with just about every WordPress opt-in plugin ever created
- Works with just about every Membership system ever created
- Clients are Familiar with it – this is a big Pro.. most people who have ever subscribed to anything online, has at some stage, opted into Aweber, your customers are now used to knowing what to do.. that they have to check their email and click on the aweber link. I noticed this more dramatically when I used a different system and had to send follow-up permission requests to get them to click the link to get their product/ecourse.
- Being able to track exactly who clicked on your links in the email and how many times is very handy for clients
- Being able to see who actually "opened" your email is also very handy for clients
RSS to Email Video
[youtube id="Zp6EO_wvaZo" width="600″ height="400″]
- Expensive (in relation to what they offer), but the kicker that got me a grudge against them is that they even charge you for "unsubscribes" – their pricing is $19/month but don't think you are safe at that price, as soon as you get a single digit over their lowest limit, there's an extra $10/month added to your bill.
- So many better systems out there, but Aweber is the one that works with every plugin – it's like being held hostage against your will. The developers of all these third-party software and plugins choosing just to make "Aweber" the easy-to-integrate one, and forgetting about making them customizable to "ANY" type of autoresponder/mailing list, means that in order to use all these other awesome products, you need an aweber account, there's just no way around it. "Some" developers are getting the hint and making their software compatible with any service, but most of them stick to Aweber unfortunately.
- I wish I could use something else and not have to pay these guys every month, but I like my opt-in plugins and themes too much
- A big portion of my clients are small business owners that do not want to pay a monthly fee for email "when Outlook will do", they don't see the "value" in it, it's just that little bit "too much" to justify for an email-a-month. For those that need multiple campaigns, Aweber is great, but for small biz operators who don't have a lot of cashflow, but actually need something like aweber or want to implement at least a monthly campaign, they don't yet see the value in committing to something like Aweber for $19/month. Whether they are right or wrong, it's just what I've observed in my day-to-day business dealings with clients.
Try as I might to get rid of Aweber (I've had a grudge ever since I saw that they were charging me an extra $10/mo for 2 people who opted out of my list). Unfortunately, I see it as an essential part to most of my online marketing. I would love to be able to use something else, but I feel "stuck" with them due to the fact that so many third-party themes, plugins and software that I rely on, integrate so perfectly with Aweber. It's a hassle-free way of getting your email newsletters & autoresponders. It's the only one that I recommend to clients because it gives the greatest flexibility in terms of whatever extra's they want to get – a membership system, an opt-in plugin, a newsletter, autoresponder, etc. they are not going to have any problems with it. If they didn't charge for people who opted-out I probably wouldn't have the grudge that I have, (I know I can just delete them, but even I have trouble remembering to do that, let alone if I was a busy retail business – I just think it's a sneaky and dirtly little trick to get people to pay more than double for their service)… but still – I tell myself "it's essential Penny so just deal with it – try and embrace it – and move on" :)


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The United Nations World Food Program (WFP) has warned that by the end of the year, more than 260 million people will face starvation – double last year's figures.


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This collection of mug with "purrfect cats" reflects the originality of Dunoon. Adopt these lovely animals for an original coffee or tea break.
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Fine Bone China was developed by English porcelain masters in the end of the eighteenth century. Clay is enriched with bone powder, which makes it exceptionally strong after firing. This porcelain is also remarkable for its whiteness and transparency.


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tag:blogger.com,1999:blog-4534044716755489594.post5418008756598185177..comments2020-09-28T17:13:04.358+01:00Comments on Turbulence Ahead: Leave The Lights OnGerard O'Neillhttp://firstname.lastname@example.com:blogger.com,1999:blog-4534044716755489594.post-8617607220373318062009-03-30T13:05:00.000+01:002009-03-30T13:05:00.000+01:00Oh for fecks sake, would you just accept that huma...Oh for fecks sake, would you just accept that humans are selfish crapulent insignificant muppets that really should be culled. We can't even manage our own population within the resources at our disposal, we will get exactly what we deserve, a slow, painfull, drawn out descent into extinction at our own hand, primarily courtesy of the progress you hail as our greatest achievement.Thriftcriminalhttps://firstname.lastname@example.com:blogger.com,1999:blog-4534044716755489594.post-47747075228063559532009-03-30T12:13:00.000+01:002009-03-30T12:13:00.000+01:00Ronan, could you explain how all life is parasitic...Ronan, could you explain how all life is parasitic?John Keyeshttp://firstname.lastname@example.com:blogger.com,1999:blog-4534044716755489594.post-5807209754486900812009-03-30T10:52:00.000+01:002009-03-30T10:52:00.000+01:00Reading McNeill's Plagues and People at the moment...Reading McNeill's Plagues and People at the moment. Even reading chapter 1 alone would give good perspective on who or what is a parasite and what constitutes a most remarkable species.

