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Department of Theatre and Film
Symbolism in the Serpentine: Exploring Loie Fuller's Dance Through a Symbolist Aesthetic
Angenette Spalink
Loie Fuller (1862 - 1928) performed throughout the United States and Europe in the late nineteenth and early twentieth century. In her distinctive Serpentine Dance, Fuller swirled billowing costumes and fabric above her head. Underneath the surging fabric and colored lights her body was engaged in perpetual motion, which was sustained by movement that radiated from the core of her body. Fuller has not traditionally been considered a modern dancer, although recent research by Ann Cooper Albright and Rhonda K. Garelick demonstrate that Fuller's use of the core as the center of her movement re-situates her as such. At the same time, though, elements of Fuller's performances also align her both aesthetically and philosophically with the Symbolists. In her Serpentine Dance, Fuller exhibits an aesthetic that appears similar to that which the Symbolists strove to achieve in their theatre, and she employed the modern notion that movement should evolve from an internal impulse. In this essay, I explore the ways in which Fuller's aesthetic manifested Symbolist theatrical ideals regarding light, color, space, the body, and the mind in order to argue that through the amalgamation of these elements, her performances created a synesthetic whole that abstracted her body from conventional ideas of time and space, constructed a performance that was uniquely Fuller, and is ultimately an expression of modern movement.
Fuller arrived in Paris in 1892, a time of great political, cultural, and aesthetic flux. Her career at the Folies Bergère coincided with the establishment of the Third Republic of France which was constituted after the collapse of the empire of Napoleon III in the Franco-Prussian War (Holmes 30). In Paris, this era was designated the "Belle Époque" and was characterized by many avant-garde artistic movements including Realism, Naturalism, Decadence, Futurism, and Symbolism. Fluctuations in approaches to movement were also evident during this period. Hillel Schwartz asserts, "Between 1840 and 1930 the dance world in Europe and the United States had, by seduction and then concussion, suffered a shift in attitudes toward physical movement" (71). Schwartz attributes this fluctuation in movement to the discovery of torsion, the ability to twist the entire body in space, which was influential on many dancers of this era. As Schwartz notes, "Modern dancers insisted on effort, on weight and torque, and they consistently dissented from the balletic 'delusion that the law of gravitation does not exist for them'" (75). This new form of dance acknowledged gravity and encouraged the dancer to play with the body's relationship with it.
Modern dance defined itself in opposition to classical ballet in multiple ways, but for the purposes of this essay, I will be focusing on the reaction against the emphasis placed on exterior form. Ballet was composed of codified movements that were pieced together to form a dance. Modern dancers, alternatively, thought that movement should grow out of an inner impulse or desire; it should not merely be the combination of dance steps. While ballet dancers may depict emotion in their dance, the dance is not created from an emotion or desire, but by a combination of preordained movements. Modern dancers believed that dance was not merely an aesthetic expression of the exterior, but a manifestation of an inner impulse. Modern dancer Doris Humphrey designated this concept "moving from the inside out" (Cohen 122). Dance historian, Selma Jeanne Cohen unpacks Humphrey's statement by remarking that modern dancers began not with traditional steps as ballet did, but with an emotional idea (122). Physical movement developed from an internal impulse. Cohen asserts that modern dance is concerned "with the body and its natural impulse to express its feelings in movement" (122). The concept of inner life (meaning emotion, spirit, desire, or impulse) was not the same for every modern dancer; each had their own interpretation of this idea. Regarding interior emotions, dancer Mary Wigman states, "Shock, ecstasy, joy, melancholy, grief, gaiety, the dance can express all of these emotions through movement. But the expression without the inner experience in the dance is valueless" (152). As I will discuss later, this philosophy of movement as an outward manifestation of an inner desire was a dominant component of Fuller's work, and is clearly articulated in her writing.
