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A Matter of Quick Recall
Day in and day out, findings like these involving medical equipment, supplies and drugs arrive at hospitals in the form of product bulletins, alerts and recalls. Staying abreast, particularly in a vast medical enterprise like this, is no easy task. But it is key, because these items are potentially dangerous to patients. Getting them off hospital shelves before they cause harm is of the utmost importance.
Now, a revolutionary patient safety service currently in use throughout the Health System has made that task more efficient and made patients safer, too. The Risk and Safety Management Alert System, or RASMAS, searches databases such as the FDA's enforcement report, culls product notices, separates them by type and geographic location, and speeds them to subscribing health care organizations.
Developed here by the Center for Innovation in Quality Patient Care in concert with a nonprofit research and engineering company in northern Virginia called Mitretek, RASMAS has been in production since early 2004. It has since been adopted by about 100 subscribing health care organizations across the country. In December, it received the Best New Patient Safety and Disclosures Award from the Health Care Research and Innovations Congress.
"It's cut the time I do recalls in half," says Linda Smith of Materials Management. Smith is recall coordinator for supplies. Under her purview fall practically all the medical supplies used in Hopkins Hospital's ORs, clinics and labs. Her domain also encompasses items like hardware and software, radiology products, blood, children's toys—everything, in short, except drugs, overseen by Shirley Geize, assistant director of purchasing for Pharmacy, and biomedical devices, handled by Roy Shipley, associate clinical engineer.
With RASMAS, Smith is notified of product bulletins, alerts or recalls via e-mail. She checks Hopkins' own database to make sure the potentially defective item exists here, verifying vendor, catalogue number and lot number. If she comes up with a match, she immediately forwards the e-mail to her fleet of "responders," specially designated employees who work in various departments throughout the hospital. With her "zone coordinators," based in the Central Storeroom, they are responsible for yanking the item off the shelves.
Things were not always thus. In the past, these three recall coordinators would have to wade through 20- and 30-page reports to see if any of their products were involved. "Now, it's all online, and we're notified automatically," says Shipley. "Plus, we have an electronic record of what we've done, instead of file after file of handwritten notes."
That record is particularly helpful when regulators pay a call. Should they ask Shipley how he resolved a problem involving, say, a certain ventilator, he could easily get the answer. "Previously, we might have to spend days hunting down all the paperwork," says Wayne Sparkes, RASMAS project manager in the Center for Innovation. "Now, in minutes, we electronically pull down the alert and the tracking system record and tell regulators what we did at every step."
Sparkes hopes RASMAS will be integrated into other internal electronic systems so that it gives an accurate inventory of the product and where it's located. "That would be the total package."
—Anne Bennett Swingle


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Scripps New Grad Nurse Residency 2013 - page 12
by SDnurse2011 | 104,629 Views | 551 Comments
Hello fellow new grads! I'm starting this post to round up all the applicants for the 2013 cohort at Scripps in San Diego. I called HR today and they were rather tight-lipped about when the application would post, and was told... Read More
- 0Nov 13, '12 by SDnurse2011lol. I see you've kept the snowball analogy going!
- 0Nov 13, '12 by ExPharmaGirlMelted snowball here too- got the rejection this morning.
- 0Nov 13, '12 by SDnurse2011Quote from CorianderCongratulations!!! You have to tell us all about it after you interview.I got the interview email late this afternoon. While happy, it was a **** day here, so hopefully tomorrow I'll be able to take it in.
For those who got the bad email, keep on trucking. We worked hard to get where we are. And you're ALL awesome. <3

subset: commoncrawl


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Updated: August 7, 2013 7:14AM
A woman was sexually assaulted inside a River North business Tuesday night, police said.
About 10:15 p.m. an unidentified male approached the store in the 0-100 block of East Illinois Street and told the 42-year-old victim that he had forgotten something inside the store, police News Affairs Officer Ron Gaines said.
The woman let the male in, at which point he produced a knife, took her to the rear of the business and sexually assaulted her, Gaines said.
The woman went to Northwestern Memorial Hospital for treatment after the attack, Gaines said.
Nobody was in custody Wednesday morning as Area Central detectives investigated.
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Atlantic City House Rental Photos and Description
House, 4 Bedrooms + Convertible bed(s), 2.5 Baths, (Sleeps 14)
SPECIAL::::OFF SEASON 20% OFF!!! OCT - April 15th!
Drive right in the garage and you are all set! New former model house right on the bay! ....Dates still open book soon!!! A great romantic getaway, family getaway, bachelor or bachelorette place right on the water with 4 decks and a 20x40 patio right on the water!
This bayfront house will sleep 14 no problem with 4 Bedrooms, 2 1/2 baths and has 4 decks plus a 20x40 patio! Ever dreamed of vacationing in a model home? This is a former model home!
Decks on each floor over looking the bay. Beautiful sunsets with the bay and the Atlantic City skylight as a view.
New open kitchen with granite countertops, new appliances. The house has four large bedrooms.
Jacuzzi tub in the master bedroom plus a large deck for romantic evenings.
Vacation in style without the hassle of a hotel, just pull your car in the 2 car garage.
You have parking for 4 cars on the property and unlimited cars in the street. Why stay in a hotel when you can stay in a beautiful bay front house, 4 bedroom home away from home. You are only steps away from the bay in your yard and minutes away from the best casinos Atlantic City has to offer!
This professionally decorated and landscaped home can accommodate up to 14 people overnight. The house has four private decks, large kitchen/living room, 5 tvs and a 40-inch HDTV, backyard patio barbecue, plus much much more on the bay!
Central air conditioning cable 5 TV's 2 VCR's & DVD PLAYER, Washer and Dryer, Refrigerator, Dishwasher Range Microwave, Toaster oven, Blender, Coffee maker, Garbage disposal, Wet bar area three queen beds, Two Twin Beds, Large dining room and large family room overlooking the bay! Three decks overlooking bay deck furniture, gas grill, beach chairs, umbrella & boogie boards, crab traps.
We have a rowboat for fishing..go boating at no additional charge or fish in your back yard!
Minutes from Atlantic City for nights for gambling, shows and concerts. The beach is only minutes away. Plenty of great restaurants close by or get delivery!
Let me know if you are interested
Great for weekends, bachelor parties, bachelorette parties and off season!!!!
Keywords: House
- Suitability:
- children welcome
- non smoking only
- pets not allowed
About Marc and Deb sirockman
This is an amazing vacation home right on the bay! My family and I go to the Atlantic City shore every chance we get! The views are amazing and there is so much to do! Even if it rains, you can go to the casinos or the boardwalk! Atlantic City has everything you need food, ride, beach and the casinos!
Marc and Deb sirockman purchased this house in 2007
Why Marc and Deb sirockman chose Atlantic City
No place on earth is like the Jersey Shore and AC!
What makes this house unique
The house has everything and is right on the bay...walk outside and get in the boat...does it get any better? On rainy days take in a show or just relax with the model house!
Guestbook comments from the owner
The house was very clean upon arrival and comfortably slept 11 adults with a few cots to spare. great location on the bay with a nice backyard and porch, perfect for grilling and hanging out. Kitchen and family room were also very nice, easily capable of sitting all 11 of us. Borgata is a 5 minute drive away. We had a great time and the house couldn't have been better. We will definitely come back when we're in Atlantic City again.


text: 5-Guys Birthday Party View full-size image < previous next > Is this photo a winner? "We planned a party to celebrate 5 special birthdays in the same family. From left to right, Dean and Marv are turning 80 this year and Eric, Pat & Jon are all turning 50. The CustomInk website was easy to use and offered a wide variety of shirts, graphics, & fonts. The CustomInk team did a great job of getting our order shipped to us in a hurry. The shirts look great, and they are very good quality. Everybody LOVED the shirts, and at such a big gathering, they made the birthday boys easier to find. Thank you for everything!" - Dean, Marv, Eric, Pat, Jon (Aug 23, 2012) Share this photo on: Twitter Facebook Pinterest Similar Photos: Family Birthday | 50th | 50th birthday | 80th | 80th birthday | birthday | event celebratory Feeling inspired? Visit the CustomInk Design Lab to start your own group order. Design Your Own comment by Guest - Jan 30, 2013 - back to the top Very nice site! comment by Guest - Jan 30, 2013 - back to the top Very nice site!