I don't think it's ridiculously diplomatic to suggest that humanity is indeed both a parasite and one of the planet's most delightful species. What's the problem with parasites? All life is email@example.com:blogger.com,1999:blog-4534044716755489594.post-11447727395764255412009-03-29T23:03:00.000+01:002009-03-29T23:03:00.000+01:00What are you on about Gerard?It's not about saving...What are you on about Gerard?

It's not about saving electricity, that's just a token side effect. It's to show that a call to arms can still work.

As for us being one of our planet's most delightful species? I would love to know how you come up with that theory.

IMO we're parasites, as we consume so much *stuff* that we're putting the very planet itself in danger.

Of course manufacturing and buying more *stuff* is what we're being told is needed to pull ourselves out of this economic recession. That in itself will damage our environment even more.

We need a sustainable economy, and a sustainable environment. They cannot be mutually exclusive anymore.John Keyeshttp://firstname.lastname@example.com:blogger.com,1999:blog-4534044716755489594.post-58574216847450628992009-03-28T19:22:00.000+00:002009-03-28T19:22:00.000+00:00call me naive but as the breaking news website put...call me naive but as the breaking news website puts it the Earth Hour is: "part of a universal effort to show that it is possible to take action against climate change." I think you are characterising it as a luddite protest as if people are anti-electricity which in my view is not the case at all. I could go on, but I'll leave it at that, apart from one more point.. as I see it nobody is 'telling' anybody to switch off their lights, people's participation is completely voluntary. Peace,
Holbrook.Holbrook Fieldshttps://firstname.lastname@example.com:blogger.com,1999:blog-4534044716755489594.post-16992028497136056402009-03-28T11:31:00.000+00:002009-03-28T11:31:00.000+00:00you truly are a beacon of light in these dark time...you truly are a beacon of light in these dark times.Fergalhttps://email@example.com


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Nevada's Polls Have Made Telling Predictions
Swing states are under more scrutiny than others, and with Nov. 8 coming up, so many people are paying attention to Nevada's predictions for Election Day. As a state whose residents voted for Republican President George W. Bush and Democrat President Obama twice each, Nevada does not have the firm links to one party over the other that many other states have. At the same time, Nevada's demographics are changing with increases in its population, so the state may well end up following the partisan path of many other former swing states.
Hillary Clinton has been polling slightly ahead of her opponent Donald Trump with 46.6 percent to his 43.2 percent as of Oct. 31, according to the Politico Battleground States Polling Average. At the time of writing, FiveThirtyEight also gives Clinton just the slightest of leads against Trump in Nevada.
Early voting in Nevada has begun, and as of Oct. 31, Clinton is maintaining a lead over Trump. A million people voted in Nevada in 2012, and so far more than 457,000 votes have been cast in 2016, according to the Washington Post. At the time of writing, Democratic ballots are ahead 44 percent to 36 percent, ABC News reported. This is a slightly bigger lead than Obama had in 2012, when he won the state over Mitt Romney by 6 percentage points, the Washington Post reported. But there are still hundreds of thousands of votes to be cast, so no one should be counting chickens before they hatch.
Voting in Nevada has not been without controversy; in four states, including Nevada, the state Democratic party has filed lawsuits against each state in question's Republican party. The lawsuits were filed in response to alleged voter harassment and intimidation, with the Ohio lawsuit claiming that "Trump has made an escalating series of statements, often racially tinged, suggesting that his supporters should go to particular precincts on Election Day and intimidate voters."
The Republican party has denied these allegations, and Republican operative Roger Stone told the Washington Post by email that the "lawsuit is without merit," since he said he is not coordinating with the Trump campaign or official GOP organizations. The Nevada Republican Party Chairman Michael McDonald said the Republican Party has "zero tolerance" for voter intimidation, the Washington Post reported.
While we won't know for certain which candidate will win Nevada's Electoral College votes until Election Day, it's clear that Clinton has a leg up on Trump in Nevada for now.


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18 mars 2020
At a time when most of our attention is turned towards the world's health crisis, we would like to share a piece of good news with you. For MyQ, it is the outcome of several-months' worth of design, coding and testing – in other words, focusing on what we do best – and for our Partners and their customers, hopefully something to look forward to once it's safe to come to the office again.
We are, of course, talking about the long-awaited update of MyQ Print Server to version 8.0, which comes with functionality that has been re-vamped and perfected according to wishes and demands coming directly from the end user.
In order to make our customers' lives yet a little bit easier, we have completely rewritten MyQ's core architecture to dramatically improve the efficiency of the entire system. From now on, MyQ is based on job accounting to provide a faster response, guarantees accurate reporting and even introduces simultaneous multi-user usage of MFPs – in line with our claim "Focus on what you do best!".
Many other pleasant surprises are wrapped in MyQ 8.0, e.g. the fact that we have opened watermarks for customization, integrated a tool for fully automated device configuration,… and that's just the top of the list.