At the same time that modern dance was emerging as a new form of dance, the Symbolists were exploring similar ideas in regard to physicalizing the internal in theatre, literature, and the visual arts. Symbolism originated in Europe in the second half of the nineteenth century, and was based on the tenets that the corporeal world was arcane and that truth could only be discovered by delving into the human psyche. In Theater of the Avant-Garde 1890 - 1950, Bert Cardullo and Robert Knopf describe the concepts that the Symbolists were exploring:
The world, which the realists and . . . the naturalists had attempted to know fully and depict accurately, was revealed by the Symbolists to be pure illusion—a veil of fleeting appearances behind which were hidden deeper truths. It was what lay buried within the psyche and concealed behind the mirror that this radical new poetics of drama proposed to explore. (6)
The Symbolists were not concerned with the materiality of the world, as were the naturalists or realists. Instead, they were interested in the ethereal, the hidden mysteries residing within the self and the universe.
Many Symbolist plays and productions were being produced in France while Fuller was employed at the Folies Bergère. In her performances, Fuller seems to exude many of the artistic principles that the Symbolists firmly upheld. Both Fuller and the Symbolists were interested in the external representation of the internal. In Symbolist plays and productions, acting, scenery, lighting and sound did not adhere to nineteenth century conceptions of realism and naturalism. Instead, the Symbolists strove to find ways to use technical elements such as lighting and scenery to portray the hidden mysteries of the human psyche (Drain 228). Fuller, meanwhile, endeavored to use light, color, costume, and movement to communicate her internal emotions and spirit. Fuller and the Symbolists also both exhibit a shared desire to use space as an avenue through which to explore internal ideas. While Fuller never identified herself or her work as Symbolist, examining her dance in light of Symbolist ideas regarding theatrical practices reveals that the two are congruent.
In Traces of Light: Absence and Presence in the Work of Loie Fuller, Ann Cooper Albright points out the importance that lighting, color, and space assumed in Fuller's performances. Color and light were not an afterthought in Fuller's work; they were vital components of the performance. Her use of specific lighting and color combinations illuminated her body and allowed her movement to be both revealed and concealed. Her performances have often been described as kaleidoscopic because of this fusion of light, color, and movement. Journalist Arsène Alexandre stated in his column in Le Théâtre, "Before . . . Fuller, there was lighting, but no one understood how to use it . . . She brought us this marvelous discovery: the art of modulation, the ability to shift across the spectrum of color tones" (qtd. in Albright 58). Fuller developed new techniques in lighting; she projected light through a filter in order to reduce glare, and is also credited with the development of under-stage lighting, in which she employed an electrician below stage to project light through a trap door to illuminate her skirt from underneath. Just as the Symbolists strove to use light as part of an all-embracing work of art, so did Fuller. She endeavored to combine color and light intensity, and weave them together with space, costume, and movement to create her own all-encompassing art.
Fuller's lighting techniques evoke similarities with what the Symbolists expressed as their ideal for stage lighting. In Lighting in the Theatre, Gosta Bergman explains the importance of the use of light in the Symbolist theatre, stating, "It goes without saying that light was to play a central role in the Symbolist dreams of the all-embracing work of art: not the atmospheric illusionary light, but the light that, with all degrees of intensity and colors, can form inner, mental courses of events, can create rhythm" (qtd. in Albright 81). Bergman claims that the Symbolist's interest in light extended beyond merely casting an otherworldly glow, and resided in the creation of visual patterns through the fusion of light and color. Though not directed at Fuller, this statement describes her well, as she used light and color variation to create a visual flow that was then incorporated with her movement.
