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Daniel Madoff
When did you start dancing and why?
I started at the age on ten, and it was because my mother took classes with an Israeli folk-dance troupe and didn't have anywhere to put me.
Where were you?
Baltimore. One day, my mom brought me and said, "Why don't you come up and dance with us?" And I wasn't really aware that I was doing anything different from anybody else, but apparently I picked it up quickly, and she said, "Okay—this is what you're going to do." So she put me in this studio. I said I would take tap and jazz. That was it. I refused to take ballet. Why would I take ballet? What did that mean?
Why did you refuse?
I don't know. I had to warm up to it. I don't know if I'd ever seen any ballet up to that point. I grew up listening to musicals with my family, but never ballet.
You could relate to tap and jazz because of musicals?
Yeah. My teacher said, "You don't have to take any ballet if you don't want to, but it will help your jazz." [Laughs] So I agreed, but I said, "I'm never wearing tights, never," and then I wore tights. There's a reason! You need to see your legs. It was exciting. I think about it all the time because I've done a lot since, and I like to pick up new things. One of the blessings of being a young artist is having a limited scope of insight as to how good or bad you are because then you just keep working, and little by little you get better. And a year later, you're like, I was so bad last year. It just continues that way. Thank God we have no accurate insight as to what we really look or sound like.
When did you start ballet?
I was ten. It was pretty much right away. I mean, it wasn't Vaganova or anything. It was with this man, and he was very good. There were five of us, and we grew up dancing together. One is with Hubbard Street now, and one was with Miami City [Ballet] and he went to Trockadero. I was there until I went to high school. Then I auditioned for Baltimore School for the Arts. I didn't get in. Norma Pera, the big teacher there, just didn't think I was very good, so I went to Carver Center for Arts [and Technology].
Did you study academics there, too?
Yeah. I was the valedictorian actually. [Laughs] It was weird because there were some people who were much, much, much smarter than I was, but the way it worked there was that you had to be good in both your academics and the arts. I graduated and went to NYU for a semester, but I didn't like it very much.
Small studios, and I think that the training they have there...it's a great program for some people. I wanted something a little more old school. I wanted them to beat me up a little more than they were doing. I think it's for personalities in a way. Some of the most talented dancers I ever met I was in school with there. But I was looking for the rigor, the old-school technique. I met [former Cunningham company member] Gus Solomons [Jr.] there, and I hit it off with him really well. We're still friends, which is funny because at Purchase—this is going a little ahead—but for my senior project, when I was already an understudy at Cunningham, I chose Gus as my choreographer. He made this really difficult solo for me. I remember one of the teachers, Richard Cook, who has since passed away, said, "I have never seen fucking dancing like that in a senior project ever." It was so hard, but it was in line with what I was doing at work. And actually [Cunningham dancer] Silas Riener did the same solo; we both thought it was so hard, but I don't think we would think it was as hard now.
That's funny. So you ended up transferring from NYU to Purchase?
Yes. I'll never forget: Linda Tarnay asked me why I was transferring, and I said I thought the men's class could be a little more difficult. Bigger [studio] space. She asked me, so I answered, and she said, "Well, aren't you a little young to have so many preconceived notions about what a class should be like?" I said, "Thank you very much." And I left. I really wanted to go to Juilliard, and I auditioned and I got cut first. It was [under Benjamin] Harkarvy, and a lot of the people that I would end up working with and knowing very well were sitting in front of me. It was like the future of my life: Richard Cook, Kazuko [Hirabayashi], Stephen Pier. Christine Dakin was probably there, Terese Capucilli. It kept happening to me actually. Dance is a small world.
Was Juilliard a huge disappointment?
Oh my God, yeah. I was so upset, but my bank account is very happy. I don't know that it necessarily would have been a good place for me. I'm not a huge fan. They seem like very, very talented people all put together in one place. This is not across the board, but it seems there's a certain level of entitlement that comes with it, and it just drives me crazy. I'm glad that I don't have that.
What led you to Purchase?
I was really upset at NYU, and I actually went to talk to Ana Marie Forsythe and Denise Jefferson at Ailey, and they said that they would have actually let me go there, too. I re-auditioned at Purchase and they asked me quickly why I chose not to go to Purchase [originally], and I said I wanted to be in the city. So I'm walking out of the building and they call me and say, "Okay, you can sign up. Come and fill out all of the paperwork." That's basically why I went there, because I was like, Oh, okay. I could have just as easily gone to Ailey.
Maybe it's good you were out of the city, because you could immerse yourself.
Oh yeah. All you do is dance there. You just dance and you don't have any worries, and everyone you know is within walking distance. I came in [to New York City] a lot. At least when I was there, there were a lot of people still connected with New York who were bringing ideas that they'd seen here and using them in their choreography at Purchase.
Didn't you join the Graham company while you were a student?
I got a contract that was not honored because they fired everybody.
How did you get involved with the Graham company?
I had a teacher named Stephanie Tooman, and she inspired me right away, pretty much more than any teacher I'd had up to that point. I still hadn't met Merce or Robert [Swinston]. Her class was just amazing and her facility was incredible. I was like, What the heck is this? It's this whole other system of movement, and I remember she said to me, "I'm putting you in the beginner class," but it was the second semester and everyone knew all the exercises already. In the first class, she didn't say anything to me. And in the second class, she started talking to me. She tells this story a lot—she was watching me do a pleading [a contraction on the back], and every time people do a pleading, they stick their chest out or something, but I hollowed out right away, and she was like, Oh. And then she chose to work really hard with me. That was my second semester freshman year; I auditioned my second semester sophomore year. I'd attended the Graham school as well. And that's when I got the contract from Chris and Terry. So I wasn't going to go back to school my third year, and then when I got fired, I had to go back. It was horrible. Can you imagine? But everyone was really kind about it. That was in 2005. Because right after that happened, I still had this idea that I wanted to wait around and join Graham. Kazuko said, "Daniel, I have a feeling that you're entering a house that's already burnt up." I'll never forget that. But Stephanie, my Graham teacher, said, "Go to Cunningham." The company manager who was at Graham at the time, David Pini, told me to go Cunningham too. He used to be the company manager at Cunningham. This is just the way my life has been. Things just come up, and even if I don't really know if it's the right way to go, I just say, "Why not? I'll try."
You didn't have Cunningham technique at Purchase, right?
No, but I was in Septet . When I was a sophomore we did Septet , and I hated it. I absolutely hated it. I just wasn't ready. Carolyn Brown and Carol Teitelbaum came in. I love both of those women. I had the worst part. I think it was Paul Taylor's part. It was the one that did the least amount, and it was a horrible experience, but it was because of me, not because of anybody else.
It's weird that no one told you to go to Paul Taylor.
They did. I knew more about him than I knew about Merce. I took a few classes at Taylor, not really looking for a job or anything. It wasn't as organized as Cunningham. I felt like I wasn't fully cooked, so I wanted to go somewhere where they were going to continue shaping and sculpting me. And Taylor, it's great—you can go and take class, but it's always with a different teacher, and there's not a set canonized [series of exercises]. There's one exercise, which is really cool, but there's no clear way of method of growth. Which is interesting because I guess that's going to go away for Cunningham, too. I suppose. Having said what I said before about wanting structure and wanting to be whipped, you can see how Cunningham was...
Yeah. But I saw the RUGs [Repertory Understudy Group]—and Brandon [Collwes] and Emma [Desjardins]—do Summerspace, and I remember thinking, There is no way in hell I would ever want to do that, because it was so hard. I was just blown away. Brandon was at Purchase when I was there, just for a semester, and I remember saying to him in the elevator afterward, "I don't know how you just did that. It was incredible." But, I guess I lucked out, I never had to do it. [ Laughs ]
I understand the technical difficulty. Was it that or was it that fact that was so unadorned?
It's all of that. Well, it's just so naked and it's so technically difficult. And I think they had really a particularly good show. Brandon looked flawless to me. He's the one in the company who will go for the cleanest, most clear technical approach. And God bless him, he can do it.
Did you have a scholarship at the Cunningham school?
I missed the audition for the scholarship, so I worked behind the desk and cleaned the floor and the mirrors and stuff for a little while. And I did a workshop with Robert of the piece Eleven .
I've never seen that.
I think there's a reason. I asked him about it. Movement-wise, I thought it was pretty cool, but something maybe about the costumes and the music—it didn't go well together. After that he called Kazuko, who was at Purchase; mind you, Kazuko and Stephanie both knew Christine and Terese, and they knew I was going to the audition, and they didn't call them or anything. So at first I was like, Why not? But then I feel better that they didn't, because I did it myself. So Kazuko never called Robert, but Robert called Kazuko and said, "I have one of your boys," and she said, "Yeah, Daniel." And he said, "He's a nice boy," and she said, "Are you sure?" That was the end of the conversation.
What a crazy thing to say. How long were you studying before you became an understudy?
I was there in the summer when the company was off, and when the company came back, Daniel Roberts and Jeannie Steele both announced that they were leaving. I was like, I'd better keep showing up. Actually, I'd made a deal with Purchase. This is terrible. I signed up for Kevin Wynn's class, because you could take a specific class on Wednesday, and I said, "Kevin, I'm going to go to Cunningham because there's like a chance I could maybe get a job there," and he was like, "All right, just go."
Really? What a cool guy.
Very cool guy. I was doing that for a few weeks and they hired Brandon and Emma. This is another really funny thing: I was taking only the elementary and intermediate classes, and one day I had to go back to school, but I was watching the advanced class that had started. Robert was in the door, and he looked at me and he looked at the class and went, "You want to take class?" So that was my invitation into the company class. I just was standing in the doorway watching, and he was like, "Well, come on in."