Download yours in Get Your Plan and make the most of it by upgrading to Enterprise – shoot us a message to email@example.com.
Printer usage monitoring is a staple in IT departments of all bigger companies. The print management software an organization uses should make generating accurate print reports as easy as possible.
As announced earlier this month, MyQ X is the new environment of MyQ's products, licensing and pricing. However, it also brings several essential improvements that will place control over MyQ solution into the hands of its partners and customers.
On 7 July 2020, we launched MyQ X, the next generation of MyQ. However, the first elements of this re-vamped environment date back to the beginning of this year, when we released MyQ 8.0 with new core architecture, new user session and the editions Smart, Enterprise and Ultimate.


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Friday, October 29, 2010
Swimming, Driving, Evening, Reuniting, Playing
Also, Mr. Mudge of Richmond Shakespeare put forth an endorsement of "Arcadia" that is worth considering (and fast, since the show closes this weekend).
Further afield, "Driving Miss Daisy" opened on Broadway with one of the more intriguing mixes of conditionally positive reviews to downright pans.
For Stephen Sondheim fanatics (and lovers of musical theater of all stripes), a DVD version of an old TV presentation scored by Sondheim, "Evening Primrose" recently came out and has garnered a fair amount of coverage.
And, as an unlikely tie-in, "Primrose" features Charmian Carr, Leisl in the cast of the movie "The Sound of Music," a cast that Oprah Winfrey recently brought together on her TV show – and that I somehow forgot to program on the DVR. Anyway, if you missed the reunion as well (or even if you watched it), you may be interested in reading about the reunion or finding out what the cast is doing now. Personally, I'll be trying to hit up friends who were more adept with their DVRs...
Big weekend in town with Henley Street's Bootleg production of "Titus Andronicus," certain to be a hoot playing at the Barksdale, and Cadence opening "Oleanna" at the Richmond Triangle Players space. Clearly Richmond-area theater companies know how to play well with each other!
Wednesday, October 27, 2010
Well now I HAVE to get out to see it
As I've mentioned at least a half-dozen times here before, I'm a big fan of Rick St. Peter's work; productions he directed here before running off to Kentucky were among the best I've seen in Richmond. In the past he has been quick to call out sloppy or wrong-headed criticism (particularly when posted anonymously). And while I can understand his defense of Stoppard's play, I take issue with some of his comments. First off, the quote of Stoppard's he cites may be clever in its own way but I find it sorely lacking in truth, and in my experience, exactly wrong. I am regularly chastised for doing my job well -- that is, presenting valid concerns and criticisms about a play -- and very often no one seems to notice when I do my job badly -- that is, when I give a lackluster or subpar production a pass.
As for hating to be criticized, I don't love it but I regularly solicit input simply by having this blog. The papers that print reviews – both Style and the T-D – allow people to comment online or write letters to the editor (that are often printed), thereby openly inviting criticism. I can't speak for any other critic but, personally, I appreciate constructive criticism. But whether any critic loves or hates counter-criticism, they get it. And, if they want to continue to do the job, they have to learn to deal with it.
What I have a hard time with is people whose criticism is of the very act of criticism. Critics are paid to offer their insight – however flawed you may think that is – on a work of art. Criticizing a critic for doing his or her job is like yelling at a mail carrier for delivering the mail.
Having said that, I understand that people get annoyed and upset at the way a critic does his or her job – you don't want your mailman scattering your letters all over the yard, for instance. That's the kind of counter-criticism I welcome. Was I vague in what I wrote? Was I confusing? Did I miss something about the production that was obvious to you?
What I find bitterly ironic (to reuse a phrase I had reason to employ recently) is people whose criticism turns personal. "That critic is a fool!" "This critic must be angry at somebody." "Joe Critic is just a frustrated actor who can't get cast in town." That is the level on which many people respond to critics. For all most people know, Mr. Griset could be a Nobel Prize winner with a Ph.D. in theater pedagogy, and yet they would question his credentials versus responding to his words. As I've also said before, if my criticism was on that level – for instance, "Joe Smith's direction of this play shows that he obviously has delusions of grandeur and his narcissism gets in the way of any valid artistic statement he's trying to make here" – I would be fired. Or I should be fired because that's criticizing the artist, not the art, and that's not my job.
I have not seen "Arcadia" so I can't speak to the substance of Mr. Griset's review. If I was just criticizing the writing, I might say that it's a little laundry-listy for me. Still, he makes some refreshingly blunt observations that should be refuted on their merits. Mr. Griset does seem to be reflecting the attitudes of at least one patron, as noted by a commenter, and I know Ms. Haubenstock's review of the play also indicated some issues.
Finally, I appreciate the endorsement of one of the commenters – it's nice to have a fan, even if only one! However, as many folks associated with theater know, both my wife and son have been active in local theater making my personal connections in the scene pretty direct. I've tried my best to remain objective but certainly the argument exists that I am compromised just as much as or more than the unnamed female reviewer.