Fuller also shared many of the same sentiments regarding art and the body as her contemporary theatrical practitioner and lighting designer, Adolphe Appia. In "From How to Reform Our Staging Practices," Appia states, "Until now it has been believed that staging must achieve the highest possible degree of illusion; and it is this principle . . . which has barred our progress. I strive to show . . . that scenic art must be based on the one reality worthy of theatre: the human body" (Appia 16). Thus, for Appia all elements of scenic design should be constructed in conjunction with the human body. He goes on to assert that "the plasticity of scenery [is] necessary to the beauty of the actor's attitudes and movements" (Appia 237). Appia insists that scenery should not simply be a backdrop that the actor performs against; instead, it should be malleable and able to move and adjust in accordance with the performer's body. He states, "In the theatre, we are there to be present at a dramatic action: that action is due to the presence of the characters on stage; without the characters there is no action. Thus the actor is the essential factor in the staging of the scenes" (Appia 237, italics in original). Once again, Appia maintains that the human body is a vital component in the equation of onstage performance. All the scenic elements should work in harmony with the body and together they should create a cohesive piece of art. Fuller is an excellent example of Appia's ideas regarding the fusion of scenic elements and the human body. For Fuller, lights, color, costume and space were equally as important as her choreography. Her dance was not merely performed in front of a backdrop; her movement, costumes, lights, and colors worked together to create a dynamic composition.
As Albright notes, rather than accepting the stage as a static frame, Fuller considered it an active space (63). She recognized the dynamic energy present in the performance space and used it in her dances. The wands attached to the sleeves of her costumes allowed her to reach beyond her personal space and interact with the space around her. For Albright, Fuller's sense of engaging space begins in the way she initiates movement through her chest and body (3). Fuller's movements radiated out of the central core of her body; activating her core enabled her to support and sustain not only her movement, but also her billowing costumes and fabric. Albright remarks, "Launching and guiding the fabric in a constant play with gravity, Fuller creates an ongoing spatial dialogue of extension and release" (65). The twisting and contracting of her torso enabled her to have the momentum to lift her long wands of fabric and to keep them extended while she danced, allowing her to interact with the lights, color, and space around her. Thus, as Albright asserts, because Fuller understood the importance of actively engaging her body in space, she was able to recharge the spatial and temporal energies of the stage (66). Fuller was a dynamic performer because she understood the importance of creating a cohesive whole; that light, color, space, and movement must be used in collaboration with one another. In the process, though, her performances also melded these elements together to create what Appia referred to as an "animated stage" (228), which becomes one more way in which her work aligns with Symbolist theatrical practices.
Likewise, in Fuller's Serpentine Dance, her body appeared to be both present and absent while she danced. The visual fluctuation of her body seems similar to the Symbolist's interest in the abstraction of the human form, specifically their intrigue with the marionette. Cardullo and Knopf comment on the Symbolist preoccupation with the marionette, "Because marionettes are abstractions of the human form, individual experience does not obtrude on our perception of them, as it inevitably does with a human performer when the actor's personality comes into play" (7). When a human body is used in a performance it carries with it certain connotations; it can never be free from meaning. A puppet, on the other hand, supplies a solid form without the associations that might accompany a human body. The marionette also provides a body that transcends the boundary between the human/nonhuman form. In the Serpentine Dance, Fuller also obfuscated this boundary. Her combination of light, flowing costume, and spiraling movement made her body disappear and reappear in a manner that caused her human form to become virtually unrecognizable. The absence and presence of her body becomes an interesting template for thinking about the Symbolist idea of the abstraction of the body.
The performance of the Serpentine Dance filmed by the Lumière brothers in 1896 provides an excellent illustration of this simultaneous invocation of absence and presence in Fuller's work. Fuller has historically been considered the dancer in this film, although some speculate that it may be one of her imitators. Nevertheless, examining this representation of the Serpentine Dance provides insights into important and unique elements regarding the presentation and performance of this dance. In this film, Fuller dances in her famous costume composed of billowing fabric with wands attached to the sleeves so that she is able to manipulate and extend the costume above her head and diagonally to the sides. Fuller dances and as her body becomes enveloped in fabric it eventually disappears, and as the fabric continues to move her body eventually reappears. The motion of the dance and the movement of the fabric along with the play of light and shadow cause Fuller's body to be both visible and invisible, both absent and present. When her body is not present it appears as though there is a whirling colorful "other" on stage, not a body or a human, but an abstraction of the human form. Eventually, her body will briefly come into view again and thus remind the spectator there is indeed a human body performing onstage. However, the body will then evanesce and all the eye will perceive is the whoosh of colorful perpetual motion as the body disappears, reappears, and disappears.