So you just dropped everything and went?
Yeah, whatever, screw it. I didn't even change my clothes. Just ran in. The day I realized that I thought maybe he was going to hire me as a RUG, he tapped my back—we were taking Merce's class. He brought me into the office and started looking at the calendar like he was trying to figure something out and he said, "Well, I need a RUG. "And I was like, Do you want me to find you one or do you want me to be one? Can you just say what you want? [ Laughs ] And he said, "Do you want to do it?" That was how I started.
How long were you a RUG?
From November of 2005 through, technically, August of 2007, but it was way before that that I started training because Cdric [Andrieux] announced that he was leaving earlier that year. I started working, just like everyone else, on roles.
How much contact did you have with Cunningham?
Melissa [Toogood] and I entered the RUGs at the same time. For a long time Merce, I guess, wasn't doing that well—because he was sleeping a lot...I don't really know. And then one day he just woke up and started choreographing. The whole time I was a RUG, he was choreographing on us. It seemed like he was watching and waiting for probably me to be ready for it. Because Melissa was ready right away. She knew what she was doing. She's amazing. I wasn't quite at that level yet. He started with the very beginning of eyeSpace . Cdric did all the parts that I originated with Merce, and I just slipped back into them when he left.
How impossible was it to go from Graham to Cunningham? What are the similarities?
Well, the torso is very similar. Merce broke it down more into smaller pieces. I still use the idea of the contraction, but he broke up the contraction. He thought of the back in different segments so I just had to reorganize the way I thought about it. Not even reorganize, I just had to add onto it because I suppose that's where he came from. And the whole time I knew him, he often spoke to me like a Graham dancer. He would say, "Contract, release." Sometimes he said to dancers in the company who didn't have Graham training something like, "Really straighten your back as you stand up," and to me he just said, "Release as you stand up." He knew I knew what it was.
What did he substitute for contract?
"Lower back curve" or "deepen your curve." Robert's the same way because Robert had a lot of Graham training, so you can tell if you look at us onstage. I never got rid of it. I like it. But my legs needed to catch up.
That's the difference.
Yeah. It's really the major difference, I think. I also got lucky because [executive director] Trevor [Carlson] needed someone to take Merce home for a few months, so I took him home. We had a car; I would do the lifting work with Merce and take him home, and every day he would say, "Do you want a glass of wine?" So I always had a glass of wine with Merce and fed his cat sometimes, or heated up his meal or whatever he needed.
What did you talk about?
Oh, the weather very often. He just asked me a lot of questions. I was shy. I didn't want to say the wrong thing.
What did he ask you about?
He would ask me about school. He said, "I hear you're finishing with your schoolwork. So what now?" And I said, "Well, maybe one day I'll go back to school." And he said, "What? I say once you leave school, you should never go back." I don't know if he was kidding or not. I like this one quote of John Cage which is, "As far as consistency of thought goes, I prefer inconsistency," and I said that to Merce, and he said, "Yeah. Well obviously, because otherwise you're on a one-way train." I hadn't even thought about it that way.
So you did that for a few months.
Yeah. Sometimes it was funny, because sometimes he wasn't in the best mood. One day I was taking him to an art opening. I think he was sitting with two of his closest friends, and they were chatting. Then other people came up and started bothering him, and he gave me the look. I took him outside and he seemed bothered. He used to say, "The weather, it's like spring," or, "It's like fall!" and I said, "Merce, it's so beautiful out here—it's so warm, it's like spring." And he said, "Not as warm as it was up there with all that hot air going on." He was so funny.
What was Cunningham most interested in in terms of his process?
When Merce was in the room, he was glued to the dancers. It didn't matter who it was or what they were doing. He was glued. Yeah, he gave interviews about his process and everything, but I think he was more interested in the purity of watching the work. I don't think he necessarily wanted everyone to know all of his process.
He would really oversimplify it for one thing.
No, we don't know his process. That's the thing: How can we describe his process? It was very clear to me that he was not interested in sharing his thoughts. He was interested in you having your own thoughts: "Have your own damn thoughts while you're watching my dance—don't worry about mine." He didn't want to affect the dancers' thoughts either. He just wanted the dancers to take the purity of the movement and do it the way they do it, and then whatever came out, came out. But if they had some preconceived notion, it would affect it and tremendously limit the possibilities that could occur. So one time we were doing this double trio in eyeSpace , and the women are on stage right and the men come in on stage left, and we had figured out that Merce wanted that to happen. Someone started to tell the women that the men would be on stage left, and he yelled at them and said, "Stop! Don't tell them that. Why are you telling them that?" And I never understood why. I think my interpretation now is that he wasn't sure; he wanted to see if there was something more interesting that he hadn't thought of that would come about. And the other story is, in terms of getting dancers to do things full out every time so that he could really see it. We were running this trio, again, from eyeSpace , and it was for two women and one man, but there were two of us, so he wanted to run it twice. And I said to the women, "Just so you know, we're going to run it twice." And he said, "Don't tell them that! We're just going to run it once and then we're going to run it again." So there was a certain opaqueness to Merce that is still there. All I'm saying is that some of us think we know a little bit more than we actually do know about his process.
How did you get into the main company?
Well, when I was a RUG I wasn't sure for the longest time if Merce knew who I was. He had never spoken, but he was watching. There were two of us who were up for the job, and the other guy had been there for a long time, and I think he was getting a little restless. It just came to a boiling point, and I had been tipped off that Cdric was leaving, but none of the other RUGs knew. Also, I was told that probably I would be given the job. One day the other guy just didn't show up, Robert got really mad. He went to the back and was talking to Merce, and I could see that they were having a really heated discussion. Robert stormed out of the room, and as he's storming out, he goes, "Cdric's leaving the company, Daniel's replacing him!" and slammed the door. I think he was mad, but excited at the same time.
That's super dramatic.
Yeah, it was kind of funny. I'll never forget Andrea Weber's face.
Could you talk about making that transition from RUG to company member?
Cdric is beloved by everyone he's danced with. I was starting at a little bit of a disadvantage, you know? He taught me most of his parts. He was really honest; if there was something he wasn't sure about, he would say, "I think you should look at Glen [Rumsey]," who Cdric replaced. He was really great and very, very helpful. But it was funny, he was very dry. Even if I tried to make a joke, he would just look at me and keep teaching. I think he hated teaching the material because it's so complicated. But then getting into the company, there were times when I was a RUG when Merce—I think I had a pretty good grasp on the fact that Merce really loved the RUGs because they were there and because, basically, we were constantly auditioning. We very enthusiastic. We were not tired. We were very young. So we were always doing everything full out. We didn't complain. We didn't ask for breaks. He loved that about us. There was one day when we were teaching something and for some reason I was the only one there. He had me teaching these phrases and he said, "Do it like Daniel!" And I remember thinking, I'm not even doing exactly what you asked me to do. I knew that I wasn't quite accomplishing what he had asked, but he kept asking them to do it like me. I think it was just because he had seen me do it, and it goes to show that we continuously try to go back to his words. But things like that make you [realize] he enjoyed how people interpreted them.
But it was very uncomfortable as a RUG experiencing that. I knew that the company members knew, too. I had told them verbally what he said, then they saw what I was doing, and I think they knew that there was a discrepancy. I was trying my hardest. I mean, clearly nobody could do it.
Were the company members resentful of the RUGs because they spent so much time with Merce?
I can speak as a company member, too, because I had the same situation. I tried not to resent the actual people, but the situation did make me resentful. I had an understanding of what was really going on, so I didn't take it as me being any better than anybody else, and I tried to behave that way as a RUG. I knew all that, but it was tough to hear Merce say things to the RUGs like, "Oh, well, they can't do it, but you know, you guys can do it." I don't really know exactly where it was coming from; he spent a lot of time with them. He loved them like grandkids or something.
Would you talk about some roles that are meaningful to you?
Well, I don't know that I love to dance it—it scares the shit out of me—but I do love the role in Suite for Five . It's the hardest thing I've ever had to dance. It's the thing that keeps me going to class every single day, knowing that I have to keep dancing it. It's so hard.
What's so hard about it?
It's very naked. The music is very sparse; it's gorgeous, but it's very sparse. And it's just full of seemingly insurmountable roadblocks, things that you've just got to try to do, and you either do them or you don't. The thing is, if you don't do them, it's quite obvious. It's those sorts of things: Balances. You either balance or you don't. And there's even one section where you do this pivoting—you're on one leg and you're turning around and as you're pivoting, you're doing a promenade and your leg is to the front. By the time you reach the front of the house, your leg is to the back, and then you do a relev. And you go to the floor, you get up, and you do it again. And if you hit the first relev and you don't hit the second one, everyone knows! [ Laughs ] So it's just full of things like that. And you can't always do it. Part of the struggle is forgiving yourself onstage, because if you don't forgive yourself, then you're going to have trouble doing the next impossible thing.
I'm sure that happens constantly when you're performing.
Oh, constantly. Let's say at the very beginning of Nearly Ninety , if you fall out of something, you have a whole hour and a half to go. But it's all part of the process. In Suite for Five , I just do it; I just have to do it. The thing is, I've done it without making any overt fumbles, and to be honest, if I don't make it look hard then they don't think it's hard. They don't get how difficult it is. So there's something about that whole mentality that I think is really messed up, but it's hard to escape. Also in Suite , the duet is just so sensual. I love it so much. I did it originally with Holley [Farmer], and now I do it with Andrea. It's completely different, and both are wonderful partners. And you know, I'm replacing Cdric, so again it's like someone who Andrea loved and loves very much, but she and I have a really great rapport partnering. I really love dancing with her. I love Antic Meet of course.