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Short Story for boys and girls written by: Edgardo Luciano Camarero.
Click to read THE MATHEMATICIAN PRINCE (PART 1)
…The prince knew that the question was really difficult, and thought it was going to take him more than 5 seconds…He made a big effort, and three thousandths of a second before the time finished, the kid exclaimed:
- "3.838.214!!!"
- "Well done!" – said the voice – "continue your way, just have one question left"
The prince kept walking through the dark corridors, watching out everything around; suddenly saw a light shining at the end of the corridor coming from a door, the prince ran to reach the door, but this closed brusquely and a sirens were heard, the voiced spoke again:


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Remotely create worksheets from parts or assemblies for ordering within JETCAM Expert.
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Existing customers under maintenance can download QuickCost free of charge and immediately calculate costs per part based on material cost and hourly runtime rates.
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Warren Buffett – How to Stay Out of Debt- Financial Future of American Youth (1999)
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Warren Buffett News: Videos, Articles, and Summaries
Warren Buffett News features articles and videos from Warren Buffett. A summary of each video is also provided. This page is updated with Warren Buffett's investment advice and commentary on stock recommendations, the global financial markets, and the economy.
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On a recent Sunday afternoon, 15 members of the Renaissance Street Singers gathered under a bridge in New York's Central Park. With little fanfare, they launched into a free, two-hour concert of music by Palestrina, des Prez and other composers who lived more than 500 years ago.
The Renaissance Street Singers have been performing sacred music in public spaces for 40 years. On city sidewalks, in train stations, in public parks — anywhere they can find an audience. But these singers insist that their mission is not a religious one. The group consists mostly of self-described atheists who nonetheless share a deep reverence for the hymns, psalms and motets of the 16th century.
"It's simple, un-gussied music," says John Hetland, founder and director of the Renaissance Street Singers. "It's not anything showy. It's just beautiful music."
Hetland says he's loved this music ever since he was a child growing up in Wisconsin, where his father was a Lutheran minister who taught his children to sing during long family car trips.
"It was religious music, when my dad was a minister," Hetland says. "I was religious at that time. We all were. None of us are now, as far as I know."
But Hetland says he still loves the music of the church. He moved to New York in the 1960s, and in 1973 put an ad in the Village Voice looking for singers who shared his love.
Janet Pascal was one of the first to answer the call.
"I saw them on the street, actually," Pascal says. "I remember I walked past them and I looked and thought, 'I would never do that,' because they're standing in the middle of a city street singing Renaissance music. And I thought I would never have the guts. And then I started thinking about it. And I thought, 'What a lovely thing to do.'"
Some passersby stop to listen for a song, or three. Others just keep walking. But Sigmund Rosen says the group is its own best audience, and that the music gives them plenty to work with.
"A lot of modern composers are pianists or theorists," Rosen says. "But they didn't start off necessarily as singers. All these Renaissance composers were singers. And the music that they made was built for singing."
The music was also built to be sung in church, by composers who believed deeply in the words they were setting to music — whereas most of the Renaissance Street Singers do not.
"I like to say that for an atheist and a Jew, I spend a lot time singing about Jesus," says Nancy Mandel, who's been singing with the group since the mid-'70s. "If I don't believe the actual things that are being said in the words, it's the act of singing together itself which is the most important meaningful thing — without which the rest of this couldn't happen."
A few of the singers are practicing Jews or Christians. But most identify as atheist or agnostic — including Daniel Winkler, who's a relative newcomer after only eight years with the group.
"Since I don't believe in God, the closest I get to a religious experience or an ecstatic experience is singing," Winkler says. "I still crave experiences that are transcendent in some way. And singing music, making music is one way."
The Renaissance Street Singers rehearse every week and perform twice a month, usually on Sunday afternoons. The group never charges admission, and it doesn't accept donations. The rewards, longtime member Janet Pascal says, are more emotional than material.
"It's like a family," Pascal says. "This is closer to a family than anything else I have in New York. I see the same people every other week. We know all about each other. We care about each other."
You might say it's like belonging to a church where the religion is music.


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Long Island Parent Talk
Get the inside scoop on all things kids and parenting on Long Island.
BloggersJennifer Berger Valerie Kellogg Beth Whitehouse Leema Thomas
ArchivesMore »
Kidz Bop Live coming to Long Island
Kidz Bop, the popular music brand for children ages 5-12, is coming to Long Island this summer.
The New Kidz Bop group features five talented kids from across the country who sing, dance and perform kid-friendly versions of the latest Top 40 songs. Since its launch in 2001, the music series has sold more than 14 million albums and was named the number one Kids' Billboard Artists for the past four years.
The concert is coming to The Space at Westbury (250 Post Ave., Westbury) on Saturday, June 28 at 5 p.m. Tickets are on sale now for $20, $25 the day of the show. To order tickets, call 800-745-3000, or visit ticketmaster.com.
Tags: events


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Business & Industries
Greater Mankato has a vibrant business environment, with with strong companies of all sizes from diverse industries. Businesses payroll in Greater Mankato includes 35% from primary economy, 55% from professional service economy and 10% from retail/consumer economy. And with an extensive supply chain availability in key industries, if you're looking for a nearby supplier or complimentary industry, you're likely to find it in Greater Mankato.
Forum on State-Regional Economic Competiveness
DEED is partnering with the Brookings Institute to engage Minnesota's diverse regions to identify shared priorities and strategies to grow Minnesota's statewide economy through development of innovation, talent and trade on Friday, August 22. view the event flier here


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Find records of Joe Setsuda
Find birth, death, marriage, military, and other records of Joe K Setsuda at Ancestry.com.Search for records
Biography & Family History Add details
Joe K Setsuda (1920 - 1999) was born on September 20, 1920. He was born into the Setsuda family.
Joe had no marriages. Joe died on October 6, 1999 at 79 years of age.
Joe K Setsuda's last known residence is at Gardena, Los Angeles County, California.
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Save to My Recipes
Grilled Whole Fish with Roasted Tomato-Chile Sauce
Servings: 4
- 2 pounds ripe tomatoes
- 3 serrano chiles, stemmed
- 1/4 cup coarsley chopped white onion
- 3 garlic cloves, chopped
- 1/4 cup chopped fresh cilantro
- 1 tablespoon chopped fresh parsley
- 1 1/2 teaspoons fine sea salt
- 1 3- to 3 1/2-pound whole red snapper, head and scales removed, fish cleaned, butterflied
- 1/4 cup canola oil
- 1 teaspoon dried Mexican oregano
- 2 teaspoons fresh lime juice
- 12 5- to 6-inch-diameter warm corn tortillas
PREPARATIONView Step-by-Step Directions
Line heavy large skillet with foil. Place tomatoes and chiles in skillet; cook over medium-high heat until skins begin to blister and blacken in spots, turning occasionally, about 20 minutes for tomatoes and 10 minutes for chiles. Remove from heat and cool slightly. Peel tomatoes; transfer to processor. Add chiles, onion, and garlic. Blend until coarse puree forms. Transfer sauce to bowl. Stir in cilantro, parsley, and salt. DO AHEAD:Can be prepared 4 hours ahead. Cover and chill.
Prepare barbecue (medium-high heat) or preheat broiler. Rinse fish inside and out with cold water; pat dry. Open fish flat, like a book. Rub fish inside and out with oil; sprinkle inside with oregano, salt, and pepper. If grilling, place fish, opened flat, in grill basket. If broiling, place fish, opened flat, on oiled rimmed baking sheet. Grill or broil fish just until opaque in center, about 6 minutes per side.
Using spatula, transfer fish to platter. Sprinkle with lime juice; serve with tomato sauce and warm corn tortillas.
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The Bagel Whisperer
Chef Alex Bois is churning out some of the country's best bread and bagels. We get a look inside his process
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Camping and picnic food don't need to consist of dried-out potatoes and store-bought macaroni salad. Make dining al fresco fresh again
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Welcome to our ongoing exploration of America's coolest food artisans. We'll be bringing their knowledge and expertise back to our home kitchens—and to yours.
All Hail the Hot 10!
From a food truck to a "pastry luncheonette," these are the Best New Restaurants in America


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Address by President Zuma at the launch of Operation Phakisa 2: Ideal Clinic Realisation and Maintenance, Sefako Makgatho Presidential Guest House, Pretoria
We are gathered here this morning to witness yet another milestone in our countrys efforts to improve the quality of life of its people, by enhancing their health.
18 November 2014
Address by President JG Zuma at the launch of Thusanani Foundation, Wits University Johannesburg
I am delighted to form part of the launch of this path-breaking initiative led by young people of our country.
10 November 2014
Address by His Excellency, President Jacob Zuma, at the launch of rural infrastructure projects, Umsinga, KwaZulu-Natal
It gives me great pleasure today to join with the people of uMsinga to launch the delivery of two projects completed by government and an additional project that is to begin.
08 November 2014
Annual Address by President Jacob Zuma to the National Council of Provinces Parliament, Cape Town
Thank you for the privilege to address the National Council of Provinces today.
06 November 2014
Address by President Zuma during the South Africa-Burundi Business Forum on the occasion of the State Visit to South Africa by President Pierre Nkurunziza of Burundi, Cape Town
It is a privilege and honour for me to make some remarks at this important South Africa-Burundi Business Forum meeting.
04 November 2014
Media remarks by President Zuma at the conclusion of Official Talks with President Pierre Nkurunziza of the Republic of Burundi during the State Visit by President Nkurunziza to South Africa
It is my honour and privilege to welcome you to South Africa, Mr President, on your first State Visit to our country.
04 November 2014
Address by President Jacob Zuma, during the Siyahlola Service Delivery Monitoring Visit at the Mopani District, Giyani, Limpopo
It is my pleasure to once more be among the people of the Mopani District.
31 October 2014
Address by President Jacob Zuma to the Annual Convention of the South African Chamber of Commerce and Industry, Gallagher Estate, Midrand
Good day and thank you for inviting me to share this important occasion with you.
23 October 2014
Remarks by President Jacob Zuma on the Occasion of the Commemoration of Black Wednesday, 19 October 1977, and Celebration of the 20 Years of Media Freedom and Freedom of Expression, Pretoria
We have gathered on a historic day in our history. On Wednesday, October 19th 1977, the apartheid regime clamped down on the media, banning two newspapers, The World and the Weekend World and arresting the editor and other brave journalists who stood up to the regime.
19 October 2014
Remarks by President Zuma at the dinner hosted by First Lady Madam Nompumelelo Zuma for the Executive Bureau of the African First Ladies Peace Mission (AFLPM), Pretoria
It is my delight and honour to welcome most heartily the Executive Bureau of the African First Ladies Peace Mission in our beautiful country.
17 October 2014