Symbolist writer and critic Stéphane Mallarmé describes the phenomena of Fuller's dance as "the personification of his dream of the ideal theater—without scenery, without words, where space and time had no importance, where reality would not intrude between the idea and the audience" (qtd. in Coffman 93). Mallarmé indicates that Fuller's performances, executed without scenery or words, were not constrained by realistic ideas of space or time. For Symbolist plays and performances, events did not have to occur in a linear fashion, nor were they confined to three-dimensional space. Cardullo and Knopf note, "the Symbolists liberated playwriting from mechanistic notions of chronological time and Euclidean space; they enlarged the frame of drama to include worlds and beings other than those inhabiting the bourgeois theater" (7). Time could move at a hyper speed or it could stand still, and movement in space could take place outside the rational, three-dimensional world.
Fuller's Serpentine dance did not follow a typical dance progression, which would have consisted of beginning in a pose, ending each phrase with a pose, and ending the performance in a pose. Albright notes that in many nineteenth century dances, "the endings of musical phrases were often punctuated by individual or group poses that visually consolidated the line" (68). Dancers posing at the end of musical phrases was a convention that informed the audience where to direct their gaze. Fuller did not use poses to inform the audience where to focus; instead, she performed continuous movement throughout the entire performance. Because of this perpetual motion, it is possible to surmise that it caused those observing to lose track of time and thus to be enraptured by the experience. The continual motion in this dance aligns her with the Symbolist tenet of resisting the realistic/naturalist constraints of chronological time. Her performance emancipates her body from the restraints of linear progression, and in this space where time seems to not exist she creates with her movement and costumes the appearance of a supernatural "other." In the names of many of her dances, Fuller also evokes the idea of a supernatural other, such as the Serpentine, the Butterfly, and the Fire Dance. Each of these dance titles elicits images that distance Fuller's dancing form from that of a human.
In the Serpentine Dance, Fuller's body is abstract because the fabric of her costume and the dynamic interplay of light, dark, and color obscure it. But performed in a space where time seems absent and the continual motion of her movements and costumes make her body both visible and invisible, it seems that her body becomes abstracted to a second degree. The otherworldly qualities of her performance seem to abstract her completely from the idea of the human form. This quality of her performance once again aligns her with the Symbolist notion of abstraction. In the Serpentine Dance, Fuller takes a human body and abstracts it from its humanness by enveloping it in the motion of the costume, and then makes it even more abstracted by taking this form that is both visible and invisible and situating it in a realm where time does not exist. Therefore her human body becomes something that does not exist in the human perception of time or space. A human body cannot be both present and not present, nor can it make time stand still. Yet in Fuller's performance her human body seems to succeed in achieving both of these tasks. Through the combination of movement, costume, and light, Fuller's body appears abstracted and the visual images she creates evoke representations of non-human forms.
Mallarmé in "Les fonds dans le ballet" describes such an experience: " . . . the performer . . . illustrates many spinning themes from which extends a distant fading warp, giant petal and butterfly, unfurling all in a clear and elemental way" (qtd. in Albright 45). Mallarmé watches Fuller's body, clothed in fabric, light, and color disappear and then re-emerge in the non-human form of a flower and then a butterfly. Albright notes other representations that Fuller has been compared to, "Images of phantoms, wings, birds, gemstones, water, and flowers—these are the fundamental metaphors that are echoed throughout many of the early descriptions of Fuller's performances in Paris" (38). The abstract images evoked through Fuller's Serpentine Dance manifest the Symbolist desire to shake free from realist representations and to manipulate the audience's apprehension of chronological time on stage.