I may or may not be able to actually make it out to see "Arcadia" before it closes. But one positive side effect of this negative review – and the comments it elicited – is that I'm more motivated than ever to try and fit it in. That way, I can judge the work for myself, which I encourage everyone else to do as well.
Monday, October 25, 2010
The Js Have It
Or, in the case of "The Foreigner," almost too late. I was able to finagle my schedule to catch the second-to-last show of the Swift Creek Mill show this past weekend and I was glad that I did. I was struck first by the warmth of Tom Width's set – the sturdiness of all that wood hardly made the set look like a set at all. In a theatrical era often dominated by minimalist sets that force a lot of mind-construction, it was nice to see a set where the construction was all there on the stage.
I can't really provide a full-fledged review but my quick take was that I was particularly impressed by the work of the "J"s in the cast. Jay Welch, whose great work in "Take Me Out" last season was often overlooked because of how many other phenomenal talents were on stage, was pitch-perfect as Ellard. With a role that would be easy to make too big, he put in a "Goldilocks" kind of performance: not too big, not too small, but just right. James Rees was also excellent as Froggy and Jonathan Hardison balanced the various aspects of his wily, smarmy, and dastardly Reverend David with much skill.
I don't want to short-change the rest of the cast. Seeing Richard Koch and Bill Brock face off at various times in the show – both chewing the scenery in their own ways – was a real treat. My appreciation of Mr. Koch's portrayal – an incredibly entertaining as it was – may have suffered a little because I absolutely adored him in the last two shows I saw him in: Henley Street's "A Servant of Two Masters" and the Mill's "Greetings." The women in the cast were solid but I think the play gives them a little less to work with. Having said that, I did appreciate the subtle dawning of awareness that Sarah Legere communicates as Catherine in the last scene. Very fine work there.
It seemed that several theater folks were also sneaking out to catch "The Foreigner" before it's close because a number of actors were attendance on Friday, as well as recent Top 40 Under 40 recipient, artistic director James Ricks. I hope they all enjoyed the show as much as I did.
Speaking of bad habits, I've also been bad lately about getting links to reviews up in a timely manner. I can't promise that I'll get any better soon but here, only a couple of days late, is the Times-Dispatch review of "Dixie Swim Club." I'll be looking for something from Mr. Porter later in the week.
Thursday, October 21, 2010
Jay's photos
Onward and upward
I feel compelled to deal with some latent negativity so I can then move on to more positive stuff. I understand many people were upset and/or disappointed about some of the award selections this year. This has been the case every year but the difference this year was the ubiquity of social media allowed vociferous reactions to circulate almost immediately. I can only repeat what I've said every year: the process we critics go through to select nominees and final choices is not a perfect process. We take it seriously and we do the best that a group of considerate professionals can do but some of our choices surprised and frustrated some of you. Personally, I don't think one person taking home the little hockey puck diminishes the achievement of anyone else. I can't remember if I've used this analogy before but "Avenue Q" winning the Tony over "Wicked" did not make "Wicked" any less awesome.
One more thing I will say about the negative comments: I find some dark irony in them. Critics are often derided by theater professionals because of their perceived insensitivity. I have personally been lambasted by actors because of my lack of understanding of what goes into a production or what it takes to create a role on stage. But if I ever wrote something in a review that included the kind of non-specific criticism and name-calling directed at inappropriate targets that I read online or heard repeated secondhand in the wake of the awards Sunday night, I would lose my job. Period, end of statement. Journalists live and die by certain standards – as one of the presenters Sunday night, Chris Dovi, found out only too bitterly. The fact that some theater professionals feel free to wield criticism without any regard to the propriety of their comments demeans them personally and professionally. We are very lucky to live in a free country and to be free to say/write what we want. But as I have found during my many years writing professional criticism, words have power and careless statements have repercussions.
Moving on, I also received numerous positive comments about the evening, people who felt it was a continuation in the ongoing improvement in the awards presentation. The projections used during the evening were a fantastic addition – thank you Chase Kniffen for your hard work in putting them together. All of the performances were astounding, if you ask me, from Lauren's curmudgeonly "Bah! Humbug" to the stage-filling cheerfulness of the Von Trapp children. I could hear Joy Newsome and Jaci Camden sing their duet from "Rent" over and over on repeat on my iPod and never get tired of it. Debra was a hoot and it was so much fun to watch her work the crowd. And what a testament to her versatility that she could then help deliver the wonderfully affecting "I Love You Song" from Putnam, featuring last-minute stand-in Matt Shofner and the always-amazing Aly Wepplo. All of the performances made me want to see the entire productions again. Big thanks to Brian Harris and his fantastic band for filling the night with beautiful music.