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Chrysler's minivan plant in Windsor, Ont. continues to lead the automaker's pack of North American manufacturing facilities, becoming the first on the continent to receive a silver designation in its internal World Class Manufacturing (WCM) benchmark.
The Windsor facility, which produces minivans for the Chrysler and Dodge brands, was awarded a silver status for its results in implementing the WCM system, an internal benchmark used to measure the efficiency of Chrysler and Fiat plants around the world.
The ranking is the highest in any of the company's North American manufacturing facilities.
WCM focuses on reducing waste, increasing productivity and improving quality and safety in a systematic and organized way throughout the automaker's operations.
The designation was awarded following a three-day audit March 26 to 28 that evaluated 10 technical pillars, including safety, workplace organization, logistics and the environment, and 10 managerial pillars, such as management commitment, clarity of objectives, allocation of people, motivation of operators and commitment of the organization.
A score of zero to five points is awarded for each category by two auditors. An overall score of 60 out of a possible 100 earns a plant a silver designation.
WCM was first implemented by Fiat in 2006 and introduced to Chrysler as part of the brands' alliance in June 2009.
The Windsor plant earned the first WCM award level, a bronze designation, in April 2012.
Three of the automaker's other North American facilities currently hold bronze status: its engine plant in Dundee, Mich., an assembly facility in Toledo, Ohio, and an assembly facility in Saltillo, Mexico.
Chrysler's Windsor plant runs three shifts and employs nearly 4,700 people.
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November 28, 2014
House lawmakers have approved more money for the state to spend on tax credits to entice new businesses to Iowa and help others expand.
The Iowa House approved the $50 million credit increase Wednesday in a 94 to 1 vote. The measure increases the tax credit limit that the Iowa Economic Development Authority can offer business to $170 million.
It now moves to Gov. Terry Branstad for his signature.
Director Debi Durham had told lawmakers in January that the agency needed $65 million more to finish negotiating projects during the fiscal year ending June 30.
Republican Rep. Chip Baltimore, of Boone, says the final figure was a good compromise.
If Branstad signs the measure, the agency can apply the tax credits retroactively to projects from the current fiscal year.
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Founder and CEO of Pinstripe, Sue Marks is widely recognized as one of the key founders of recruitment process outsourcing (RPO) and a pioneer in the RPO industry. Previously, she established the largest independent staffing company in Wisconsin along with an enterprise-wide RPO firm; both were sold to a Fortune 500 company in 2000. Committed to the entrepreneurial economy and economic development, Sue is the President of Competitive Wisconsin, Inc. and an active member of several boards. She has been named an HR Outsourcing Superstar by the industry's prominent trade magazine four years consecutively, and was recognized as Ernst & Young's Entrepreneur of the Year in the service business category. She is the winner of the Marquette University College of Business Administration's Alumni Award for Entrepreneurship and a three-time winner of both the Working Woman 500 designation and the Future 50 of Wisconsin. Sue is an annual participant in YPO's prestigious executive education program at Harvard Business School. Pinstripe, Inc. designs, builds and delivers high-performance talent acquisition and management solutions. Pinstripe's innovative approach to Recruitment Process Outsourcing (RPO) integrates sourcing, recruiting, hiring, on-boarding, engagement and exit management into a complete, end-to-end solution. Pinstripe on-demand talent lifecycle solutions are tailored for specific clients across a spectrum of industries including financial services, healthcare, technology, energy, telecomm, consumer goods and other major industries. For healthcare organizations, Pinstripe Healthcare works with clients to attract the best available talent so they can deliver high quality patient care and reduce overall labor costs. More information is available at www.pinstripetalent.com and www.pinstripehealthcare.com


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7th OWI
Updated: 01/11/2008 - Mauston man has been sentenced for his 7th OWI.
Updated: 01/11/2008 - Mauston man has been sentenced for his 7th OWI.
Updated: 01/12/2008 - 17-year-old is dead after what police think is a drug induced crash.
Updated: 01/11/2008 - Caught on tape: Man robs area liquor store with machete.
Posted: 01/10/2008 - Violent crime in Madison dropped in the first half of last year compared to 2006.
Updated: 01/10/2008 - Janesville couple find nearly $12,000 in possible drug money in fridge.
Posted: 01/10/2008 - Senate leader says smoking ban isn't dead yet.
Posted: 01/10/2008 - AAA: Average gasoline price for early January is highest ever.
Posted: 01/10/2008 - Court calls 30-year sentence for minor crack sale 'staggering'.
Posted: 01/10/2008 - Confidant of a murder victim says the woman told her she was afraid her of husband.
Posted: 01/10/2008 - Playoff game means millions for Green Bay economy.
Posted: 01/10/2008 - Appeals Court: Police search of locked car was justified.
Posted: 01/10/2008 - 1 of 3 Milwaukee students live in poverty.
Updated: 01/11/2008 - Favre tells hometown paper he's leaning toward returning.
Posted: 01/10/2008 - Prison guard arrested and charged with stealing drugs from inmates.
Updated: 01/10/2008 - Woman charged with burglary after going through man's medicine cabinet.
Updated: 01/10/2008 - Woman found guilty of masterminding kidnap, robbery.
Posted: 01/10/2008 - Ring lost in snow turns up after thaw, but where's the owner?
Updated: 01/10/2008 - Police say son shot father's fiancee, then killed self.
Updated: 01/10/2008 - Police in our area are investigating a shooting in the Town of Madison.
Updated: 01/10/2008 - Tall piece of Spring Green now lies in downtown Madison.
Updated: 01/10/2008 - Employees at a Belleville strip mall fall mysteriously ill.
Posted: 01/09/2008 - Lawmaker calls state's response to security breach 'dumb'
Posted: 01/09/2008 - Proposal to raise minimum wage heads for debate in state Senate.
Posted: 01/09/2008 - Volunteer treasurer steals from PTA.
Posted: 01/09/2008 - Couple's trial for exposing their child to pornographic material has been postponed.


text:
Here are the rosters for the 2013 NFL Pro Bowl. The league's all-star game will be played at Aloha Stadium in Honolulu on Sunday, Jan. 27.
Debate now begins on whether the selections are accurate and which players were snubbed.
There also are questions about the exhibition's future. Although it is intended as a showcase for the NFL's best players, it sees many selectees opt because of injury.
Quarterbacks — Tom Brady, New England Patriots; Peyton Manning, Denver Broncos; Matt Schaub, Houston Texans
Running backs — Jamaal Charles, Kansas City Chiefs; Arian Foster, Houston Texans; Ray Rice, Baltimore Ravens
Fullback — Vonta Leach, Baltimore Ravens
Wide receivers — A.J. Green, Cincinnati Bengals; Andre Johnson, Houston Texans; Reggie Wayne, Indianapolis Colts; Wes Welker, New England Patriots
Tight ends — Rob Gronkowski, New England Patriots; Heath Miller, Pittsburgh Steelers
Tackles — Duane Brown, Houston Texans; Ryan Clady, Denver Broncos; Joe Thomas, Cleveland Browns; Marshall Yanda, Baltimore Ravens
Guards — Logan Mankins, New England Patriots; Wade Smith, Houston Texans
Centers — Chris Myers, Houston Texans; Maurkice Pouncey, Pittsburgh Steelers
Ends — Elvis Dumervil, Denver Broncos; Cameron Wake, Miami Dolphins; J.J. Watt, Houston Texans
Interior linemen — Geno Atkins, Cincinnati Bengals; Haloti Ngata, Baltimore Ravens; Vince Wilfork, New England Patriots
Outside linebackers — Tamba Hali, Kansas City Chiefs; Robert Mathis, Indianapolis Colts; Von Viller, Denver Broncos
Inside/middle linebackers — Derrick Johnson, Kansas City Chiefs; Jerod Mayo, New England Patriots
Cornerbacks — Champ Bailey, Denver Broncos; Antonio Cromartie, New York Jets; Johnathan Joseph, Houston Texans
Strong safeties — Eric Berry, Kansas City Chiefs; LaRon Landry, New York Jets
Free safety — Ed Reed, Baltimore
Placekicker — Phil Dawson, Cleveland Browns
Punter — Dustin Colquitt, Kansas City Chiefs
Kick returner — Jacoby Jones, Baltimore Ravens
Special team — Matthew Slater, New England Patriots
Quarterbacks — Robert Griffin III, Washington Redskins; Aaron Rodgers, Green Bay Packers; Matt Ryan, Atlanta Falcons
Running backs — Frank Gore, San Francisco 49ers; Marshawn Lynch, Seattle Seahawks; Adrian Peterson, Minnesota Vikings
Fullback — Jerome Felton, Minnesota Vikings
Wide receivers — Victor Cruz, New York Giants; Calvin Johnson, Detroit Lions; Julio Jones, Atlanta Falcons; Brandon Marshall, Chicago Bears
Tight ends — Tony Gonzalez, Atlanta Falcons; Jason Witten, Dallas Cowboys
Tackles — Russell Okung, Seattle Seahawks; Joe Staley, San Francisco 49ers; Trent Williams, Washington Redskins
Guards — Jahri Evans, New Orleans Saints; Mike Iupati, San Francisco 49ers; Chris Snee, New York Giants
Centers — Jeff Saturday, Green Bay Packers; Max Unger, Seattle Seahawks
Ends — Jared Allen, Minnesota Vikings; Julius Peppers, Chicago Bears; Jason Pierre-Paul, New York Giants
Interior linemen — Gerald McCoy, Tampa Bay Buccaneers; Henry Melton, Chicago Bears; Justin Smith, San Francisco 49ers
Outside linebackers — Clay Matthews, Green Bay Packers; Aldon Smith, San Francisco 49ers; DeMarcus Ware, Dallas Cowboys
Inside/middle linebackers — NaVorro Bowman, San Francisco 49ers; Patrick Willis, San Francisco 49ers
Cornerbacks — Tim Jennings, Chicago Bears; Patrick Peterson, Arizona Cardinals; Charles Tillman, Chicago Bears
Strong safeties — Donte Whitner, San Francisco 49ers
Free safeties — Dashon Goldson, San Francisco 49ers; Earl Thomas, Seattle Seahawks
Placekicker — Blair Walsh, Minnesota Vikings
Punter — Thomas Morstead, New Orleans Saints
Kick returner — Leon Washington, Seattle Seahawks
Special team — Lorenzo Alexander, Washington Redskins