You're so good in that.
It was a blast; I had so much fun. Fabrications was fun. I get to do Merce in that, too. I love XOVER . He made that duet—I was there through the whole process, but I thought it was made mainly on me and Jamie Scott. The way he sculpted was very interesting—I just had no idea what he was going to do next. I don't think he made it for me, but I think it was the first time that I realized that he was accentuating my isms, or my tendencies, maybe on purpose. I can't be sure. Or if he was allowing me to do that, perhaps? That was really nice. I felt very comfortable doing it. But that's another one that has two very distinct casts. And now Julie's [Cunningham] not around anymore, so I do it with Melissa. But it was very special dancing with Julie because she's one of my best friends. Maybe because of that duet, I don't know; it helped.
Would you talk about performing Merce's parts?
Before he died, there weren't so many. I can't say I'm taking liberties, but I'm just allowing things to happen more so now than I did when he was alive. Because I remember when he was alive, he was constantly changing the dances. Like he would outright change things. I've never outright changed a dance, but I do wonder if I would have had the confidence to let something in and to see if he would have liked it or not. When I was dancing Suite , we worked very closely on that for many hours, so I knew exactly what he was asking me for. It didn't necessarily feel like I had any ownership over that role; I felt completely safe in what I was doing because he told me everything he wanted me to do. And now when I dance his roles—and this may sound weird—but before RainForest or Antic Meet , I separate myself from the other dancers. Sometimes I try to have fun backstage before, so I can get over my nerves, but for those two dances I stay away and try to maybe inhabit that in the dance. Not that they'll necessarily respond to that, but I feel like if I seem like I have an ownership when I'm onstage, it might be more true to the original feeling of the piece. Because he is so separate.
Has anyone challenged you in terms of changing things?
No. There is one thing in Suite . Cdric had taught me one way because he was taught that way by Merce, and then Merce was looking at it—my arm was in second and my palm was out—and he said, "Flip your palm this way." I saw a video years later of him dancing it pretty much when he made it, and his palm was up. So in Suite I did take some ideas from that video because I saw that he was remembering. There was a famous picture of him on the floor in Suite , and I didn't know what it was from until I saw the video and where it fit into the piece. I think he remembered that he went to the floor, but maybe he didn't necessarily remember that shape that he made. I don't know if he cut it on purpose or...I tried adding it back in. That's kind of the most daring thing I did, and Robert gave me his blessing, so I went with it. But no one's ever directly challenged me.
Does Robert watch you in rehearsal, and do you watch each other?
Yes and yes. Especially since he's in some of the dances, we have to watch each other. I'm not very into giving much advice or any opinions, but I'll take them from people. It's weird—I don't want the dances to stop growing, but I don't want to change them.
It's August now. What is this experience like right now?
It's really hard. When the year first started, we still had a ton of pieces to bring back, and the memory of Merce and how he worked was more fresh in my mind. I still continue to work generally in the way that he demanded, but it's really hard when he's not sitting there. You just do it because he's there and he's watching. And you want him to like you and you want him to respect your work ethic. Because having gone home with him, he acknowledged when people weren't doing what he wanted. So maybe he didn't do it in front of you, but I know that he said things when he wasn't with you, so that might affect how he treated you in casting or how he treated you in rehearsals. So you just did exactly what he asked. One day he was talking, and nobody was listening. I was still a RUG, so the first thing I did when I finished running a piece was look at him, because he didn't always say anything. And everyone's talking—blah, blah, blah, blah. He kicked the chair, and I remember thinking like, God, are they crazy? But now I sort of understand why they didn't directly go to him, because he didn't always want to say something. The thing is that the work isn't getting any easier. If we take it easy on ourselves, it's just going to get harder. I've had three weeks off, and a day hasn't gone by when I haven't done at least class and swimming or class and working out and swimming and biking or something. Mainly because of Suite for Five and Sounddance .
So that's the physical side of it. What about the mental side of it?
Merce isn't as fresh in my mind, but I still say to myself, Oh, I don't know if I should do this or this, I'll just ask Merce when I see him. I still say that. The words have come out of my mouth. I've said to Robert before, "Why don't you just ask Merce?" He looks at me like, what ? I don't know what that's about, to be honest. It just didn't dawn on me before he died that the minute he died we'd have no more answers.
Even though, in the end, he wasn't around as much?
But the thing is he was. It was really like a matter of weeks, maybe two. The very last thing he did, he came in and he connected Nearly Ninety —the first section with the second section. He made a duet on Melissa and Brandon and on me and Marcie. Then he gave Marcie a pattern, and then he gave me a pattern, and he left, and that was it. That was the last we ever saw of him in the studio. It wasn't long after that that we left and he died. I don't really know if I can say why it's hard. There are some people in the company who were only RUGs, so they don't know what it feels like to be on the other side of Merce's thing where he's seemingly replacing you. And they also didn't work with Daniel [Squire] and Holley and Koji [Mizuta], which I think—for me, it felt like I had, not parents, but people to look up. First of all, Koji was full of so much information. I could always ask Koji.
Yes. He was supportive and he was very generous with information and time. He just knew everything. He knew every step. And Holley—I love her. Daniel took leadership seriously, and he was good at it, and it wasn't like I was scared of him, but I wanted to please him, and I wanted his help, and there was feeling of, these people have been here longer, and when they speak you listen. And it's great now; everyone's sort of equal in the group, but I kind of miss that—where if there's some kind of discrepancy, you just go with the people who've been there the longest. And we do have those authority figures, they just don't behave that way. Which is great and—
It's good and bad.
Yeah. I kind of wish they did. But it's more pleasant that they don't, you know?
Who's been there longer than you in the current group?
From me up, it's Brandon, Emma, Marcie, Andrea, Rashaun [Mitchell] and Jen [Goggans]. But [Jen] doesn't have any mean in her; sometimes I just wish she would be, like, a little mean, you know? Say it.
How is it hard mentally? Did you answer that?
It was hard when Merce was alive, too, because he demanded so much. I hate to admit it, but I'm very competitive, and I always want to do all the roles, and I want to dance a lot, so that was hard and very stressful. And it's hard now because he's not around. But there was a certain level of relief that I felt when he wasn't—this sounds terrible. But that competitive thing kind of went away. I believe in Merce obviously. And that's been part of my struggle—trying to find maybe a new company I want to go to, or who do I really believe in? And does it matter if I really believe in them? But now that Merce is dead, sometimes people do question the work, and sometimes people are mean about it, and it's harder for me to deal with that now that he's gone. I want to keep dancing. I do want to spend some time eventually in France. But the main thing I want to do is take a break. I want my mentality to return to normal human-being mentality; I grew up in this small world, and I haven't left it, and I think it will take some time to readjust. Back to normalcy. Reality.
You share certain roles with the critically acclaimed Rashaun Mitchell. How do you deal with that?
He's such a sweet human being. And he and I have sort of taken the same niche in Cunningham—we both fit the same roles—and he can't be more gracious. He's so generous with me, and he kind of cancels out my competitive edge. Can you imagine what I was thinking when I had to do fucking RainForest ? But it was really Antic Meet ; I was petrified.
Were you panicked?
I was panicked. Not sleeping. But I wasn't reviewed at all, which I was almost thankful about. But Rashaun has really been helpful. Like, I told Rashaun all that and he's like, "Daniel, just dance, you know?" And it's been a blast, and the more fun I have with it, the more fun the audience has, it seems.
What do you think of, I guess, the school and the company disappearing?
Oh my God, it's awful. The school, well—it sucks for New York, to be honest. The space alone is something that the dance world should be fighting for—I can't believe it's going to go away—but the technique? How many people trained there? A lot of people. What's a modern-dance class? What the hell does that mean? I used to take those, and I can't do it anymore. What are you teaching? I don't know. I take ballet a lot actually. I take with Christine Wright sometimes. I take Igal Perry and Zvi Gotheiner, even though everyone who takes his class is insane. It's huge. It's kind of hilarious. There's so many people, and they're insane. I don't actually like it there, to be honest. I love Kenny Larson. He's very hands off, which I just love. But that building is gone. It's my home, you know?
How do you regard Trevor Carlson?
He's tough. I like him as a human being. He very much in control of the company and of the legacy. He's a tough individual. Who has been a part of Merce's process? Trevor's seen the behind-the-scenes stuff. He was integral in all of the collaborations in the last years, for better or for worse. And then there's me—I'm just a lowly dancer who's actually been in the room when he was doing what he actually does, and I try not to put the value on either of our experiences, but I don't know if that goes both ways. I don't necessarily know. And like I say, I don't claim to know what Merce's process was, but I've been hearing a lot about people describing his process.
Talking to whom?
To panels, talking about the timing issue with the stopwatch, but never really explaining it. You know, I'm sick of hearing about how Merce made a piece and it was supposed to be this length, and if it was a second longer, he was upset, and if it was exact, he was very happy. I'm sick of hearing about that because no one explains why.
So if I'm making a piece and I ask you to walk all the way across the room, and I say to do it in 30 minutes, it's gonna look a lot different than if I say to do it in two seconds. That was more the issue. If you do a two-minute solo, and it's supposed to be two minutes, and you finish in two and a half minutes or even a one-minute solo and you finish in one and a half minutes, you've added a third of the time, so what did you slow down? Which movements did you do incorrectly?