The increased accessibility of the bars seemed to be appreciated and in some ways helped the flow of the evening as people weren't stuck in lines for so long. I think many people enjoyed the "green room" innovation, spearheaded by Event Chair Mary Burruss, where winners and performers were photographed before and after their appearances on stage. The result is a more complete photographic record of the evening than we've ever had before. Big thanks to Thomas Nowlin for manning the camera – he did a spectacular job.
On that note, people may be pleased to know that photographer extraordinaire Jay Paul documented the evening and his work is available online in a pair of photo albums (I'm a little confused by Snapfish, but I think you can get to them but clicking here). Check them out and enjoy looking at all of the beautiful people!
As in the past, most every presenter gamely played along with the shenanigans of the evening. Ms. Carreras and Madame were particularly impressive. Oh, if only you could read some of the jokes John Porter had originally scripted for Madame – some truly golden stuff!
Every person who came up to accept an award was entertaining or heart-warming in their own way. But perhaps my favorite was Willie Hinton who, besides looking particularly dapper, was so excited and thankful and gracious. And if you didn't see "Black Nativity" you missed some truly incredible work from him.
All in all, there was much to be excited about and celebrate. Perhaps most important of all, once again all of you helped raised several thousand dollars for the Theatre Artists Fund, a truly worthy cause. That everyone had such a good time as part of supporting something so worthwhile is a true win-win situation.
Big plans are already percolating for next year so stay tuned. With your help and understanding and support, things can only get better. If you came to the awards, thanks a bunch and I hope you had fun. If you didn't, believe me, you won't want to miss it next year.
Wednesday, October 20, 2010
It's Just a Stage
In completely unrelated news, the lovely and talented Andrew Boothby has set up a profile on the Reality TV casting site, RealityWanted.com. It looks like he's shooting for a history channel hosting gig. Vote early and often (good practice for Nov. 2!)
Tuesday, October 19, 2010
Off they go
I'll write more about all of that soon as well as some kind of recap about the awards evening from my perspective. Many have chimed in with their perspectives via various forms of social media already but I'm letting my thoughts coalesce a little longer. In short, for those who had a great time (like I did), I'm very glad. For those who didn't for one reason or another, I'm sorry. I will say this: plans are already afoot to build on the success of this year and make next year's event something special.
There is a recap in today's Style so you can check that out if you like. Also, the weekend sped by without me getting to acknowledge the opening of Richmond Shakespeare's "Arcadia" – reviewed by Susan Haubenstock yesterday – and Sycamore Rouge's "Concord, Virginia" – also reviewed by Ms. Haubenstock.
And because there is no respite as far as Richmond theater goes, don't forget that "Dixie Swim Club" opens at CAT this weekend. Never a dull moment!
Monday, October 18, 2010
And the winners are...
Best Musical
The Sound of Music (Barksdale / Theatre IV)
Best Direction (Musical)
Chase Kniffen, The Sound of Music (Barksdale / Theatre IV)
Best Actor (Musical)
Durron Tyre, Rent (Firehouse Theatre Project)
Best Actress (Musical)
Joy Newsome, Rent (Firehouse Theatre Project)
Best Supporting Actor (Musical)
Antonio Tillman, Rent (Firehouse Theatre Project)
Best Supporting Actress (Musical)
Susan Sanford, The Sound of Music (Barksdale / Theatre IV)
Best Musical Direction
Leilani Mork, Rent (Firehouse Theatre Project)
Best Choreography
Willie Hinton, Black Nativity (African American Repertory Theatre)
Best Play
Take Me Out (Richmond Triangle Players)
Best Direction – Play
Bo Wilson, Shining City (Henley Street Theatre)
Best Actor – Play
Joe Inscoe, Shining City (Henley Street Theatre)
Best Actress – Play
Kelly Kennedy, On Golden Pond (Barksdale)
Best Actor in a Supporting Role – Play
Jimmy Glidden, Take Me Out (Richmond Triangle Players)
Best Actress in a Supporting Role – Play
Carmen Zilles, Boleros for the Disenchanted (Barksdale)
Best Ensemble Acting
The Mystery of Irma Vep, Swift Creek Mill Theatre
Best Locally-Developed Work
Full Plate Collection (Independent)
Outstanding Achievement in Costume Design
Rebecca Cairns, Servant of Two Masters (Henley Street)
Outstanding Achievement in Lighting Design
Lynne Hartman, The Sound of Music (Barksdale / Theatre IV)
Outstanding Achievement in Set Design
Betsy Muller, Is He Dead? (Barksdale)
Outstanding Achievement in Sound Design
Derek Dumais, The Sound of Music (Barksdale / Theatre IV)
Friday, October 15, 2010
Advice for RTCC attendees!
I thought I would try to give attendees of the 3rd Annual Richmond Theatre Critics Circle Awards a heads up on how the cash bar will work at the Empire Theatre so you can plan accordingly. This is a very popular event where we all get to mix and mingle with our fellow Theatre artists and patrons. No one really wants to spend a lot of time waiting in line so I hope these few tips can help everyone maximize their enjoyment of the evening.