text:
Pryor 9-Pc Counter Height Dining Set by Coaster
Pryor 9-Pc Counter Height Dining Set by Coaster
This lovely contemporary counter height table and chair set will be a wonderful addition to your casual dining and entertainment space. The table top has a smooth surface, with a rounded edge. A convenient butterfly leaf allows you to extend the length of the table to accommodate guests, making this table ideal for entertaining. Sleek square tapered legs complete the piece. The matching stools have distinctive "X" backs for a bold look, with soft padded fabric seats for a touch of comfort. Available in deep Cappuccino, this dining set is sure to complement your decor.
This Set Includes 1 Table and 8 Counter Chairs.
- Contemporary Style
- Wood Veneers & Solids
- Butterfly Extension Leaf
- Smooth Surface
- Rounded Edge
- 8 Counter Height Chairs with "X" Back
- Fabric Upholstered Seats
- Square Tapered Legs
- Clean Lines
- Cappuccino Finish
- Assembly Required
- Ships Via Freight
- Table Size: 54"W x 54"D x 36"H
- Counter Chair Size: 17.5"W x 20"D x 41"H
- 289.3 Lbs.
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100 Level
MPRA 103 Introduction to Performance
Introduction to Performance
This course is designed as a practical approach to vocal and physical expression for the artist in the methods and techniques of modern performance. Through exercises and development of formal scenes, students learn and implement the basic acting vocabulary of performance primarily through the study of the modern American canon of theater, television and film. Prerequisite(s):
MUST 103 Introduction to String Playing
Introduction to String Playing
This performance course is for beginning musicians in violin, viola and cello. The course covers the fundamentals of playing the instrument, reading music, composing music and conducting through various activities such as orchestra class, small group lessons, concert performance, recitals and concert attendance. Students are required to own or rent a musical instrument. Prerequisite(s):
MPRA 106 Movement for Performance I
Movement for Performance I
This course explores the practical exercise in relaxation methods, performance techniques and physical flexibility that connects the actor's kinesthetic sense to the expressive, connected and free use of the body as part of the story telling process. Various movement techniques are explored. Prerequisite(s):
MPRA 160 Fundamentals of Character and Stagecraft
Fundamentals of Character and Stagecraft
The student develops a freedom of expression, both physical and vocal, in the creation of interesting, unique characters. Beginning with observation, students enhance their abilities to use physical and vocal techniques as well as mimicry to portray believable characters. The course culminates in presentations that show a mastery of the fundamental art of character creation as well as basic principles of stagecraft. Prerequisite(s): MPRA 106.
MPRA 177 Production Lab Fundamentals
Production Lab Fundamentals
Freshmen and transfer students learn the fundamentals of script and character analysis, character creation and professional rehearsal procedures in the context of rehearsing a mainstage production. Students participate in rehearsals and performances. They evaluate their progress and their performances. Prerequisite(s):
200 Level
MPRA 201 Survey of Theater and Drama I
Survey of Theater and Drama I
This is the first of two courses surveying the development and history of Western theater. This course begins with Western theater's roots and continues through the early 19th century, to ensure an understanding of the origins and evolution of performance and theatrical tradition. Prerequisite(s): ARTH 110.
MPRA 204 Survey of Theater and Drama II
Survey of Theater and Drama II
This is the second of two courses surveying the development and history of Western theater. This course begins with the early 19th century and continues through the present, with special attention given to the rise of different forms of contemporary performance. It provides an understanding of the evolution of theatrical tradition and different modes of performance. Prerequisite(s): MPRA 201.
DANC 205 Dance History
Dance History
This course is designed to introduce students to the history of dance from origins in ancient civilizations through European, Asian and Afro-Caribbean contributions, culminating with the study of social movements and the emergence of ballet and modern dance in America and Europe just prior to the advent of postmodern dance in the late 1950s. This course provides a wide anthropological and expressive overview of the evolution of this uniquely human form of expression. Lectures are supplemented with a variety of presentations along with explanations of influential sociological occurrences and at least one in-studio movement experience. Prerequisite(s): ARTH 110.
MPRA 206 Movement for Performance II
Movement for Performance II
This course is a further intensive examination of movement patterning, the actor's physical presence and choices made in character study. Actors continue to develop their movement creativity and understand pattern choices through exercises, movement explorations, mask work and physical monologue study. Various movement experts are explored with the Alexander Technique as the connective underpinning of this course of study. Prerequisite(s): MPRA 106.
MPRA 210 Voice for Performance I
Voice for Performance I
This course is designed to introduce a variety of voice training methods. Students explore alignment, breath and vocal production to examine their habits and then move to awareness, mobility, freedom and strong vocal support. Through the course of study the student is able to link the diverse vocal pedagogies to varying performance demands and venues for optimal vocal ease and clarity. Prerequisite(s):
DANC 211 Introduction to Jazz Dance
Introduction to Jazz Dance
This performance course provides students with beginning-level dance technique in jazz styles. Students are introduced to challenging choreography, rhythm work, combinations, ethnic and multicultural movement, and criticism and critique. Prerequisite(s):
MPRA 211 Voice for Performance II
Voice for Performance II
This continuation of Voice I explores textual analysis utilizing breath, support, pitch, rate and volume. The International Phonetic Alphabet (IPA) is introduced and several stage dialects are learned, including a non-regional American dialect. Students create a comprehensive warm-up specific to the needs of their roles and venues and are also able to lead group warm-ups. Prerequisite(s): MPRA 210.
DANC 212 Introduction to Modern Dance
Introduction to Modern Dance
This course introduces students to modern dance styles for stage, video, film and company movement. Students are expected to develop an understanding of the reality of dance and of the professional competitive ethic. Prerequisite(s):
DANC 213 Introduction to Ballet
Introduction to Ballet
In this beginning-level course, students are introduced to the fundamental principles of basic ballet technique and the basic components of a classical ballet course. Principal areas of development include basic ballet positions, musicality, terminology and anatomical principles. Prerequisite(s):
MPRA 215 Playwriting
The course teaches the fundamentals of playwriting, including character development, plot construction, conflict and the writing of believable dialogue. Students study and analyze classic dramas in order to fully understand the various techniques and styles used for the stage. Student scripts are extensively workshopped and critiqued. Prerequisite(s): ENGL 123.
MUST 220 Sight Singing
Sight Singing
The art of singing at sight is essential for all students pursuing careers in which music plays a vital role and is an important skill in the pursuit of a professional level of musicianship. This course applies the fundamentals of music theory to developing a "hearing eye", the ability to look at music and determine from sight alone how it sounds. Rhythmic and pitch exercises are investigated systematically starting with simple to compound meters and major to minor keys and modes. Both Solfège and Scale Degree systems are employed, and class activities include a variety of aural and written exercises. No vocal training is required and exercises are limited to a one-octave range. Prerequisite(s): MUSC 140.
MPRA 230 Professional Studies in Media Relations
Professional Studies in Media Relations
By studying industry-standard techniques and professional practices in media criticism, news writing, marketing, casting, unions and contracts, students in this course explore a variety of writing and editing approaches necessary for clearly communicating ideas and opinions through scholarly criticism, effective news-writing techniques and oral adjudication. Prerequisite(s): MPRA 201, MPRA 204.
MPRA 240 French Classical Theater
French Classical Theater
By reading and performing selections of plays from the classical French canon, students in this course become thoroughly familiar with the great playwrights of the French classical tradition: Jean Racine, Pierre Corneille, Marivaux and Molière. Special emphasis is placed on the all encompassing influence of classical culture on the playwrights studied, as well as the performative influences of the Italian commedia troupes. Every opportunity is taken to view plays from the classical canon in performance, and students perform their own scenes from selected plays as part of the school-wide vernissage at the close of the quarter. Prerequisite(s):
MPRA 250 Women in Dramatic Arts
Women in Dramatic Arts
This course examines the changing roles of women in the performing arts from the Restoration to the current time. Plays, as well as other supporting documents written by and about women, are read and discussed. The course examines the different ways women's lives and issues are conveyed through performance. The lives of women artists and their work, specifically women who have been visionary leaders in the world of the performing arts, are the main focus of the course. Prerequisite(s): ARTH 110, ENGL 123.
MUST 260 Musical Theater Repertoire
Musical Theater Repertoire
This course introduces students to the skills necessary to craft an interpretation of the songs that fall within the repertoire of American musical theater. The course is highly experiential, and students are expected to integrate the material through a series of in-class performances. Students are exposed to an extensive repertoire of musical theater and begin to build a portfolio of songs that has range, is personal and is thus suitable for auditions. Through examples and analysis, students learn to experience singing in a discerning manner and with a critical ear. Prerequisite(s): MUST 220.
MPRA 261 Improvisation
This course provides an overview of the origins and philosophy of improvisation since the mid-20th century, and how it has been a major influence since the 1960s on live performance, film and TV and now as a primary format for digital performance media. Students learn the basics of improvisation and learn to be fearless and creative on stage using a modern approach to improvisational comedy and how to apply improvisational approach to character creation. Prerequisite(s):
DANC 290 Dance Composition
Dance Composition
This studio/lecture course involves the creation of dance work. Students are introduced to a cache, or "tool kit," of devices that enable them to discover and manipulate effective form and movement for successful dances. The tools are derived from the descriptive vocabulary of devices from the Harvard Music Dictionary; modes of creation of dance from the study of basic shape, form and effort (from the German Bauhaus School and Rudolf Laban's studies); and devices from the instructor's own repertoire. The course is supplemented with research into the artistic process of renowned choreographers from a wide range of dance idioms. Prerequisite(s): DANC 211 or DANC 212 or DANC 213 or MPRA 210.
300 Level
MPRA 300 Theory and Acting for the Classics
Theory and Acting for the Classics
This course of theory and practice examines the work of Shakespeare for style and execution. Emphasis is placed on interpretation of roles, text and performance. Prerequisite(s): MPRA 106, MPRA 210.
MPRA 310 Stage Combat I
Stage Combat I
Using the single-sword and unarmed combat, the actor develops safe and effective means of demonstrating a believable skill set for the stage audience. This specialized form of actor movement develops physical and spatial awareness, grounding, centering, economy of effort, extension of line, focus, timing, action/reaction, moment to moment and impulse reaction. Prerequisite(s): MPRA 106.
DANC 311 Intermediate Jazz Dance
Intermediate Jazz Dance
This course intensifies jazz dance techniques with high-level dance styles and combinations. Students are expected to learn dance terminology and enhanced critical thinking and are introduced to spatial awareness and accuracy in movement. Prerequisite(s): DANC 211.
DANC 312 Intermediate Modern Dance
Intermediate Modern Dance
This course intensifies modern dance styles and combines high-level technique with multicultural influences. Students are expected to learn dance terminology and enhanced critical thinking and are introduced to spatial awareness and accuracy in movement. Prerequisite(s): DANC 212.
DANC 313 Intermediate Ballet
Intermediate Ballet
This course uses classical ballet methodology to expand on techniques learned in Introduction to Ballet. Students are expected to learn additional ballet terminology and focus on areas of development including musicality, further physical mastery of basic ballet positions and barre work, and anatomical principles. Prerequisite(s): DANC 213.
MPRA 314 Acting for the Camera I
Acting for the Camera I
This course enables students to gain hands-on experience in camera acting techniques and methodology. The course includes cold reading, text work and character development. Emphasis is placed on practical performance for film and TV. Prerequisite(s): FILM 106 or MPRA 103 or MPRA 106.
MPRA 315 Advanced Playwriting
Advanced Playwriting
This course is designed for students who would like to further develop their playwriting skills. Students' plays are analyzed and critiqued in a workshop setting that includes read-through, walk-through and other performance formats to develop professional-quality work. Students have the opportunity to create, develop and revise full-length scripts for performance. Prerequisite(s): MPRA 215.
MPRA 322 Casting for Film and Television
Casting for Film and Television
Students learn the process of casting a film, TV pilot, series and live performance. Through a series of auditions and callbacks, students learn how to direct actors, discern talent levels, break down scripts and create idea lists, in order to put together a cohesive cast for any given project. Students gain hands-on experience of the inner workings of network and independent casting offices, thus positioning them for internships in the television and film industry. Prerequisite(s): FILM 100, MPRA 103, MPRA 160.
MPRA 330 Singing for the Actor
Singing for the Actor
This studio course is designed to prepare the actor for success in performance events that require singing. Students learn and practice the basic fundamentals of singing (i.e., breath management, phonation, resonance, articulation, registration and interpretation) as related to acting and preparation for singing auditions. Prerequisite(s): MPRA 106, MPRA 210.
MUST 333 Instrumental Music
Instrumental Music
This course is designed for musicians with a high level of performance skill, as well as a strong foundation in music theory studies and the ability to read music at an advanced level. The main focus of this course is to further develop ensemble skills and rehearsal techniques that lead to a greater understanding of music and successful musical performances. Students participate in rehearsals in a master class setting. They also participate in musical score analysis, musical transcription writing, effective communication and a variety of ensemble performances. Prerequisite(s): Entrance by audition only.
MPRA 340 Scene Study
Scene Study
Focusing on scripted scenes, students learn techniques of analysis, character development, dynamics of character relationships and rehearsal techniques. The course covers a wide range of genres and styles. Prerequisite(s): MPRA 106, MPRA 210.
MUST 340 Arranging and Transcriptions
Arranging and Transcriptions
Arranging and Transcriptions is a course that directly applies music theory and general composition skills towards arranging music for a variety of aesthetics and mediums including scoring for film. The course of study further develops ear training skills through music software exercises that give the student the ability to transcribe recorded music into music notation and into live performance. Prerequisite(s): MUSC 240.
MUST 350 Vocal Genre Performance
Vocal Genre Performance
This course provides the place for vocal performance students of varying interests such as cabaret, recording, voice-over and performance art to research their particular interest and create a performance or recording; learn how to research performance styles and genres; gain valuable performance experience; define their particular interests as vocal music artists; and develop a work they may market professionally. This course combines in-class work and outside research and rehearsal that culminates in public performance (if applicable) or simple recording. Prerequisite(s): MUST 260.
MPRA 366 Advanced Character Development
Advanced Character Development
The course is a focused study in the art of specific character development. Actors study world events, history and sociology and draw from the world of ideas to create characters. Students create two to three original characters that they can use in sketch comedy, stand-up comedy or in the creation of unique individual performance work for live theater, film, TV or media performance arts. Prerequisite(s): MPRA 160.
MPRA 375 Directing
Through the analysis of a classic play from the 19th or 20th centuries, students in this course learn about the craft of the modern stage director. All aspects of stage direction are studied: the history, the process of dramaturgical research and script analysis, the casting process, the development of a visual aesthetic, and the fundamentals of staging a play. The course culminates in the staging of one scene and the presentation of a production notebook. Prerequisite(s): MPRA 300, MPRA 340.
MPRA 377 Production Lab I: Character Creation
Production Lab I: Character Creation
Through a series of rehearsals and performances, students gain hands-on performance practice experience in main stage productions. Students research character and learn play analysis, maintain a rehearsal journal and evaluate the process following the play's closing. Prerequisite(s): MPRA 160, permission of the department chair.
MPRA 379 The Playwright in Production
The Playwright in Production
Students excel while learning to work effectively as playwrights within a new play production process. This course explores all phases of the play development process—from first rehearsal to opening night—as well as script preparation and revision, rehearsal-driven rewrites, rehearsal conduct and final submission. Students also investigate the relationship between playwright and director and prepare their scripts for competitive submission. Prerequisite(s): MPRA 215.
MUST 390 Fundamentals of Songwriting
Fundamentals of Songwriting
This course focuses on the technical requirements of creating songs in a variety of forms. Students encounter and analyze established songs by composers from different genres and styles. They apply that knowledge to the creation and discovery of their own voice through song. Prerequisite(s): MUSC 240.
400 Level
MPRA 400 Audition Techniques and Materials
Audition Techniques and Materials
Through the study of cold readings, interview techniques, as well as prepared audition materials, students in this course select, develop and rehearse materials as related to casting opportunities for career opportunities in live performance. Students also prepare industry-standard résumé materials for presentation and learn about unions and various professional organizational structures related to live performance careers. Prerequisite(s): MPRA 300, MPRA 340.
MPRA 404 Voice-over and Dialects
Voice-over and Dialects
This is an advanced course in performance and professional practice. Students study and apply the techniques of voice-over performance in radio, film, commercials, animation, game design, television and other media. Students acquire the techniques of the application of dialect in character work proceeding from the fundamental study of the International Phonetic Alphabet. Students record their voice-over work for use on their website or industry demo. Prerequisite(s): MPRA 211.
MPRA 410 Issues of Contemporary Acting Genres
Issues of Contemporary Acting Genres
This course introduces students to various types of acting styles, including theater of the absurd, environmental theater and poetic realism. Focus is placed on the work of Samuel Beckett, Eugene Ionesco, Jerzy Grotowski, Eugene O'Neill, Lillian Hellman, Tennessee Williams, August Wilson and Tony Kushner. Prerequisite(s): MPRA 201.
MUST 411 Musical Scene Study
Musical Scene Study
In this course, students learn and perform material from selected shows. Scenes are examined with respect to the music's dramatic function and full context. The course emphasizes character work and the art of crafting the performance of a song within a scene. Students work in ensembles, and the scenes cover a broad cross section of repertoire. Prerequisite(s): MUST 260.
MPRA 414 Acting for the Camera II
Acting for the Camera II
In this course, students refine their on-camera techniques. The course examines the demands of the professional actor in film and television. It offers the student tools to break down a scene quickly and create a believable character for different genres. It also focuses on the technical demands required by an actor, such as adjusting performance for different shots, eyelines, marks, etc. Prerequisite(s): MPRA 314.
MPRA 415 Stage Combat II
Stage Combat II
This course refines stage violence techniques with the study of the rapier and dagger. Students develop safe and effective means of demonstrating command of this weapon for an audience. This specialized movement training enhances spatial awareness, centering, economy of effort, extension of line, focus and moment-to-moment playing of the actor. Students perform scenes as actors with approved fight choreography that demonstrates their ability as actors, as well as basic mastery of skills and possible certification by the Society of American Fight Directors. Prerequisite(s): MPRA 310.