In addition to emancipating onstage bodies from the rational ideas of form and chronological time, the Symbolists were also interested in probing the inner mysteries of the mind. They were concerned with investigating the internal aspects of the psyche and making these internal elements external in their plays and performances. Katherine E. Kelly notes that at this moment, writing was "shifting its representational center from the outside to the inside, from the natural/material realm to the individual/mental realm as the crucial site of awareness" (11). In her writing, Fuller discusses a similar idea regarding working from the inside. In "From Light and the Dance," she states, "What is dance? It is motion. What is motion? The expression of sensation. What is sensation? The reaction in the human body produced by an impression or an idea perceived by the mind. A sensation is the reverberation that the body receives when an impression strikes the mind" (246). Fuller thereby makes the connection that dance is a physical manifestation of a mental impulse. The external expression of the dancing body is created by an internal stimulus. Fuller and the Symbolists clearly both shared a desire to probe the inner workings of the mind and to make them physically present on stage.
In her writing, Fuller also explains how she takes a mental impulse and makes it physical; she translates the image in her mind through her dance to the audience. She avers, "To impress an idea I endeavor, by my motions, to cause its birth in the spectator's mind, to awaken his imagination, that it may be prepared to receive the image" (247). Through her dance, Fuller attempts to transcribe an image from her mind to the mind of the audience. Her goal in this process is to simultaneously get audiences to understand an image in her mind and moreover, to be an image in their minds. She is trying to get them interested in both her inner mental workings and her outer physical workings. If audiences understand the outer image of her dance they will also understand the inner image in her mind. When she states her desire "to cause its birth in the spectator's mind," Fuller indicates that she expects her audience to engage with her not only on an aesthetic level, but also on a mental level. She wants her audience to not only process her images visually, but also mentally, so that her physical actions act as a mode of communication between her brain and her spectator's brains.
Regarding this form of communication Fuller states, "Thus we are able . . . to feel within ourselves as an impulse an indefinable and wavering force, which urges and dominates us" (247). Fuller indicates that using her dance as a physical form of inner communication between her and the audience creates a force between the two that is both tangible and intangible. It is palpable in the sense that she knows that it exists and that there is a transfer of something ineffable in the sense that it is not quantifiable. Fuller's attempt to communicate her inner images through her exterior movement was not to assert that audiences were unable to construct their own experience, since spectators could choose which element or combination of elements on which to focus. However, I think that Fuller believed that the power of the inner impulse was so strong that it would be communicated through her performance no matter upon which visual element the audience chose to focus. Her desire to create an entire performance including lights, color, fabric, and movement all evolved from an internal idea, and that concept would be disseminated through every element of the performance.
Another place where Symbolist ideas and the performance of Loie Fuller converge is with their interest in mirrors. The Symbolist desire to explore the mysteries of the mind created new conventions in which consciousness and the psyche could be explored (Kelly 12). This fascination with exploring the unknowable elements of the world and peering into the innermost self manifested itself in the Symbolists' captivation with the mirror; they were intrigued by the reflection that materialized when a person looked into one. Frazer Lively notes this fixation with mirrors commenting, "motifs that were common to symbolist writers [were] . . . the dangerous enchantment of mirrors" (271). The Symbolists were fascinated with mirrors because the mirror was a device that allowed a person to look into the glass and see beyond him or herself, to see a double, or their Other reflected back at them. Lively, explains that the preoccupation with the Other in the mirror alludes to the myth of Narcissus, the man who sees his own reflection in a pool of water and becomes enamored with it (271). The space of the mirror allows the self to acknowledge the existence of its reflected Other.
Fuller was also interested in playing with the reflection of the self in her performances and created a means by which she could dance and have her image reflected at the same time. In 1893 Fuller patented a devise that she called a "mirror room." Garelick describes this invention as "an octagonal backdrop, open in the front, made up of continuously arranged mirrors illuminated by tiny electric lights installed in the interstices. This curving wall of lights and mirrors created multiple reflections of the dancer performing before it" (45). Fuller would dance and her image would be reflected all around her, thus producing multiple images of her form. Consequently, not one human body, but many were reflected and refracted in the performance space.