The Bar will be open at 6pm for service. Prices are as follows : Sodas, snacks, and waters $1, Beer $4, Wine $5, Cocktails $5 or $7 for premium brands (Makers Mark Bourbon, Kettle One Vodka, Bacardi Rum, Bombay Gin). Basic mixers will be available, tonic, soda, cranberry, ginger ale, etc. However if you come up asking for a Sweet Old Fashioned or a Rusty Nail you will be disappointed, we're trying to keep it simple. I HIGHLY suggest that everyone bring SOME cash (preferably small bills) because that will get you served much quicker. If someone does need to use a credit card, I would suggest giving your card to the bartender and run a tab. The bartenders will be there after the event to close out all tabs. That will save you the time it takes to swipe your card 3 times for $4 each, etc.
The main lobby bar will offer fountain sodas, snacks, small bottled waters, beer, wine, and cocktails. They will be able to accept cash and credit cards. At the main bar there will be a place to order your drinks and a place to pay in hopes of streamlining service. In addition there will be two remote bars set up that can offer beer, wine, bottled waters & snacks. These stations will accept cash or you can start a tab to be closed out afterwards at the main lobby bar. However, there will not be a Credit Card machine at the remote stations for a one time sale. Guests WILL be able to take their drinks & snacks into the theatre with them, but PLEASE be careful not to spill. No one enjoys a Theatre with sticky floors.
I hope these RTCC Awards bar tips make your night more enjoyable. And speaking of tips, hook up your bartenders, they are part of your theatre community as well! Please drink responsibly.
Monday, October 11, 2010
A few things worth mentioning though: Style has kept up their sneaky habit of putting stories up online on days other than their usual publication date. So since last Wednesday, both a nice preview piece on the RTCC awards and a positive review of the Mill's "The Foreigner" appeared online. Be sure and check them out if you haven't seen them yet.
Also, the lovely Ms. Tupponce has posted a few reviews on her blog lately, her take on "Shipwrecked!" and a review of "The Foreigner" as well. Even more positivity in the air!
Look for more media buzz about the RTCC awards this week. I'll have to doublecheck the date but I believe Chase Kniffen and Mary Burruss will be on Virginia This Morning on Thursday and Tom Bowring will interview Mary on his "Zero Hour" radio show on Friday. Media sponsor WCVE will also start mentioning the event on air, or they may have already starting doing so, not really sure.
The RTCC awards will be a capper to a week of recognition. The Pollak awards are tomorrow and Style's Top 40 Under 40 comes out on Wednesday. 'Tis the season for back-patting, so it seems. May those recognized enjoy basking in the praise of their peers!
Wednesday, October 06, 2010
Style doubleplay
I hear tell that the number of tickets sold for the RTCC awards event is nearing 300. That means the orchestra section is nearly sold-out. It also means you shouldn't delay in getting your tickets! It's only 11 days away!
Monday, October 04, 2010
Dan on the Mountain
Out standing in his field
The T-D review showed up in the Sunday edition and it, like the RichmondMom one, is positive. While it was nice to read that review, I also happen to know that Ms. Haubenstock recently bopped up to NYC and was scheduled to see "A Life in the Theatre" while there. I'd be interested to hear what her take on that new show was given that it's still in previews and the big city reviews haven't come out yet.
In an aggravated Monday morning aside, I'm annoyed today because my main portal to the larger entertainment world (Entertainment Weekly) surprised me with a nice piece on Patti Lupone and her new autobiography. The story also had a little sidebar about upcoming "big star" casting happening in NYC that was also fairly interesting. None of that is the annoying part though. This is: I can't for the life of me find the story on the magazine's website. What's up with that? It's bad enough that "stage" news and features don't even warrant a main page link but to bury a published story so deeply (or not even post it, which I can't imagine that would do) is fairly infuriating. Guess I won't be pimping EW anymore…
Friday, October 01, 2010
Dropped lines and their reverberations
Tonight will be the third Friday in a row that I've been to a show in town, something that probably hasn't happened for at least 5 years or so. I'm doing what I can to see all I can because, in less than 3 weeks, I believe the door to most extracurriculars will close for me for at least a few months (more on that soon).
If you scroll down and look to the left, you'll see a new addition on the blog listing: the online musings of the lovely and talented Emily Cole. I stumbled upon her blog recently – and fortuitously given her most recent posting about opening night of "Smoke on the Mountain Homecoming." Emily gives a compelling account of the panic she felt "going up" on her lines on opening night.
Ms. Cole should know that she is in good company. My understanding is that the inimitable Mr. Inscoe dropped a line or two during opening night of "Shipwrecked." From my experience, there are 3 audience reactions to a dropped line or scene:
--> Don't notice. That was the case for me at "Shipwrecked." I only heard afterwards about anything missing from the performance. Whatever the line or lines that were dropped, they didn't effect my enjoyment of the show.