MPRA 416 Auditioning for Film and Television
Auditioning for Film and Television
Through hands-on practice auditioning each week with current film and television material, students gain professional insight and working knowledge of how to audition for series television, pilots, soap operas, independent and feature films. Students learn etiquette of casting processes and are ready to walk into casting offices professional and prepared. Prerequisite(s): MPRA 314.
MPRA 421 Advanced Acting for the Classics
Advanced Acting for the Classics
This advanced course continues the development of the actor through his or her exploration of the classical repertoire, focusing on the development of character in two, three and multi-character scenes from the classical theatrical canon. The course builds on the techniques learned in prerequisite courses in scansion and dialect and prepares students for professional performance work. Prerequisite(s): MPRA 300.
MPRA 435 Diverse Voices—Multicultural American Theater
Diverse Voices—Multicultural American Theater
This course emphasizes the multicultural dramatic American theater of the 20th and 21st centuries. Students study dramatic theater from the African-American, Asian-American and Hispanic canon. An emphasis is placed on the performance techniques utilized by the various authors studied as well as their literary styles. Prerequisite(s): MPRA 204.
MUST 440 Auditioning for Careers in Vocal Music
Auditioning for Careers in Vocal Music
This course concentrates on developing self-marketing skills, finding auditions and agents, and then preparing and executing skills specific to the audition process: finding material appropriate for the performer and the situation; covering different styles, periods and genres of musical material; and learning audition etiquette and good performance practices. Students practice acquired skills in a series of simulated auditions throughout the quarter. Prerequisite(s): MUST 260.
MPRA 445 Auditioning for Careers in Classical Theater
Auditioning for Careers in Classical Theater
This course is designed to give students interested in a career in classical theater audition preparation appropriate to gaining employment in regional theaters, Shakespeare festivals and international festivals that focus on classical theater. The course focuses on preparing materials for classical auditions, ranging from Greek and Roman theater to Shakespeare, Molière and Restoration periods. The course incorporates regular audition preparation in presentation, packaging, résumé and picture preparation; finding job opportunities; developing auditions based on job criteria; and learning at least four classical monologues in preparation for auditions. Prerequisite(s): MPRA 300.
MPRA 460 Actor/Writer Laboratory
Actor/Writer Laboratory
Performing arts students collaborate with students in dramatic writing in the development and creation of materials for stage and digital media performances. Emphasis is placed on solo and ensemble work, comedic material and the reflection of contemporary issues through the voices of the creators. The course culminates in a public performance. Prerequisite(s): MPRA 366.
MPRA 465 Advanced Improvisation
Advanced Improvisation
This course is a continuation of improvisation studies that provides undergraduate students the opportunity to move to advanced work in improvisation, investigating alternative improvisational techniques as they apply to media and advanced stage practices. Prerequisite(s): MPRA 261.
MPRA 478 Production Lab II: Show Name
Production Lab II: Show Name
This course advances the process of learning how to analyze scripts and characters in the process of building a role. Students rehearse, prepare and perform roles in departmental productions under close supervision of directing professor. This course includes recording the experience in a journal and a research project accompanied by an evaluative paper summarizing the experience. This course explores the role of research in preparing a character and the techniques required to sustain a role over multiple performances. Prerequisite(s): MPRA 377. Repeatable. Student may take course up to three times for credit.
MPRA 479 Undergraduate Internship
Undergraduate Internship
Internships offer students valuable opportunities to work in a professional environment and gain firsthand experience to help them prepare for careers. In an approved internship setting, a student typically spends one quarter working with an on-site professional supervisor and a faculty internship supervisor to achieve specific goals and objectives related to the program of study. Prerequisite(s): 90 credit hours, 3.0 cumulative GPA.
MPRA 484 TV Comedy Acting Styles
TV Comedy Acting Styles
This course introduces students to the process of creating characters for live and pre-recorded television comedy. Students, using current scripts, explore character development, comic timing and skills pertinent to TV comedy acting styles. Prerequisite(s): MPRA 314.
MPRA 486 Devising Solo Performance
Devising Solo Performance
Students create and execute dramatic works for the solo performer in this course. By investigating a wide range of solo performances and one-person shows, students gain experience in cultivating a strong voice and in crafting story and spectacle. Through active discussion and collaboration, students learn to translate their own areas of expertise into exceptional solo pieces for themselves and/or classmates to perform. Prerequisite(s): MPRA 103 or MPRA 160.
MPRA 495 Performing Arts Senior Project
Performing Arts Senior Project
The learning experience culminates in a performance experience. Students select from a menu of options for a senior project, all of which include performance components that bring together all aspects of the training in the final project. Prerequisite(s): Permission of the professor and the department chair.
MPRA 496 Special Topics in Performing Arts
Special Topics in Performing Arts
The topic of this course varies from quarter to quarter. Each seminar focuses on various issues in the field of performing arts and allows students to pursue projects related to the subject of the course. Prerequisite(s): Vary according to topic.
700 Level
MPRA 702 Graduate Acting: Realism
Graduate Acting: Realism
Focusing on contemporary material from stage and screen, actors work on monologues and scenes with partners and receive critical feedback. They also focus on materials needed for professional audition situations. Prerequisite(s):
MPRA 703 Contemporary Drama I
Contemporary Drama I
This course surveys trends and styles in contemporary drama, from the 1960s through early 1990s. Major artists and ensembles, and the influences of technology, process, politics and identity are considered, on stage as well as in film and television. Prerequisite(s): MPRA 702.
MPRA 706 Performance Studies: Anti-realism and Digital Media
Performance Studies: Anti-realism and Digital Media
Focusing on cutting-edge and avant-garde material from stage and screen, actors work on scenes with partners and receive critical feedback. They are introduced to a variety of acting styles suitable to the contemporary performance field and then apply those styles to scene work. The course also focuses on auditioning in professional environments. Prerequisite(s): MPRA 702.
MPRA 707 Principles of Performance
Principles of Performance
Through exposure to the major influences in performance theory, as well as classroom exercises, both prescribed and improvisational, this course covers the principles of performance. Students acquire the ability to be clear, truthful and spontaneous in the rehearsal and performance environment. Prerequisite(s):
MPRA 708 Voice Dialect Technique
Voice Dialect Technique
Beginning with vocal freedom, then moving into vocal exploration and readiness, advanced performing arts students work towards mastery of their vocal instrument. Students learn the International Phonetic Alphabet exploring the world's sounds and applying their knowledge to a Detail Model of speech for use on stage and screen. Prerequisite(s): MPRA 707.
MPRA 711 Contemporary Drama II
Contemporary Drama II
This course surveys trends and styles in contemporary drama, from the mid 1990s through present. Major artists and ensembles, and the influences of technology, process, politics, and identity are considered, on stage as well as in film, television and digital media. Prerequisite(s): MPRA 703.
MPRA 714 Voice for Media
Voice for Media
This course builds on the student's knowledge of the International Phonetic Alphabet by applying it to the exploration of dialects and accents. Advanced vocal techniques are continually utilized to broaden the foundation laid in the prerequisite course. This is all then practically employed in the digital and recorded media forums, enabling the student to also gather material for self-promotion venues. Prerequisite(s): MPRA 708.
MPRA 717 Performing Classics I
Performing Classics I
This course examines the techniques involved in the metrical analysis of verse in speech and their application to performance. Through the study of sonnets, play scripts and other related materials from a variety of periods, including Greek, Elizabethan and Jacobean, students experience the complexities of verse-speaking. Prerequisite(s): MPRA 702.
MPRA 718 Performing Classics II
Performing Classics II
This course examines the techniques involved in the metrical analysis of verse in speech and their application to performance. Through the study of scripts and related materials from a variety of early later periods beginning in the 17th-century and continuing through the early 20th-century work of Oscar Wilde, students gain mastery of the complexities of classical texts. Prerequisite(s):
MPRA 728 Script Analysis
Script Analysis
This course, which is offered for each emphasis of the media and performing arts graduate program, provides students with a thorough understanding of script analysis and creative and research writing. Students engage in a continuing process of interpretation and conceptual and critical analysis. Prerequisite(s): MPRA 704 or MPRA 707.
DANC 756 Ballet and Modern Dance
Ballet and Modern Dance
Using ballet and modern exercises, students learn the proper placement of the body in the disciplines of ballet and modern dance. The focus in this course is on movement quality, dynamics and musicality, as well as developing strength and flexibility. Students study and drill to achieve competence in dance and choreographic experience. Prerequisite(s):
MPRA 758 Graduate Stage Combat
Graduate Stage Combat
A variety of stage combat techniques are employed to allow the graduate student actor the means to develop safe, effective and believable skills for the stage audience. In addition to providing the actor with believable acting skills, this specialized form of training further develops physical and spatial awareness, grounding, centering, economy of effort, extension of line, focus, timing, action/reaction work and moment-to-moment impulse reactive playing. Prerequisite(s):
MPRA 765 Improvisation Techniques
Improvisation Techniques
This course provides an advanced overview of the origins and philosophy of improvisation since the mid-20th century. Students develop improvisation techniques through coaching, warm-up exercises, creative performance games and short-form scene-work, team-building, trust, speed, status, active listening and agreement. Prerequisite(s):
MPRA 770 Professional Development
Professional Development
Through in-class work on audition materials, research and hands-on professional audition opportunities, students gain practical knowledge about securing work as a performer and experience professional audition situations for all forms of performance genres. The course includes professional auditions for casting directors, producers and agents. Prerequisite(s): DWRI 738, DWRI 740 or MPRA 702.
MPRA 775 Camera Acting Technique
Camera Acting Technique
Through in-class work on audition materials, research and hands-on professional audition opportunities, students gain practical knowledge about securing work as a performer and experience professional audition situations for all forms of performance genres. This course includes professional auditions for casting directors, producers and agents. Prerequisite(s): MPRA 702.
MPRA 776 Camera Acting Styles
Camera Acting Styles
This course prepares students for auditions in the professional world through feedback, critique and materials. Students learn how to capitalize on their unique character strengths and integrate those strengths into every role. They also learn how to approach new material and genres with confidence. Prerequisite(s): MPRA 775.
MPRA 777 Graduate Production Lab
Graduate Production Lab
Through classroom meetings, rehearsals and performances, students focus on performance practice through participation in main stage productions. Students research character and utilize play analysis to develop roles and achieve professional standards. Students maintain a rehearsal journal and evaluate the process following the play's closing. Prerequisite(s): MPRA 707, permission of the department chair.
MPRA 778 Applied Character Development in Production
Applied Character Development in Production
Graduate students experience the process of creating a role using acting methodologies, and applying those methodologies to the rehearsal process. They maintain a journal and investigate their characters through the process of rigorous script and character analysis. Prerequisite(s): MPRA 777. Repeatable. Student may take course up to three times for credit.
MPRA 780 Special Topics in Performing Arts
Special Topics in Performing Arts
The topic of this course varies from quarter to quarter and focuses on diverse issues in the field of media and performing arts. The course gives graduate students the opportunity to pursue projects of interest related to these particular issues. Faculty, course content and prerequisites vary each time the course is offered. The course may include lectures, discussions, individual projects and critiques, depending on the nature of the topic. Prerequisite(s):
MPRA 781 Performance Workshop
Performance Workshop
This course explores and develops performance on an advanced level. It is designed for flexibility enabling students to take advantage of special teaching resources, the specific expertise of visiting guest artists or particular student interests. Prerequisite(s): MPRA 702.
MPRA 790 Performing Arts M.F.A. Thesis
Performing Arts M.F.A. Thesis
Students have the opportunity to develop their thesis project in a classroom setting, with formalized goals and outcomes and the guidance of a professor. Deadlines are set. Assistance and group input are part of the process of writing the final thesis paper. Prerequisite(s): Completion of the review for candidacy.
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The Press Newspaper
The Press Newspaper
You see a lot of sweet corn between here and Hayward Wisconsin where they hold the Lumberjack World Championships. You can also gain a new appreciation for the loggers who cleared the land for that corn and our homes.
At one time, virtually all of Northern Michigan, Wisconsin and Minnesota—94 percent by one estimate—was covered by forests. In just one part of Northern Wisconsin, 30 billion feet of logs were floated down the Black, Chippewa and St. Croix rivers from 1853 to 1897, according to a 1906 article in the LaCrosse Chronicle. This was big business. The estimated worth of those logs--$300 million at that time.
During the same time period, Michigan lumberjacks logged some 160 billion board feet of saw timber, according to the Michigan State University Extension. Stack this wood four feet high and eight feet wide and it would stretch to the moon and back five times. MSU estimated the value of the harvested wood was greater than all the gold mined during the California gold rush.
All these trees were harvested by hand. These lumberjacks were not your Ax Men or American Loggers on reality television. They didn't have helicopters, chainsaws, power winches or mechanized monster log loaders and processors.
These were real men. They used two-man cross-cut buck saws, hand-forged axes, wooden mauls, steel wedges, pike poles, dog hooks and springboards.
The work was dangerous, the injury and death rate high. Consider two jobs. Tree toppers used iron climbing hooks and ropes to scale 100-foot trees and clear branches with an ax. They would also notch the tree, insert a springboard, stand out on the end of it, and top the tree.
River pigs would ride the logs downstream hopping from one to another. They would maintain their balance using spiked boots while wielding pike poles to guide the moving mass downstream. Slip and fall under the pile and you could easily drown.
While techniques have changed, logging is still one of America's most dangerous jobs. In 2010, 59 loggers lost their lives, according to the United States Bureau of Labor Statistics.
My wife's family is from the Rice Lake area, about 25 miles south of Hayward. We recently spent a week in Northwest Wisconsin at a fishing resort on Chetac Lake.
Hayward's population is 2,129, however, it is surrounded by lakes and during the summer the population swells to more than 25,000. Some 10,000 to 12,000 spectators turn out for the lumberjack championships and it has been covered by ESPN and the BBC. Two of my wife's ancestors were in the logging and lumber industry. And, her grandfather and his brother erected their own saw mill in the 1920s and built the homes, barns and outbuildings on two farms from trees they harvested, ripped and planed, so we had an interest in logging.
This year, more than 100 competitors came from as far as away as Australia, New Zealand, The Czech Republic and the Canadian provinces of Ontario, Quebec, British Columbia and Nova Scotia. Men and women competed in 21 events including log rolling, springboard chop, 90-foot speed climb and double-buck cross-cut sawing. They competed for $50,000 in prize money.
These athletes display considerable strength, skill and agility in honoring the lumberjacks of the 19th century. For example, in the underhand block chop, competitors stand atop an aspen log 12 inches in diameter and 28 inches long. They swing a five-pound ax between their legs cleaving the log inches away from their feet. The world record is 15.94 seconds.
In the double buck sawing event, two-man teams compete to see who can completely cut through a 20-inch pine log. The world record is 4.77 seconds. The Jack & Jill (a male and female) team world record is 6 seconds.
The most exciting event was the 90-foot pole climb. Stirling Hart from British Columbia broke his own world record with an up and down time of 19.24 seconds, 41/100 of a second better than his old mark. The last 60 feet was a free fall onto the mat below.
On our way back home we passed miles and miles of corn fields. Soon, that corn will be on my dinner plate, and a good portion of it will be shipped overseas. My thoughts will then turn to the men who cleared the land that allowed The Midwest to become "the breadbasket of the world."
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Research Article
Effect of mass transfer on biodesulfurization kinetics of alkylated forms of dibenzothiophene by Pseudomonas putida CECT5279
Article first published online: 4 JUL 2012
DOI: 10.1002/jctb.3877
© 2012 Society of Chemical Industry
Journal of Chemical Technology and Biotechnology
Volume 88, Issue 3, pages 422–431, March 2013
Additional Information
How to Cite
Boltes, K., Alonso del Aguila, R. and García-Calvo, E. (2013), Effect of mass transfer on biodesulfurization kinetics of alkylated forms of dibenzothiophene by Pseudomonas putida CECT5279. J. Chem. Technol. Biotechnol., 88: 422–431. doi: 10.1002/jctb.3877
Publication History
- Issue published online: 18 FEB 2013
- Article first published online: 4 JUL 2012
- Manuscript Accepted: 27 MAY 2012
- Manuscript Revised: 26 APR 2012
- Manuscript Received: 22 NOV 2011
Funded by
- Spanish Ministry of Science and Technology. Grant Number: CTQ2004/06553–C02–02
- Abstract
- Article
- References
- Cited By
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Director John Herzfeld says producers favor the "more flexible" platform
The feel-good indie "Reach Me" starring Sylvester Stallone has been pulled from Kickstarter — despite that it's already hit its $250,000 goal there — in favor of Indiegogo, whose "more flexible" format allows international contributions and pledges beyond $10,000.
Director John Herzfeld and producers Rebekah Chaney and Cassian Elwes initially turned to Kickstarter when one of the film's backers fell off the project, leaving them scrambling to raise $250,000 to finish.
The Kickstarter campaign for "Reach Me" was scheduled to close on Sept. 19, though it surpassed its $250,000 goal several weeks early. However, the pledged money will be canceled, and Herzfeld hopes they follow the project to Indiegogo.
Also Read: Sylvester Stallone, John Herzfeld Reach $250,000 Kickstarter Goal for 'Reach Me' (Exclusive)
"Indiegogo doesn't have the same guidelines as Kickstarter. They allow for participation from all parties. It's a bit more flexible, and there's an international platform as well," explained Herzfeld. "They made it easy for us and were very, very helpful."
The switch took place overnight sometime Tuesday. No one actually paid money to Kickstarter, which only collects once the fundraising period has closed.
"We've emailed them and asked them to follow us to Indiegogo, where we're going to keep the same rewards and probably add a few different ones," said Herzfeld, who is now seeking only $50,000 to finish the film. Herzfeld said the goal was lowered when another source of cash emerged, but people can still "give as much as they want to give."
"Reach Me" boasts a star-studded ensemble for an independent film, with Stallone joined by HBO veterans Thomas Jane ("Hung"), Kevin Connolly ("Entourage"), Ryan Kwanten ("True Blood") and Terry Crews ("The Newsroom"), as well as Kelsey Grammer, Kyra Sedgwick, Tom Sizemore, Danny Trejo and rapper Nelly.
Also Read: James Franco Launches $500,000 Indiegogo Campaign
The story follows a group of characters brought together by a self-help book written by an anonymous author.
"It's a feel-good movie with an upbeat, inspirational story. It's about a dozen broken characters who get a second chance in life by coming into contact with this book," said the director.
"We're in post now, so we're finding songs and working on the score and sound effects. I want to finish another scene with Thomas Jane and Elizabeth Henstridge. It's important I get that scene, which is why I have a short window to get the rest of the funding."
With six days left in its Indiegogo campaign, "Reach Me" has raised $16,878 of its $50,000 goal, as of this writing.