That's what it's about. It's not about the arbitrary time thing. It's not matching up with the music or anything like that. I don't like to hear his ideas trivialized like that. And talking about the computer—like I read a quote once by Radiohead that was printed on the website, and I actually said, "You have to take that off the website." It said something like, "Merce showed us how his computer generated movement," or something like that. And that's just not the case. People say that he randomly generated movement from the computer, and they're all fascinated by the computer, but nobody knows why. I think the computer was like writing music with software. It seems that's more of what it was about. In the end, it's not really that interesting because we never saw the computer images. One time we did, because he was doing a lecture about it. It just seemed like such a farce to me. I can't really say for sure because, first of all, at that point I think he'd stopped using the computer. And second of all, it was just a means to an end, and if he could have had a dancer, I think he would have just had a dancer do it.
And that's why the RUGs became so important—the RUGs became his computer.
I think you're absolutely right. He would read a string of choreography by the end [to the RUGs] I don't know how he came up with the choreography, but we never saw any descriptions.
Do you remember how he would work with spacing?
There was one time when he had three people set up in different places doing this very slow, stagnant movement. He had people crossing through, and it wasn't working out. He just said, "You come in from here, you come in from here," and then you worked it, and it wasn't working out. This was his move. He went like this: Fingers fluttering by his temple. And he said, "Okay, I'll tell you when to go." He thought about it for a second. This person, "Go." "Go." "Go. And it worked out. I don't know how he did it. It was just like a moment of genius. He just knew when to start them. And the phrases were not continuous. He knew how to maneuver it. It was really impressive. I think also sometimes he'd just put you in the space to see what would happen. But also, there were times when I think he had it divided very specifically.
I just wish I knew what he was looking for, or when something worked, why did it work?
Maybe it was just something that excited him. The thing is, he was always looking. There were times when we were doing things on the side and they ended up kind of in the choreography, and you couldn't prove it one way or the other. There was one time I remember—and I'm pretty sure about this—when he was saying something to me, and I kept doing this, "uh-huh, uh-huh" and jerking my head up. I don't know why, I had like a tic or something. He started the movement and everything started like that.
Oh my God! Did that make it into a dance?
Yeah. It was eyeSpace40 . I have no way of proving that that was the case, but I think it was.
It's interesting to talk to dancers right now—smack in the middle of this weird experience.
It's funny though. I'm refusing to talk to you about right now. Have you noticed? My mind, when I try to think about it, pulls a blank. I'm really trying to figure out why that is. Sometimes I have a really tough time in rehearsals, and then we perform, and it just makes everything so much better.
So you feel free in performance?
I feel free and when my body is functioning the way I want it to; actually it's about my mind. Because sometimes I get onstage and my mind is fuzzy. Generally when I don't dance in the morning, everything is very, very fuzzy for me all day long. But if I can get onstage and my mind can be clear and I can just let go and enjoy the performance...
Are the performances feeling different?
I'm a lot freer in all things. I think it's good. I mean, I'm looking around me, too. Silas and I have very different styles of dancing, but there's something about the way he just attacks the shit out of things that I try to maybe incorporate sometimes. Not all the time. And then there's Rashaun's cool, even keel that I like, and Jamie just devours space. There's something about everybody. I try to jump like Dylan. The suppleness in John's upper back, Emma's serenity, Marcie's stability. Andrea's generosity of spirit. I'm with a good group of people. I have no idea what I'm talking about.
I think I do.
Okay. [ Laughs ] That's good.


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Family history: a fascinating journey into the past ...
Have you ever wondered why your ancestors left their home, family, and loved ones to head for an untamed wilderness on the other side of the world? Did they travel alone, or did some of their siblings, along with their families, come with them? Was it hard to adjust to their new life? What struggles did they face, and what hardships did they endure?
How did their triumphs - and yes, failures - influence their decisions?
Perhaps you have already embarked on that journey, to acquaint your children and grandchildren with past generations, and preserve your own life story for them. These are priceless legacies that future generations will treasure!
Maybe you were adopted, and are searching for your birth family.
You might be looking for ways to expand on your family tree research, or to try to get past some "roadblocks" or "brick walls" that are preventing you from getting farther back in your family tree.
Whatever your reason for doing family tree research, it is an amazing pastime, which can, at different times, be frustrating, challenging, and exhilarating. It has many rewards - not the least of which is that you become familiar with your ancestors, and the problems that they faced in the course of living out their daily lives.
My goal is to help you get beyond just names and dates on a page; to get to know more about your ancestors, so that you know their life stories.
As you learn more about their lives, you soon begin to realize that they left a legacy, in terms of work ethic, morality, attitudes, and general outlook on life, which may have been passed down, in one form or another, to the present day.
In my 20+ years of researching my family tree and, more recently, assisting others with breaking down their "brick walls", I have learned a great deal about genealogy research, which I am happy to share with you.
The pages on this site will focus mainly on researching family history in the United Kingdom, the U.S., and Canada, as my research has taken me mostly to those areas.
I will talk about the various types of documents, records, and other memorabilia available, and where you can locate free genealogy websites and resources (or relatively inexpensive ones), to uncover the past, in the course of doing family tree research in those countries.
However, the general concepts discussed, and the methods used, are applicable to genealogy research in many other places in the world, although the specific details of where to find particular types of family history documents or evidence may vary from location to location.
I would also invite you to share your experiences and knowledge. Given the large number of internet sites dealing with family history on the internet, it is not possible to be familiar with them all.
If you know of a great free genealogy site with resources for one of the topics I have written about, or if you can add to the information I have posted by sharing your experience, or perhaps your triumphs or frustrations in the course of tracing your family tree, please post your comments and stories! It will help others, and others can help you! Many of the pages have invitations at the bottom, which allow you to present your story and add photographs.
In short, together, we can bring your family history, and that of others, alive!
Click here for upcoming webinars, courtesy of Geneawebinars.
Heard the buzz about the new Flip-Pal scanner? See my review, here, or click on the ad, below, to go directly to their website.
Looking into DNA testing for genealogy purposes?
Try 23andMe, or FTDNA (click the links below).

subset: commoncrawl


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'Tolkein's Women' is one of those titles that always appears on lists of hypothetical World's Shortest Books (the most famous example of which is 'My Struggle' by Martin Amis). Since The Lord of the Rings was published, Tolkien has been accused of using it as a platform for a number of unattractive ideas - racism, fascism and snobbery among them - but a medieval attitude towards women is the most consistent criticism levelled by modern dissenters.
In its thousand crowded pages, the book features just one significant woman, Eowyn, if, by 'woman', you mean human, or what the books call 'of the race of Men'. There are other female characters, though the only ones who matter are two elves and a giant spider. When The Fellowship of the Ring , the first in Peter Jackson's film trilogy, was released in 2001, it was remarked that although the elvish women were played by two of the biggest names in the cast - Liv Tyler and Cate Blanchett, (respectively Arwen, the elf princess, and the Lady Galadriel) - their screen time and significance to the plot were marginal, and that was after having their roles fleshed out by Jackson beyond Tolkien's minimalism.
It would be churlish to fault Tolkien on the absence of psychological realism in his characters, but even more problematic in terms of film adaptation, and obviously connected, is the fact that there is no sex in the book. There's no sex in Jane Austen, either, but in her novels erotic tension is the motor of the story. The Lord of the Rings is concerned entirely with valour, moral and physical courage and the comradeship of brothers in arms. Even the quest, unlike those of courtly romance, is endured not to win the love of a woman but for the infinitely more selfless end of defeating the forces of evil.
The two parallel male-female relationships - between Aragorn and Arwen, and Faramir and Eowyn - exist as one more occasion for the characters to showcase their virtues; both are characterised by purity and self-denial, not by desire.
The point is, of course, that it doesn't matter. Though it either ignores or sublimates the business of sexual pursuit and romantic love, which we have come to consider the sine qua non of film and literature, The Lord of the Rings remains the bestselling work of fiction of the twentieth century and is tipped to be the winner of the BBC's Big Read. Clearly these readers are not all men in their late teens and early twenties who speak Elvish and have never actually met any girls.
'Good stories are good stories, whether they're about men, women or both,' says Kristine Kathryn Rusch, author of a series of bestselling fantasy novels, and one of few women to have won the prestigious Hugo Award for science fiction. 'Tolkien continues to appeal because the stories he tells are darned good ones, which have been faithfully and lovingly altered for the screen.'
Whether the stories needed altering, particularly in terms of the female roles, remains a matter of debate among Tolkien fans. I first fell in love with The Lord of the Rings at 12 and have reread it several times (though I must stress that I don't speak Elvish). Having grown up with children's literature that largely featured boys as the heroes of adventure stories, it didn't occur to me at the time to mind, or even notice, that the women didn't get much of a part. Now, I don't think it matters.
Fantasy and science fiction have always been seen as appealing to male writers and readers, although according to Rusch this has begun to change over the past 40 years . A website such as Feminist Science Fiction (www.feministsf.org) provides a comprehensive list of the many women writers and critics now working in this area, and although some contributors to its discussion boards hold Tolkien responsible for creating and perpetuating the male bias, most agree that The Lord of the Rings has to be understood as a product of its time.