--> Confusion. If there was anyone who did notice Ms. Cole's slight miscue, I expect they were just a little confused. However, Ms. Cole, like the consummate professional she is, moved quickly and calmly past the moment of trepidation and brought her monologue home in a winning and amusing fashion. Any confusion was quickly forgotten.
--> Empathy and/or appreciation. Knowing a little something about the show, I noticed that Emily was mixing something up but my reaction was sympathy for her, knowing her mind was probably racing 1200 mph looking for the way out of her predicament. I was rooting for her in that moment, and when she recovered, I was relieved for her.
Which was a reminder to me that the single thing I hear from non-theater people that they find most amazing about actors is encompassed in the infamous question, "how do you remember all of those lines?" From my perspective (jaded by years now of seeing shows and hanging out with actors), remembering the lines is the bottom rung of the acting ladder, bringing levels of truth and meaning to those lines are the real challenge.
But still, given how many people are impressed by the memorization, most people are not fazed by the occasional drop. In fact, it reminds them that it's live theater and that a certain level of wavering from the script is actually part of the charm and part of what makes the experience unique. And, if they are a nice emotionally healthy human, the situation actually makes them feel empathy for the actor, another human being temporarily struggling but then succeeding (assuming the actor doesn't break down on stage).
In a kind of extreme case of that last scenario, I remember vividly a performance of "Children's Letters to God" where my son was singing and lost a verse of the song. The dead air and the look on his face suddenly made him seem so small and alone I had to stifle the urge to run onstage and hug him. The empathetic response, coupled with a parent's natural inclination to shelter their child from any and all discomfort (let alone terror), raised my blood pressure about as high as it has ever been.
He recovered, however, finished up the song, got plenty of laughs and applause and generally seemed blasé about it afterwards. It was one of those moments that I've been most proud of my little actor boy but also been most certain that there is some level of child endangerment involved in letting a son or daughter perform in a professional forum.
I'm sure he's a stronger person for having gone through it. And based on her post, Ms. Cole also found something of value in the experience. So, all in all, while it's certainly not something you want happening habitually, an occasional flub seems to have its benefits.


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The aim of this training course is to raise the profile of delegated authority and increase confidence in putting it into practice.
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Tomorrow Dreamer posted the following on his Twitter account:
"I am headed to Chicago for some movie stuff and I am going to check out the Dragon Gate Show on Sat. Interesting stuff in 1of my fav city."
For Tommy Dreamer's Twitter account, click here.
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Board Games
Wednesday | 15:00 – 16:00 | 250kr
Teamwork and fair play are fundamental life skills. What better way to hone those skills than through playing games? The goal of Games Club is to promote confidence and a healthy competitive spirit in a safe environment where the students can be challenged by a range of games and opponents. From PYP3 to 6 the children are encouraged to push themselves out of their comfort zones, play with people who aren't necessarily their friends and develop the ability to cope maturely with winning, losing and having a good time.
The students have access to a range of games with two teachers – Mr Tom and Ms Fanny – who are on hand to play with the students, oversee games, give rulings on tricky questions over the rules and generally keep the peace! The group is hoping to grow its stock of games over time.
- Develop teamwork, fair play and competitive spirits
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Instructors: Tom and Fanny
Activity Information
- Duration 15:00 - 16:00
- Skills Games
- Class Size 15
- Grade PYP 3-6
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Art programme for teens by the maker of Artventure
Art Eye Deer is an Australia-based online video program designed to grow and improve the art skills of teens and adults. The lessons are geared for ages 10 to adults, but they may be suitable for younger, more advanced students.