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Washington, D.C. – Senator Jay Rockefeller and Governor Joe Manchin today announced that the Higher Education Policy Commission's West Virginia Experimental Program to Stimulate Competitive Research (EPSCoR) has received two major research infrastructure grants from the National Science Foundation (NSF) worth more than $4.4 million. The first grant will help build capacity and promote the use of advanced supercomputing at its higher education institutions with the goal of enabling scientific discovery. The second grant will extend ongoing biometrics research that could lead to new identification technologies or medical devices.
"Science and innovation are top priorities for West Virginia, and key components of our economy – both in generating jobs and in federal investment," said Senator Rockefeller. "Advanced cyberinfrastructure is essential to supporting that innovation, biometrics is a growing and exciting part of our state's economy, and I'm so happy to see these research dollars supporting both. This funding will continue to help us harness our talents and abilities – and our own brand of West Virginia ingenuity – to seek out new opportunities and keep our state strong."
"Having a strong research and technology sector is pivotal for this state and our economic growth. We have shown that we can compete at a very high level in the science and research arena and I am pleased to see that hard work continue. This is one of the best investments that our state can make and I know that if we maintain a commitment from the professionals in higher education and all of our state, local and federal representatives working in partnership, that we will see more research and scientific progress in the future," said Gov. Joe Manchin.
"One of the major goals of these projects is to raise the level of visibility on our campuses of the empowering nature of cyberinfrastructure," added Dr. Paul L. Hill, West Virginia Higher Education Policy Commission vice chancellor for science and research and state EPSCoR director. "This information technology will enhance scientific inquiry and revolutionize who can participate, what they can do and how they do it. In addition to the powerful new capabilities it will bring to our scientists the sharing of knowledge, and common tools will lead to a community of shared research practice that will empower the participants in unexpected ways. The extension of the current biometrics award will ensure that our technology investigations continue to move forward."
West Virginia will receive more than $2.6 million over three years to upgrade networks and enhance immersive visualization capabilities for researchers at West Virginia University, Marshall University and West Virginia State University in collaboration with the University of Arkansas system. The grant will assist the institutions with connection to high-performance computing networks and resources around the world, allowing researchers to collaborate in real time without geographic limitations.
An additional $1.8 million was awarded to continue "Next Generation Biometrics" an ongoing effort at the same universities that seeks to better understand identification technologies and minute sensors that can detect chemical compounds or potential disease.
Combined, these grants will make possible transformative research in a number of disciplines across the universities, including nanoscience, real-time image-guided surgery, scalable virtual world technology and particle-based physics simulations. The advances also will allow West Virginia's scientists to compete for funding on a more equal footing with colleagues in other states.
In addition to the enhanced research tools these grants will provide, the projects will nurture a workforce that can create and sustain cyber-based systems, tools and services over the long term. A network of faculty and information technology professional staff will be developed on each campus and complementary educational activities will be undertaken at the high school, undergraduate and graduate levels.