With that understanding, it seems to me that to accuse him of disregarding women is absurd. In fact, he is quite sympathetic to his female characters, Eowyn in particular, and he even acknowledges the difficulties his women have, given the expectations and limitations that the genre forces on them. 'You had horses, and deeds of arms, and the free fields,' Gandalf says to Aragorn, 'but she, born in the body of a maid, had a spirit and courage at least the match of yours. Yet she was doomed to wait upon an old man.'
Eowyn may not get her man, but she does at least get to fight alongside him.
Film critic Antonia Quirke says Jackson could have exercised far more imagination in the presentation of the women. 'Tyler and Blanchett are ridiculous. While you expect a certain fidelity to the conventions of fantasy, these characters are straight from a Kate Bush album cover. They're comic. The first time I saw Arwen's entrance, with the background music and soft focus, I nearly wet my knickers, and I couldn't understand why no one else was laughing.'
The danger is that the accepted level of suspending disbelief when it comes to fantasy, whether on the page or the screen, makes us less critical of the execution, but it seems to me equally wrong to demand more of the genre than it is able to give. Jackson's women may be one-dimensional, but so are Tolkien's, and so are many of the female characters in the epic poems and sagas on which The Lord of the Rings is based - and the same is also true of the men, Hobbits and elves.
In the one review of the final part of Jackson's trilogy to appear so far in a British paper, published anonymously so as to break the embargo, the critic expresses disappointment that the love story between Aragorn and Arwen is allowed to fade away. In fact, Jackson allowed their relationship a far greater share of the narrative in his first two films than it has in the book.
That the most important love relationship in the story does not involve any of the females, but is the fraternal/paternal bond between Frodo and Sam is not a dismissal of women. Rather, it's an affirmation of the value of loyalty and respect between the classes; you could take issue with that, or you could simply accept that Middle Earth still operates by the mores of 1930s Oxford, and for Jackson to have messed about with that would have been even sillier than soft-focus elves.


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CP Shades Irma Linen Dress
A breezy tank dress, beautifully styled with a scoop neckline in front and back and adjustable slim straps. Ideal for the season in linen, to wear solo with flip-flops or with a cardigan and wedges. Blue Ikat has an allover textured pattern; Lemongrass has a traditional linen texture. * By CP Shades * Relaxed fit * Shift silhouette * Scoop neckline * Sleeveless * Above-knee length * 100% linen....
Price: $88.00
Girls' Monroe Dress by Pink Chicken
All aboard! This any-day dress ushers her between playtown and partyville, making regular stops at school. Uniquely styled with a colorful marine print, fun shoulder ties, and a dramatic angled waist. * By Pink Chicken * Relaxed fit * A-line silhouette * Pull-on style * Square neckline and back neck * Spaghetti straps; self-ties at shoulders * Angled V waist seam with gathers below in front ....
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Pleat-Detail Tank Dress
A wardrobe workhorse you'll wear countless ways, under a denim jacket or over a swimsuit. Body-skimming in jersey-knit TENCEL™ with waist-defining box pleats. * Relaxed fit * Fit-and-flare silhouette * Pull-on style * Jewel neckline * Sleeveless * Side-seam pockets * Above-knee length * TENCEL™ Lyocell/spandex; nylon lining * Imported
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Lace-Inset Linen Dress
Well tailored in soft linen, with flattering rows of lace down the front and around the skirt. A lovely loop-and-button closure adds a distinctly feminine touch. * Garment-washed for softness * Relaxed fit * Shift silhouette * Pull-on style * Scoop neckline; loop-and-button closure with three shell buttons * Sleeveless * Above-knee length * 100% linen * 100% cotton voile lining * Imported
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Girls' Delilah Embroidered Woven Dress
This prim yet playful everyday dress enchants with a garden of floral embroidery, a fixed bow with tassels, and elastic binding at the neckline for on-off ease. In soft and textural slubbed cotton. * Relaxed fit * Pull-on style * Round neckline with elastic binding and an off-center fixed bow with tassels * Short raglan sleeves * Above-knee length * Cotton dress and lining * Imported
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Linen Tank Maxi Dress
We love a straight-fit maxi! Our seasonal stunner in midweight linen is detailed with angled patch pockets and exaggerated side vents. Warm it up with a cropped cardigan, or dress it up with a statement necklace. * Relaxed fit * Scoop neckline * Angled patch pockets * Exaggerated side vents * Maxi length * 100% linen * Imported
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Marrakesh Embroidered Dress
Artfully embroidered, this ornate version of the LBD brings boho beauty to holiday dressing. Like a gift to yourself, it's easy, flattering, and effortless in soft crêpe with statement-making details like a curved waist and partial princess seams. * Classic fit * V-neckline * 3/4 sleeves * Hidden back zip with hook-and-eye closure * Above-knee length * Viscose crêpe * Poly crêpe lin....
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EILEEN FISHER Organic-Cotton-Jersey Round-Neck Dress
BY EILEEN FISHER FOR GARNET HILL The T-shirt dress you'd wear seven days a week, in any season, elevated with hidden pockets and cuffed sleeves. Cast in soft organic cotton with a bit of perfect-fit stretch. * By EILEEN FISHER * Relaxed fit * Pull-on style * Round neckline * Short sleeves with tacked cuffs * Hidden pockets * Above-knee length * Organic cotton/spandex * USA/Canada
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EILEEN FISHER Fine TENCEL™ Jersey V-Neck Three-Quarter-Sleeve Dress
BY EILEEN FISHER FOR GARNET HILL A favorite body-skimming dress, now in feel-good TENCEL™ Lyocell jersey, which is light enough for drape and movement with a hint of easy-fit spandex. A day-to-dark essential that navigates the change of seasons with just a change of shoes. * By EILEEN FISHER * Shift silhouette * Relaxed fit * Pull-on style * V-neckline * 3/4-length sleeves * Above-knee lengt....
Price: $118.00
Ruched Surplice Knit Dress
Shift from work mode to party mood with a swap of accessories. Graced with gathers and ruching, this surplice dress drapes the body beautifully in eco-friendly jersey knit with the softness of TENCEL™ Lyocell and the stretch of elastane. * Classic fit * Surplice neckline * 3/4-length sleeves; unlined * Light elastic at waist seam * Above-knee length * TENCEL™ Lyocell/elastane * Poly li....
Price: $34.00
Smock-Detail Silk Dress
Add a dose of drama day or night. Cast in lightweight silk chiffon woven with micro-crinkles for texture and translucence, with smocked shoulders for a romantic touch, and an easy slip for smooth coverage underneath. * Relaxed fit * Swingy silhouette * V-neckline * 3/4-length bishop sleeves with elastic cuffs * Above-knee length * 100% silk * Poly lining * Imported
Price: $99.00
Dropwaist Button-Up Dress
This shirtdress gets a boho twist in floral prints with a score of charming details: dropwaist, flattering gathers and seams, and well-placed pockets. In lightweight yet substantial viscose crêpe for delightful drape. * Relaxed fit * Deep V-neckline * Long sleeves with single-button cuffs; unlined * Button front * Dropwaist * Top-entry on-seam pockets * Above-knee length * 100% viscose cr....
Price: $49.00 - $69.00
Short-Sleeve Tie-Waist Dress
To make this an all-time favorite, we added feminine flair with a tie front, a blouson waist, and a faux-wrap skirt. Soft and sophisticated in an organic-cotton/TENCEL™ Lyocell blend with a dash of spandex for an easy fit. * Relaxed fit * Scoop neckline * Dolman short sleeves with fixed cuffs * Elastic waist for blouson drape * Above-knee length when worn with blouson * Organic cotton/TENCEL....
Price: $39.00
Essential Three-Quarter-Sleeve Maxi Dress
This just might be the coziest dress you'll ever wear. Cast in buttery-soft jersey-knit TENCEL™ Lyocell, with a touch of easy-fit spandex, this wardrobe essential works with or without a belt or necklace. * Relaxed fit * Deep, rounded V-neckline * 3/4-length sleeves * Exaggerated side vents * Maxi length * TENCEL™ Lyocell/spandex * Peru
Price: $44.00
High-Neck Essential Dress
A love-at-first-sight dress with together-forever style takes you from desk to dinner, with or without a cardigan. Featuring a flattering silhouette, a dramatic hem, and the pampering softness of garment-washed French terry. * Garment-washed for softness * Classic fit * Pull-on style * High scoop neckline * Sleeveless * Dramatic handkerchief hem * Knee length * Cotton/modal/spandex; brushed back w....
Price: $119.00
French Terry Day Dress
We love a pull-on dress to go to and fro, and this design in quick-dry, ultra-soft French terry is even cozier than your favorite sweatshirt. Beautifully styled with bell sleeves and patch pockets, it's just right with sneakers or ballet flats. * Relaxed fit * Pull-on style * Crew neckline * Bracelet-length raglan sleeves * Patch pockets * Double-layer cuffs and hem with coverstitch detail and raw....
Price: $99.00
Girls' Organic-Cotton Butterfly-Sleeve Dress
An effortless dress with girly-glam style. Comfy and well textured in jersey-knit slubbed organic cotton, featuring ruffled and embroidered sleeves, a perfect-fit elastic waist, and the lovely layered look of a fem cape. * Relaxed fit * Pull-on style * Crew neckline * Short sleeves, with gathered ruffle and embroidered detail along sleeve openings * Drop shoulders * Elastic waist with slight gathe....
Price: $19.00
Girls' Woven Henley Dress
Adding exuberance to elegance, this everyday dress is every-way special. Crisp in cotton poplin, with the ease of a Henley neckline, a gathered waist, and elastic cuffs, with fem ruffles that are placed to wow along the raglan seams. * Relaxed fit * Round neckline with functional 3-button closure * Long sleeves with ruffle detail at front raglan seams and elastic cuffs * Elastic waist with gathers....