According to Garelick the audience had a difficult time determining which of the dancing bodies onstage was actually the flesh-and-blood Loie Fuller (45). From this account it seems that just as the Symbolists were interested in the merging of the self and the Other in the mirror, so too was Fuller. It appears that she was interested in what happened onstage when the physical dancing body converged with the reflections of the dancing body. Mrs. Griffith, a British writer who saw the Serpentine Dance performed in the mirror room described its effect on her. She explains, "By some mysterious arrangement, eight Loie Fullers appear to be dancing at the same time, and the whole stage is bathed in a flood of glorious tints, in which may be seen aerial forms, in cloudlike vestures, whirling and dancing . . ." (qtd. in Garelick 45). This audience member describes Fuller's performance with her multiple reflections and combination of the lighting effects as something celestial or otherworldly. Garelick notes "The mirror room . . . both dissolved and reproduced Fuller's image" (45). By dancing in a space with mirrors Fuller's physical body dissolved because it became difficult to differentiate which body onstage was Fuller's actual body. However her body was also reproduced, because the mirrors allowed not just one dancing body onstage, but multiple dancing bodies.
The idea of absence and presence once again manifests itself in the mirrored performance. Fuller's body is visible because she is onstage performing. But it is also hidden, because at times during the performance it becomes hard to extricate Fuller's physical body from the reflections. Her experimentation in the mirror room produced multiple images in the mirror that added to the ethereal sense of the performance. Instead of one body disappearing and reappearing, there were multiple bodies.
According to Albright, because the mirror room set was so large and breakable Fuller could not tour with it, so she began experimenting with other ways of using mirrors, "adapt[ing] the play of light and mirror by using large swaths of shiny, reflective fabric, or by sewing mirrors on [her] costumes," (191). Even though she could not always use the large mirrors, the use of mirrors and the reflection of her image was something that she continued to experiment with and to implement in different ways throughout her career.
This mystical ambiance that Fuller created with her dancing and her use of mirrors further connects her with Symbolist ideals. According to Lively, "the symbolists wanted a theater of the soul, in which a mystical inner life would transcend the corporeal world" (269). The way that Fuller discusses her process indicates that perhaps this Symbolist idea was implemented in her work. She would have an impression or image in her mind that she would then "transcribe" to her body. She would perform this transcription, combining dancing, lights, and the mirrors (if they were used) to create a mystical, ethereal place where her inner self appeared to transcend her corporeal body, where her physical body became absent and present and time did not exist. The combination of her being both concealed and revealed as well as the effort to transcend linear time indicate that for Fuller's audience, the performance seemed to exist somewhere between the real world and the supernatural world.
This liminal space between the real world and the imagined is also something with which the Symbolists were concerned. Lively explains, "Many [symbolist] plays showed . . . characters . . . who seem to exist partway between the real world and beyond" (269). Fuller's performance fits this description; in the moment that it is occurring it appears to exceed the bounds of the natural world. Albright describes the phenomena by stating, "Beginning with dim lighting (often described as 'eerie'), her movement typically became more and more expansive as the surrounding lights increased in intensity and color variation, creating a climatic (sometimes apocalyptic) vision that exploded back into darkness" (66). The description of Fuller's performance as climatic or apocalyptic reinforces the idea that her dance created a space that existed somewhere between the real world and that which is beyond the real world.
The otherworldly visions constructed in her performances were not created by movement alone, but with the help of other scenic elements. It is the unique synesthetic combination of Fuller's moving body enveloped in the elements of light, space, and color that create the whole effect. These components working together create a transcendent space where Fuller's performance resides. She created her own lighting plots using original techniques and color palettes, which she also designed. She fashioned her own costumes, made of fabric that undulated as she danced. The wands connected to her costume allowed her to reach beyond her personal space and engage far beyond herself. When she danced in this costume her body was both revealed and obscured.
Analyzing Fuller's aesthetics, performance, and methods of composition in context of
Symbolism reveals that both possessed a desire to use theatrical techniques to evoke representations of inner emotion and spirit. Fuller's Serpentine Dance employed color, light, fabric, and movement in a manner that elicited Symbolist ideals of abstraction, otherworldly images, and an abdication of linear time. Examining Fuller through this lens affirms that her theories and implementation of space were modern in nature because she used the performance space to physicalize her internal emotions. The fusion of Symbolist ideals and Fuller's own philosophies regarding lights, color, and space constructed a synesthetic whole that transcended conventional ideas of time and space and created a performance that was uniquely hers, and provides further evidence that Fuller should be acknowledged as a modern dancer.