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2013 Ferrari California loses weight and gains power to command more respect
by Michael Harley (RSS feed) on Mar 7th, 2012 at 6:29AM
Sending a message that reinforces Ferrari's commitment that all of its vehicles will kick serious butt, the Italian automaker has treated its under-appreciated California model to an exceptional mid-cycle refresh. Up front, the hardtop convertible's naturally aspirated 4.3-liter V8 has been bumped up to 490 horsepower, thanks to a tweaked ECU and a new exhaust manifold. The new power goes hand-in-hand with an updated aluminum-intensive chassis which is nearly 70 pounds lighter than last year's model thanks to "cutting-edge aluminium fabrication techniques and construction technologies."... Read More


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When a player is so shitty at a game, usually Counter Strike, that you tell them to uninstall it.
You suck so badly, for the sake of me, you, and everyone else on this server, turn off your game, uninstall it, go back to the store, return it, and never play it again.
dari Captain Cap Jum'at, 04 Agustus 2006
an insult in cs where one player owns another by either knifing them or headshoting them over and over; they are told to uninstall which means to uninstall your game of counter strike and bring it back to the store becuase u suck so bad at playing. mostly said to by noobs and nooblicks
Death_is_near: uninstall joo sux joo nooblick
dari schwendie Selasa, 03 Januari 2006