Price: $28.00
Girls' Pocket Sweatshirt Dress
Perfect for wherever she's going, school or sports, café or couch. Cravably comfy in organic-cotton French terry, this sweatshirt dress has sweet shirt detailing, a tie waist for blouson beauty, petite patch pockets, and a curvy hem. * Relaxed fit * Pull-on style * Crew neckline * Long sleeves * Tie waist for blouson effect * Patch pockets * Shirttail hem * Yarn-dyed multi-directional stripes....
Price: $24.00
EILEEN FISHER Fine TENCEL™ Jersey Bateau-Neck Dress
An elegant shift edging toward edgy with modern sleeves and a swingy hemline. As easy as a T-shirt dress, it's well polished in Eileen Fisher's fluid, body-skimming TENCEL™/spandex knit. * By EILEEN FISHER * Relaxed fit * Shift silhouette * Bateau neckline * Elbow-length sleeves * Side vents * High-low hem * Knee length in front; slightly longer in back * TENCEL™ Lyocell/spandex * USA/....
Price: $88.00
Linen Fringe-Hem A-Line Dress
A rare gem from the jewel neckline to the fringed hem, this elegant dress is pretty on its own or under a cardigan. Cast in our soft linen, the swingy silhouette does its thing without a hint of cling. * Relaxed fit * A-line silhouette * Jewel neckline * Sleeveless; hidden bra snaps * Concealed back zip * Side-seam pockets * Fringed hem * Above-knee length * 100% linen * Imported
Price: $44.00
Jewel-Neck Silk Dress
Our unfussy dress pulls off pull-on perfection in crinkled silk chiffon.Every detail is designed to delight, from the ruffled jewel neckline to the blouson waist, and a laid-back length. * Relaxed fit * Pull-on style * Jewel neckline with keyhole opening * Sleeveless * Elastic waist * Below-knee length * Silk; stretch-poly lining * Imported
Price: $99.00
Lilla P Lace-Inset Printed Dress
A moody floral and a touch of lace cast a feminine spell over this relaxed go-to dress. Featuring a split neckline with ties, elastic cuffs, and pretty pockets. In airy cotton. * By Lilla P * Relaxed fit * Split neckline with ties * Long sleeves * Pockets * Above-knee length * Cotton; lined below yoke * Imported
Price: $88.00
Linen Dropwaist Dress
Our linen T-shirt dress spins a modern tale with a du-jour dropwaist and textured microstripes that playfully change direction. A season-ready go-to with or without a denim jacket. * Relaxed fit * Shift silhouette * Pull-on style * Round neckline * Short sleeves * Dropwaist * Above-knee length * 100% linen * Imported
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Tie-Sleeve Dobby Dress
An everyday dress made extra-special with long ties at the sleeves. In season-ready organic cotton and viscose jacquard. * Relaxed fit * Scoop neckline * Elbow-length sleeves * Three-button closure in back * Above-knee length * Organic cotton/viscose * Imported
Price: $38.00
Bell-Sleeve Silk Dress
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Price: $68.00
Eco Merino Trapeze Sweater Dress
Breeze through the seasons with this fun and stylish sweater dress. With a flattering A-line silhouette, a mock neck, and a short length. In soft Eco Merino Wool. * Relaxed fit * A-line silhouette * Mock neck * Long sleeves * Short length * 100% Eco Merino Wool * Imported
Price: $68.00
Girls' Olivia Organic-Cotton Dress
We took her top-rated dress over the top with even more to love: longer sleeves, a modern dropwaist, and pockets. In a slew of new and noteworthy prints, it's still supersoft (and super-durable!) in eco-friendly Organic Green Cotton jersey. * Pull-on style * Relaxed fit * Round neckline * Long sleeves * Dropwaist with gathering below * Pockets * Above-knee length * 100% Organic Green Cotton * ....
Price: $40.00
Tie-Waist Ruched Knit Dress
A flattering dress cast in a fab jersey knit, with a fem neckline that dips softly in the middle. Dramatic side ties wrap front to back to front again, tying up your look with a pretty bow. * Classic fit * Surplice neckline * Cap sleeves * Side ties * Knee length * TENCEL® lyocell/spandex jersey; tricot lining * Imported
Price: $38.00
Organic-Cotton Bateau-Neck Dress
The sailor-style tee turns into a chic dress, with fresh stripes and a decidedly French flair. In a flatters-all cut with a slight A-line shape, a boat-neckline, and — voilà! — on-seam pockets. Recast in heavyweight organic cotton jersey, for cooler temps. * Slight A-line silhouette * Bateau neckline * 3/4 sleeves * On-seam pockets * Above-knee length * 100% organic cotton * Peru
Price: $19.00
Bohemian Pocket-Detail Dress
An au courant silhouette with a curved dropwaist, draped pockets, and boho print make this dress a real charmer. An ultra-relaxed fit gives the amazing ability to flatter every body type it meets. In viscose crêpe, it's lightweight yet substantial, with delightful drape, to pair with a denim jacket or dress it way, way up. * Relaxed fit * V-neck * Three-quarter sleeves; cuffs * Two pockets * ....
Price: $49.00
Summer Day Dress
Our dropwaist dress, with serious boho style, is rendered in unique prints that elevate this everyday staple. The details are retro chic with flattering cap sleeves and draped pockets. * Relaxed, straight silhouette * V-neckline * Above-knee length * Viscose crepe * Substantial poly crepe lining * Imported
Price: $69.00
EILEEN FISHER Washable Wool Scoop-Neck Dress
MADE BY EILEEN FISHER EXCLUSIVELY FOR GARNET HILL A modern update to an easy knit, this dress in washable wool swings with accordion pleat detailing. * By EILEEN FISHER * Three-quarter sleeves * Above-knee length * Wool * Imported
Price: $228.00
Girls' Everly Eyelet Gauze Dress
As refreshing as a summer breeze, this everyday-easy cotton dress boasts a sensational seasonal weight with keep-cool breathability. The unique combination of crinkled gauze and eyelet detailing provides extra-special status. * Relaxed fit * Easy, pull-on style * Halter neckline; elastic straps * Gathered elastic waist for a perfect fit * Eyelet detailing at front bodice and around hem; crinkled g....
Price: $28.00
Girls' Denim T-Shirt Dress
Her nicest-ever necessity for the season, this T-shirt dress is a delight in soft stretch denim with frayed-hem flair. Blooming with a mix of floral embroidery and appliqué down the front in a look-closer mix of artisanal prints. * Garment-washed for softness * Relaxed fit * A-line silhouette * Round neckline * Button keyhole closure in back * Short sleeves * On-seam pockets * Embroidered and....
Price: $28.00
Girls' Organic-Cotton Boho Knit Dress
Posh yet play-ready, this easy knit essential is elevated with the standout style of a woven dress. Comfy and well textured in jersey-knit slubbed cotton, with colorful contrast embroidery here, there, and nearly everywhere. * Relaxed fit * Pull-on style * Round neckline with split detail * 3/4-length bishop sleeves with slight gathers near elbow and fuller gathers above cuffs * Asymmetrical dropw....
Price: $24.00
Girls' Organic-Cotton Embroidered Knit Dress
Her comfiest T-shirt becomes her cutest dress, with embroidery at the neckline, ruching at the shoulders, and gathers at the waist. Soft and well-textured in slubbed organic-cotton jersey. * Pull-on style * Relaxed fit * Rounded boat-neckline with front embroidery * Cap sleeves with ruching at shoulders * Seams at side waist with gathering detail * Embroidery has soft backing for comfort * Knee le....
Price: $14.00
Embroidered Tie-Waist Dress
Your LBBD: little black boho dress. Soft and beautifully draped in TENCEL™ Lyocell, with classic shirtdress styling and modern modifications like a Henley-style neckline, smocked cuffs, and geo embroidery on the bodice and sleeves. * Relaxed fit * Banded, split neckline with two-button placket * Long sleeves with elasticized smocked cuffs * Self-belt * Above-knee length * 100% TENCELT....
Price: $39.00
Everyday A-Line Knit Dress
Well-considered seaming, dramatic pockets, and a swingy shape harmonize in this day-to-night dress. Unfussy and undeniably flattering in silky, well-draped jersey-knit TENCEL™ Lyocell, with a touch of spandex. * Relaxed fit * Scoop neckline * Long sleeves * Angled on-seam pockets * Knee length * TENCEL™ Lyocell/spandex * Peru
Price: $24.00
Embroidered-Bodice Knit Dress
A straightforward silhouette (that looks good on every body it meets!) gets statement-making embroidery up top, adding a beautiful boost to day or evening wear. Seriously soft and well draped in organic-cotton/TENCEL™ Lyocell jersey. * Relaxed fit; slightly fitted bodice and sleeves * Pull-on style * Scoop neckline * 3/4-length sleeves * Side-seam pockets * Knee length * Organic cotton/TENCE....