Works Cited
Albright, Ann Cooper. Traces of Light: Absence and Presence in the Work of Loie Fuller. Connecticut: Wesleyan University Press, 2007. Print.
Appia, Adolphe. "From How to Reform Our Staging Practices" in Twentieth Century Theatre: A Sourcebook. Ed. Richard Drain. New York: Routledge, 1904. pp.15, 237. Print.
Cardullo, Bert. "En Garde! the Theatrical Avant-Garde in Historical, Intellectual, and Cultural Context in Theatre of the Avant-Garde 1890-1950. Eds. Bert Cardullo and Robert Knopf. New Haven: Yale University Press, 2001. p.1. Print.
Coffman, Elizabeth. "Women in Motion: Loie Fuller and the "Interpenetration" of Art and Science." Camera Obscura 17.1 (2002): p. 73. Print.
Cohen, Selma Jeanne. "The Modern Dance: Moving from the Inside Out" in Dance as a Theatre
Art: Source Readings in Dance History from 1581 to the Present Ed. Selma Jeanne Cohen. Second ed. New Jersey: Princeton Book Company, 1992. Print
Danse Serpentine no. 765. Dir. Méliès, George. Perf. Fuller, Loie. 1896. Film.
Fuller, Loie. Fifteen Years of a Dancer's Life. New York: Dance Horizons Print.
---. "From Light and Dance" in Twentieth Century Theatre: A Sourcebook. Ed. Richard Drain. New York: Routledge, 1908. p. 245. Print.
Garelick, Rhonda K. Electric Salome: Loie Fuller's Performance of Modernism. Princeton: Princeton University Press, 2007. Print.
Holmes, Diana. Rachilde: Decadence, Gender, and the Woman Writer. New York: Berg, 2001. Print.
Kelly, Katherine E. "Introduction: The Making of Modern Drama" in Modern Drama by Women 1880s - 1930s. Ed. Katherine E. Kelly. New York: Routledge, 1996. p.1. Print.
Lively, Frazer. "Introduction to the Crystal Spider" in Modern Drama by Women 1880s-1930s. Ed. Katherine E. Kelly. New York: Routledge, 1996. p. 269. Print.
Schwartz, Hillel. "Torque: The New Kinaesthetic of the Twentieth Century" in Incorporations. Ed. Jonathan Crary Sanford Kwinter. New York: Zone, 1992. p. 71. Print.
Wigman, Mary. "The Philosophy of Modern Dance" in Dance as a Theatre Art: Source Readingsin Dance History from 1581 to the Present. Ed. Selma Jeanne Cohen. Second ed. NewJersey: Princeton Book Company, 1992. p. 149. Print.


text:
Clive Ponting documents this pattern throughout pre-recorded and recorded history in his book A New Green History of the World: The Environment and the Collapse of Great Civilizations
recommend book⇒A New Green History of the World: The Environment and the Collapse of Great Civilizations | ||||
by | Clive Ponting | 978-0-14-303898-6 | paperback | |
birth | 1947 age: 66 | 978-0-312-06987-2 | hardcover | |
publisher | Penguin | |||
published | 2007-12-18 | |||
Ecological history of the world going right back to when man was a hunter gatherer to the present day, all the continents. | ||||
Greyed out stores probably do not have the item in stock. Try looking for it with a bookfinder. |
Within the human being is a jungle.
You, born of the Divine Breath, be aware.
Wolves and pigs by the thousands are within,
the fair and the foul.
What dominates you is what you are.
If your gold outweighs your copper,
you will be known as gold. Whatever you most are
is the form in which you will resurrect.
~ Jalal Al-Din Rumi (born: 1207-09-30 died: 1273-12-17 at age: 66)
The idea is everyone should learn to suppress their mammalian brains and work more with their rational brains. They should do not what gut feels most natural, but which their higher self tells them in is their own and others' best interest.