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If you can't write a solid logline to describe what a blog post is about, is it really a post that you want to write?
There used to be a document on my computer desktop full of ideas for blog posts. Any time I thought of something that might be interesting to write about, I'd add it to the list. Most of the descriptions were terribly vague. "Using loglines with blog posts", for example, or just a single word like "luggage" or a phrase like "five paragraph essays." I'd go back through the doc when I needed a topic, and half the time I couldn't remember what it was I had wanted to say. The other half of the time I didn't have anything to say to begin with; I was hoping that if I wrote it down now, I'd find an angle or a premise later.
A while ago I switched over to using a "logline" file instead. I forced myself to take a minute or two to find a hook or a thesis statement that would make the idea interesting to write about. If I can't come up with a good logline, it's probably not a good topic for a post. Further, if it's not a logline that makes me interested in writing it, then why on Earth would anyone be interested in reading it?
The only problem I've found in using a logline file over a raw idea file is that potentially good topics might get lost. I have sometimes found those single-word entries and couldn't recall what my original context or intention was, but they played off of something else on my mind. They served as writing prompts, even if what I ended up writing about wasn't what I might have originally intended. Loglines kill some of that random creativity.
Anything lost in raw ideas, though is made up for by less clutter. I would periodically delete a raw idea file when I'd been through it a few times and hadn't found anything especially inspirational. The lack of clarity was a huge waste of time. A solid logline file gives me plenty to write about without the need to free-associate and try to find a context for words and phrases. If I do not a writing prompt, there are plenty of other places to find them without resorting to the junk drawer of writer's resources.
In the end it comes down to passion and intention. If I think of an idea and I can't think of a logline on the spot, it's unlikely to be worth clinging to in the hope that it pans out later. If I can't think of a logline, it's a half-baked, half-hearted idea at best and not worth my time or effort to explore later. There are better ideas, ones that I care about, that need my time. If a logline makes me want to write the post, then there's a hgher probability that you'll want to read it.