Price: $99.00
Organic-Linen Embroidered Knit Dress
We recast your favorite easy-fitting T-shirt dress in lightweight, jersey-knit slubbed organic linen, with the artful finish of contrast linear embroidery. * Garment-washed for softness * Relaxed fit * Pull-on style * Scoop neckline * Cap sleeves with tacked, rolled cuffs * Slightly sheer; we suggest wearing with a slip * Above-knee length * 100% organic linen * Imported
Price: $49.00
EILEEN FISHER Velvet Mock-Neck Dress
A posh party dress with a mock neck, back tie closure, and a petite back vent. Effortlessly chic from any angle, in lustrous silky velvet that drapes like a dream. * By EILEEN FISHER * Washed for relaxed elegance * Relaxed fit * Mock neckline; ties at back neck * Short sleeves * Petite back vent * Knee length * Rayon/silk velvet * Imported
Price: $78.00
Girls' Zoe Lace Knit Dress
On her most important days (from class presentations to parties) and every day in between, this dress rises to the occasion with pretty lace-overlay raglan sleeves with mini pom-poms at the cuffs and a lace-trimmed hem. Pull-on ease, with a comfy elastic waist. In soft brushed cotton jersey. * Brushed and garment-washed for softness * Pull-on style * Slightly fitted bodice; full skirt * 3/4 raglan....
Price: $48.00
Girls' Organic-Cotton Color-Wheel Dress
Her favorite happy-hued dress got a modern makeover with updated tiers and shorter, sportier sleeves. Still an easy, everyday choice, now through spring, in midweight Organic Green Cotton jersey. * Pull-on style * Relaxed fit * Round neckline * 3/4 raglan sleeves with elastic cuffs * Empire waist with lettuce-edge tiers below * Above-knee length * 100% Organic Green Cotton * Imported This valu....
Price: $44.00
Girls' Cotton Sparkle Sundress
Cue her smile! We maximized the happiness quotient for this cotton gauze sundress with a twirl-ready shape, a crinkled texture, and a trio of colorful paisley prints with a hint of Lurex® sparkle. * Relaxed fit * Boxy silhouette * Pull-on style * Round neckline * Short dolman sleeves * Back keyhole with button closure * Gathered tiers * Knee length * Cotton/Lurex® * Cotton voile lining *....
Price: $29.00
Linen Shirtdress
Simple, easy, timeless — there's a reason this look never went out of style. The classic shirtdress in a flattering A-line silhouette travels beyond trends and into "wardrobe staple" territory. The elegant collar and buttons are all business and the above-knee length is all fun! * Throw on a belt to change up the look * Made from substantial, durable linen * Imported GARNET HILL LINEN Our li....
Price: $34.00
Linen Belted Shirtdress
Our classic shirtdress, buttoned for customized coverage, with a box pleat in back for ease, and side vents for sassy swing. Poised for the season in soft linen. Wear it with or without the braided belt, and with sleeves rolled up or down. * Garment-washed for softness * Relaxed fit * Pull-on style * Jewel neckline with button placket * Long sleeves with single-button cuffs and roll-up tabs * Remo....
Price: $44.00
Girls' Everyday Organic-Cotton Sundress
We named this the "Everyday" sundress because she'll live in it all season long. Cast in comfy Organic Green Cotton jersey, with dramatic detailing and cheery prints, it's the easiest-ever way to get dressed — and, best yet, it makes for a sunny disposition. Green Cotton has been with Garnet Hill since 1994; their passion for environmental stewardship never wanes. This takes courage and comm....
Price: $16.00
EILEEN FISHER Organic-Handkerchief-Linen Shirtdress
A minimalist shirtdress with maximum versatility. Wear it belted, or left unbuttoned over a tank and slim jeans. A celebration of rumpled refinement in Eileen Fisher's handkerchief-weight organic linen. * By EILEEN FISHER * Relaxed fit * Mandarin collar * Long sleeves with button cuffs * Button-front placket with Akoya-shell buttons * Slight high-low shirttail hem * Knee length in front; slightly ....
Price: $128.00
Donald Pliner Naala Boots
Workday or weekend, it's always an easy ride in this modern riding boot. Cast in luxurious oiled suede, with an elastic side panel for a tailored yet comfy fit. * By Donald Pliner * Pull-on style * Back pull tab * Rounded toe * Oiled-suede upper * Partial leather lining * 17" shaft * 1" heel * Leather welt * Rubber sole * Due to the inherent qualities of genuine suede, some subtle color variations....
Price: $128.00


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ʻAha Pūnana Leo at Kawaiahaʻo Church had a Hawaiian Plate fundraiser. It was the perfect way to end a hard work week to nourish both your kino and ʻuhane for the weekend. Mahalo piha...
Sunday, August 29, 2010
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$1,000 reward offered for info about poisoned dogs
The Nebraska Humane Society said it's offering a $1,000 reward for information leading to the arrest and conviction of whoever poisoned two dogs last month.
According to officials, Dale and Vicki Wagner let their two dogs outside for a few minutes in a fenced-in back yard near 65th Street and Hartman Avenue on Nov. 15.
The Wagners noticed both dogs extremely ill and in distress shortly after. The dogs were rushed for treatment, but died.
"Bella (a puggle) was all rubbery like she didn't have control of her legs. Peanut (a chihuahua) just had a very faint heartbeat he was just laying on the sidewalk," Vicki said.
Investigators said they found a light-colored meat in the back yard that contained evidence of Strychnine, which is used in pesticides and highly toxic.
Officials said because the Wagners' yard borders 65th Street, the tainted meat could have easily been thrown from someone walking or driving by.
"We have no idea why somebody would throw strychnine in the back yard other than just being very mean," said Mark Langan with the Nebraska Humane Society
Langan said there has been no complaints about the two dogs.
"We're just ordinary people just minding our own business and living our life with our dogs," Vicki said.
Vicki said her grandchildren enjoyed playing in the back yard with the dogs.
"How do you explain to two children that somebody killed the dogs that they love?" Vicki said.
Vicki said she hopes whoever killed her dogs will come forward.
"I'll pray for them and hope that for whatever reason they did it, got to pray for them," Vicki said.
Anyone with information about the case should contact the Nebraska Humane Society at 402-444-7800.


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In Business: Bon Secours AFC Urgent Care
Thursday, November 21, 2019on
Bon Secours St. Francis Health System plans to expand its AFC Urgent Care Bon Secours sites to include a new location at 2709 Pelham Road on Friday, November 22, 2019. This center will join six existing Greenville County centers located as follows: ...
Greenville Chamber Relocating to Riverplace
Wednesday, November 20, 2019on
We're Moving… From Cleveland Street to Main Street But not just to any new building. After almost 46 monumental years on Cleveland Street, the Greenville Chamber is returning to its downtown roots and ushering in a new decade on the ...
Congratulations to Greenville Heritage Federal Credit Union, our October Small Business of the Month!
Thursday, November 14, 2019on
7 Ways to Protect Your Credit Score Your credit score is a three-digit number that creditors use to assess how likely you are to repay your loans. A high score can help you qualify for the lowest interest rates and gives you the ability to borrow ...
In Business: YouthBASE
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YouthBASE is an early intervention afterschool and summer program. Our mission is to equip children in Kindergarten-2nd grade and their families to build the child's behavioral, academic, social and emotional competencies so they may succeed at ...
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Nanoelectronic Modeling Lecture 41: Full-Band and Atomistic Simulation of Realistic 40nm InAs HEMT
Published on
This presentation demonstrates the OMEN capabilities to perform a multi-scale simulation of advanced InAs-based high mobility transistors.
Learning Objectives:
- Quantum Transport Simulator
- Full-Band and Atomistic
- III-V HEMTs
- Performance Analysis
- Good Agreement with Experiment
- Some Open Issues
- Outlook
- Improve Models (Contact)
- Investigate Scaling of Gate Length
- Scattering?
Cite this work
Researchers should cite this work as follows:
Università di Pisa, Pisa, Italy


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Foam Wall Spill Berms
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Artisan's Analog IP Immediately Downloadable 24x7; PLLs and Specialty I/Os Available in 0.13- and 0.18-Micron Processes
SUNNYVALE, Calif.--(BUSINESS WIRE)--July 23, 2003--Artisan Components, Inc., (Nasdaq: ARTI), a leading provider of physical intellectual property (IP), today announced that it is now offering licensed members of the IC design community immediate 24x7 access to analog and mixed-signal IP online. This new product introduction is expected to be the first in a series of upcoming Artisan announcements that will offer a broad array of Artisan analog and mixed-signal IP accessible through the website in a variety of Artisan's licensed foundries' advanced process technologies.
The first set of analog and mixed-signal IP available for customer access is in TSMC's 0.13- and 0.18-micron process technology. Included in the comprehensive portfolio are analog timing IP (PLLs), specialty I/Os (HSTL, LVDS, PCI, PCI -X, SSTL2) and general purpose I/Os (flip-chip and pad limited). Products supporting additional foundries will be announced in the future.
As a result of this new product launch, IC designers can click through a license agreement, download front-ends for Artisan's analog and mixed-signal IP at no charge, and immediately begin design work and feasibility analysis. When the design has been validated and the decision is made to move forward into manufacturing, complete views can be downloaded for competitive license fees. Artisan is also launching seminars to support teams that are new to analog and mixed-signal design, and will hold these regionally and at key customer sites.
Artisan pioneered the open access approach to offering online IP with its digital product portfolio and today licenses IP to over 1,000 companies. This new product launch expands Artisan's model to offer customers immediate access to a portfolio of ready-to-use, silicon-proven analog and mixed-signal IP.
"The convergence of analog and digital circuits is a reality in today's SoC design," said Callan Carpenter, vice-president and general manager of Artisan's Analog/Mixed-Signal Business Unit. "Thousands of IC designers already rely on Artisan for their digital IP needs. Providing 24x7 design views of the Artisan analog and mixed-signal IP via our website will make it easy for these same designers to venture into this new area with confidence."