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text: Diary of an NQT: A chaotic final week… Written by: Diary of an NQT | Published: 06 June 2018 Image: Adobe Stock Comment on this article The end of term break came at a good time for our NQT diarist, although the final week of spring term saw a spike in workload… The last week before spring bank was a particularly intense period at work. I decided that all of my key stage 3 classes would sit their end of year assessments before the holiday so that I would have ample time to get them marked, returned and recorded before the closing of the assessment window.The deadline is not until a week after the holidays, but as my classes were all ready for their assessments it made sense to get them out of the way so that we can press forward after the break.As I teach several set 4 and 5 key stage 3 classes, I have to do a lot of additional planning to ensure that my students are given the access arrangements they are entitled to. A week prior to the first assessment, I liaised with the school's SENCO, informing her of the additional support that my students required.As the year 11s are in the middle of their GCSEs, it is difficult to ensure that key stage 3 students receive the appropriate support, as the older students take priority. However, our SENCO worked diligently to ensure that all of my students received appropriate support, for which I am very thankful.My year 11 students will sit their first GCSE history paper on the first day back after the holidays. With this in mind, our department organised a two-hour revision session on the Friday before we broke up, which I was asked to deliver. This added to an already intense week, but I was pleased with how the session went and I hope that the students who attended will have benefited from it.To add to the chaos, I had to visit hospital on the Tuesday to have minor surgery on my jaw. Although I was able to return to work the next day, I spent the rest of the week with an inflated left cheek, which looked ridiculous.Fortunately, my students showed concern, although I did get told that I looked like a hamster saving food for the winter by one particularly erudite year 9 lad!On the Thursday, I hosted a meeting after school for the parents of students going on the trip that I am organising to Krakow and Auschwitz. We will depart in early July and everything is now in place for the trip to go ahead.The aim of parents' evening was to introduce myself and go through the itinerary for the trip, which looks fantastic. The meeting went smoothly and the parents seemed satisfied that the trip would be a memorable experience for their children.In addition to this, I have been given a new role in school, which I will write about in more detail in a future diary entry. This took me out of school on Wednesday, meaning that I had to set cover work for my classes that day. At the start of the week, I looked at my packed diary and, for the first time this year, wondered if I had taken too much on. What is worse, is that I even toyed with cancelling my hospital appointment. Luckily, I very quickly realised that this would have been foolish. My health and wellbeing is important and must take equal priority.Instead, so help me get through, I drew up a very clear plan of everything that needed to be done and then slowly ticked off my list over the course of the week.The key was to prioritise everything that was urgent and to worry less about those tasks that could wait – chipping away at the smaller jobs whenever I had a free minute. By the end of the week, I left school with seven sets of key stage 3 assessments in my bag, exhausted but relieved that everything had gone according to plan.Our NQT diarist this year is a teacher of history at a comprehensive school in the North of England.


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In the last 50 years, most people have seen at least one James Bond film. Mine happened in 1973 at the tender age of six. It wasn't just my introduction to the world of James Bond, it was my welcome to the world of movies made for adults. While I would only dabble in this world the next few years - Jaws, Star Wars, and Smokey and the Bandit among them - these few films had a profound affect on my adult movie preferences. It's why I like Shark Week, Comic Con, and movies the star guys with moustaches. It's also why I love the spy genre.
Live and Let Die comes along at an interesting crossroads for the Bond franchise. It is the eighth film in the series but cinema and society had changed radically since the early films of the 1960s. The previous film, Diamonds Are Forever, was bordering on repetition of previous plots. Sean Connery declined to sign another contract, wanting to move on beyond the character. Roger Moore came on board with quite a bit of spy credibility from his years on The Saint. His version of Bond would become much more of the rich, playboy character than the ruggedly handsome and gruff Connery version.
My impression at the time was that this was an out of control and scary world. For a child raised on Disney versions of the world, this movie had drug smuggling, voodoo, boat chases, tarot cards and a coffin full of snakes. In a word, I was terrified and couldn't turn away. The film was action from beginning to end and I can still vaguely remember the shock to my system this film was.
Today I've watched it another dozen times probably. I know it's not my favorite of all the Bond films. It might not even be my favorite of the "Moore as Bond" films. But in the end, it might be the best example of a Bond film that you could show a new fan. It's got all the touchstones that make this my favorite movie franchise.
The Bond films have made it 50 years because they adapt to reflect the society at the time of their release. Look at how this film reinvigorated the series that was languishing with Connery fighting the bad-guy-of-the-week type of villain. This film becomes more murder mystery than spy film as Bond tries to solve the murders of two British agents in the U.S. The plot revolves around drugs as much as it does Dr. Kanaga/Mr. Big. The film reflects the popularity of Blaxploitation films of the era with the setting in New Orleans and the Caribbean Islands, not to mention the great acting by Yaphet Kotto and the beautiful Bond Girl, Solitaire played by Jane Seymour. The film's climax centers around a long speedboat chase in Louisiana where he is pursued by a State Policeman who would later be an influence for Jackie Gleason in Smokey and the Bandit.
You can't mention this movie without talking about the music. Another deviation from the previous films proved to be a good move. The theme song by Paul McCartney and Wings brought an early Seventies rock connection to the film as opposed to the jazz artistry of Shirley Bassey in earlier films. And John Barry was not able to score this film, leaving it to George Martin who put a much more lively pop music stamp on the movie.
Live and Let Die was my first Bond. I hold it dear to my heart and defend it more now than ever. This isn't the pinnacle of the Bond films. But it's the necessary step to move the franchise forward. It showed us how the series would remain relevant into 2012. It wasn't by telling simple spy versus evil megolomaniac villain trying to take over the world type of stories every time out of the gate. There's more subltety in Moore's performance. He's lighter and a bit more comedic. He's suave and doesn't just rely on gadgets to get the job done. This film is the blueprint. Like Paul sings - "In this ever changing world in which we live in."
Operation: BOND will return with The Man with the Golden Gun.