About Artisan's Analog and Mixed-Signal Solutions
Artisan's analog timing IP is based on the company's advanced patent-pending architecture that helps increase high speed with minimal jitter to help maximize clock frequency and operating speed. Artisan's performance analog timing IP is designed for implementation into complex high-end communications, graphics and microprocessor applications for faster data transfer rates, higher frequencies, smaller form factors and increased bandwidth with lower jitter.
Artisan's specialty I/Os are designed to address IC designers' need for reliable and robust I/O interfaces. These standard bus interfaces are ideally suited for communications, memory and graphics applications. Each specialty I/O is standards compliant and compatible with Artisan's general-purpose I/O offerings, which support a wide variety of drive strengths and I/O control functions that enable chip-to-chip interoperability.
Artisan's general-purpose I/O libraries include a comprehensive cell set targeted to meet the critical performance, power and reliability requirements for system-on-a-chip designs. Offering extensive functionality, Artisan's I/O portfolio is designed for a wide selection of foundry processes and provides the input, output, bidirectional and special pad configurations needed in most applications.
Product Availability and Pricing
Artisan's analog and mixed signal IP products for TSMC's 0.13- and 0.18-micron processes are immediately available. Front-end views can be accessed by a click through licensed agreement and downloaded at no charge from Artisan's website at www.artisan.com. Complete views can be requested via the website at email@example.com. For more information on other Artisan products and services, visit www.artisan.com.
About Artisan Components
Artisan Components, Inc. is a leading provider of physical intellectual property (IP) components for the design and manufacture of complex system-on-a-chip integrated circuits. Artisan's products include embedded memory, standard cell, input/output, analog and mixed-signal components, which are designed to achieve the best combination of performance, density, power and yield for a given manufacturing process. Artisan has licensed its IP components to over 1,000 companies involved in integrated circuit design. Artisan is headquartered in Sunnyvale, California. More information about Artisan Components, including free library access, can be found at www.artisan.com.
Safe Harbor Statement
This press release contains forward-looking statements, including statements regarding Artisan's future products, the availability of Artisan's analog and mixed-signal IP and the performance or benefits of such IP. Actual results may differ materially. These statements are subject to various risks and uncertainties, including technical or other difficulties in developing, commercializing or utilizing Artisan IP, technological change, competition and market acceptance of Artisan's analog and mixed-signal IP. We refer you also to the documents that the company files from time to time with the Securities and Exchange Commission, in particular the section entitled "Factors Affecting Future Operating Results" in the company's annual report on form 10-K and its quarterly reports on Forms 10-Q. Artisan disclaims any obligation to update or correct the information contained in this press release as a result of financial, business or any other developments occurring after the date of the release.
Artisan Components and Artisan are registered trademarks of Artisan Components, Inc. All other trademarks or registered trademarks are the property of their respective owners.
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This is part of a series of mini-Redlands Connections. This is Part 3 of the series, Quick Visits. Magic Johnson and John Wooden showed up at the University of Redlands as part of a Convocation Series. This piece on Tom Flores was another one. Hall of Fame pitcher Ferguson Jenkins, former NBA player John Block, legendary high school coach Willie West showed up. There are others. Cazzie Russell, for instance, came to Redlands with an NCAA Division III basketball team from Savannah, Ga. Russell, out of Michigan, was the NBA's overall No. 1 draft pick by the New York Knicks in 1966.
Today's feature: Former Chicago Cubs' pitcher Ferguson Jenkins.
Here's where being a media member has its advantages:
Hall of Fame pitcher Ferguson Jenkins had appeared in Redlands to conduct a youth clinic at Community Field and, perhaps, sign a few autographs.
Chicago Cubs' fans were plentiful throughout the country.
One venerable veterinarian, who lived in Redlands, could recite all the Cubs' doctrine from those Jenkins years.
Here are the guys that fans instantly thought about when recalling those Cubs' teams from the 1960s: Ron Santo, Billy Williams and Ernie Banks were the headliners. Jenkins, of course, was the ace pitcher.
Leo Durocher was Cubs' manager, a fact that wasn't enthusiastically accepted by the local vet.
"Durocher ruined Jenkins' career," said the vet. "He used him too much. Ruined his arm."
He was adamant. Mind couldn't be changed on that.
This, of course, was years later — after baseball had starting dedicating a full core of relief pitchers to win games. In Jenkins' days, legendary pitchers like Bob Gibson, Juan Marichal, Mickey Lolich, Don Drysdale, Tom Seaver, Jim Palmer, Catfish Hunter, Vida Blue, you name it, would pitch 300-plus innings each year.
Bullpens weren't quite as deep.
So here was Jenkins in my sight line: "Tell me about Leo Durocher."
Jenkins took it from there.
"Leo helped make my career. If it weren't for him … I'll tell you, he taught me a lot. I owe him a lot. I owe a lot of my career to him."
Under Durocher, Jenkins became one of baseball's top hurlers.
"When I got traded to the Cubs," he said, referring to the 1966 deal in which Philadelphia traded away a future Hall of Famer to the Cubs, "we were the worst team in baseball."
Durocher had just been named Cubs' manager. Jenkins, under Durocher, won 20 games in six straight seasons — all seasons that Durocher had managed him, incidentally.
"He worked you, no question about that," said Jenkins.
The Cubs never won a pennant, a division championship, or made it to the World Series.
"Some of those years we came to spring training," said Jenkins, "and we knew we'd have a chance to win … because of Leo. He turned that team around in Chicago."
Where was that vet, that so-called Cubs' fan? He needed to be listening to all this.
The guy who'd been teammates with Ruth & Gehrig, turned the Brooklyn Dodgers into pennant winners, managed Jackie Robinson and Willie Mays, among others, he was, perhaps, baseball's greatest connection to multiple generations.
"I never had any trouble with Leo," said Jenkins. "I know what people say about him, what they try to insinuate."
If there was a criticism of Durocher from that 1969 season, said Jenkins, "it's probably that he never gave our regular guys a break."
It was Don Kessinger, Glenn Beckert, Billy Williams, Ron Santo, Ernie Banks, Jim Hickman, Randy Hundley and Don Young. The Cubs took second to the Miracle Mets.
Jenkins finished 21-15 with a 3.21 ERA over 311 1/3 innings that season.
I still have no idea how someone from Redlands had lured the fabulous Jenkins (284-226 over 19 seasons) to Community Field in the early 1990s.
It was almost an afterthought that Julio Cruz, a onetime Redlands High player, and Rudy Law, a former Dodger and White Sox player, had also showed up. Infield play, outfield play, a little hitting.
Later, I was told that ex-Pirates' pitcher Dock Ellis had shown up — too late to be noticed. Ellis, it's likely remembered, is the pitcher who surrendered the tape measure home run hit by Reggie Jackson out of Tiger Stadium at the 1971 All-Star game.
Jenkins, incidentally, was one of just four N.L. pitchers in that 6-4 loss to the A.L. Giants' pitcher Juan Marichal pitched in his final mid-summer classic and so did Houston's Don Wilson.
Imagine, two of the N.L.'s four all-star pitchers had shown up in Redlands a couple decades later.
Jenkins had arrived at Community Field in a white limousine. Dressed in his Cubs' uniform. Showed kids his style of pitching.
"Show 'em your wallet," he said, demonstrating his high-leg kick, twisting his torso with his left buttock toward the hitter, "and let it fly."
That's how a Hall of Famer did it.
Fans might not remember this, Jenkins said, "but Leo converted me into a starting pitcher. I'd been a reliever. He turned my career around. I became a Hall of Famer."
Jenkins left Redlands like he'd arrived — in that white limo.


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0 Members and 3 Guests are viewing this topic.
Just like playing football Manager this shite . I hope he just gets told to get on with what he has till the summer . Don't want to see someone come in now and block Kenny , DCL , Benni or Lookman . I want to know if he can get improvement out of Klassen , Schneiderlin and Sandro once he has settled the defence and put a stop to the headless chicken displays . He has an 18 month contract and I don't think we need to inflate the squad with players who won't be arsed once we have got about 40 points .If the signs are positive then wait till the summer as the reason for the appointment was to stop us going down not that it was happening anyway .
Cavani too good for Everton? Everton not in his league?We should be targeting these players (VVD)If not, re-target Giroud Reece Oxford had his loan spell cut short so is back at West Ham and out of favour - Moyes might let him go on the cheap!
Cavani is too good for Everton, statistically one of the best strikers in the world in the last year and on a wedge at PSG playing in and competing to win the Champions League.Weve won 1 trophy in my lifetime, id be surprised if hes even heard about us.
Niasse does the same for less . No way for me .
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Since 9/11, virtually every unit of the National Guard—a force the size of the entire active Army—has served on active duty for one or more of the deployments at home or abroad. The last time that the entire National Guard had been mobilized was for World War II.
National Guard 101: A Handbook for Spouses is the only military lifestyle book written specifically for this unique audience. Written in a lively, informal tone, the book demystifies the hybrid civilian/military lifestyle.
National Guard 101 is available on Amazon and at bookstores.
National Guard 101 is on its fourth printing. Bulk discount and customization options are available for National Guard organizations and military support groups. Please see contact firstname.lastname@example.com for more information.
"A go-to guide for anyone new to the Guard's portion of the profession of arms, even those in uniform."
-MG Gus L. Hargett, Jr. (Ret)
President, National Guard Association of the United States
Check out my article, "Holding Down the Fort" in the USO's On Patrol Magazine