Zen uses the term monkey mind. The mind is likened to a monkey loose in the house, tearing it apart in its curiosity. The cure is to give the monkey something to keep it occupied, even if only running up and down the stairs.
CCism is another such approach, which tries to avoid the sticky question of the existence of God.
However, we have seen that world leaders are unusually power oriented people. They are strongly driven by the old mammalian drives. They are not about to suppress any of that primal lust for power.
Some of the technologies needed are:
Your goal as a good cell is to try to anticipate the global needs of this consciousness and act accordingly. Such activities might include:
All the soils of the earth started out from bare rock. Lichens over hundreds of thousands of years produced tiny bits of soils which enabled more advanced plants to grow, which eventually lead to trees, cracking the rocks, and laying down layers of leaves each year to build the soils. The process is so slow, that from a human perspective, soil is irreplaceable, but from geologic time perspective, earth can probably eventually heal any damage man throws at it.
recommend book⇒The Age of Spiritual Machines: When Computers Exceed Human Intelligence | ||||
by | Ray Kurzweil | 978-0-14-028202-3 | paperback | |
birth | 1948-02-12 age: 66 | 978-0-670-88217-5 | hardcover | |
publisher | Penguin | 978-1-101-07788-7 | eBook | |
published | 2000-01-01 | 978-0-14-086888-3 | audio | |
B002CIY8JW | kindle | |||
A fascinating book giving the evidence why computers exceeding human intelligence are imminent. | ||||
Greyed out stores probably do not have the item in stock. Try looking for it with a bookfinder. |
At that point, either we merge with computers, or become their doddering parents, treated much like pets. Computers would have the ability to modify their own motivations. They would have the ability to solve technological problems far beyond us now, and they would have the ability to sell us stupid humans on accepting those solutions. We can hope that computers might have more compassion for all life forms than humans typically have.
It is hard to deal with these bleak thoughts without some hope of a knight on a white charger who will eventually come and set things right. Most people pick some religious belief, e.g. a messiah or life after death. I find spiritual machines more appealing, since they could well show up within my lifetime, even if they don't live up to their optimistic billing.
available on the web at: |
http://mindprod.com/ethics/apemind.html | |
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The Wallace H. Coulter Award for Lifetime Achievement, first awarded by the American Society of Hematology (ASH) in 2007, recognizes an individual who has demonstrated a lasting commitment to the field of hematology through outstanding contributions to education, research, and practice. Dr. Coulter was an engineer, inventor, and entrepreneur who applied engineering principles to solving biomedical problems. ASH and the Coulter Foundation established the Wallace H. Coulter Award for Lifetime Achievement in Hematology to honor Wallace's legacy by recognizing others who have had a significant impact on the field of hematology. This afternoon, past ASH President Dr. H. Franklin Bunn will receive this award for his leadership in advancing the field of hemoglobin research over the past four decades.
When asked to describe his career, Dr. Bunn stated, "From the get-go, my biggest challenge has been to do meaningful and productive research and, at the same time, maintain a respectable level of competence in clinical hematology." Any trainee or colleague who has ever had the honor of learning from Dr. Bunn knows he has certainly attained this goal and has always remained a caring mentor and exceptional teacher.
Dr. Bunn is currently director of hematology research at Brigham and Women's Hospital in Boston, MA. In addition to his ongoing research, Dr. Bunn served as ASH president in 1992, participated in many National Institutes of Health Advisory groups and councils, was Associate Editor of Blood, and authored two textbooks. As Professor of Medicine at Harvard Medical School, he is an inspiring teacher to medical students and a wise mentor to fellows and junior faculty. "Although my focus has been largely in laboratory research, my most enduring gratification has been the fellowship of two generations of outstanding hematology trainees at Brigham and Women's Hospital and the opportunity to see their careers develop," Dr. Bunn said.
As an intern at New York Hospital in the early 1960s, Dr. Bunn discovered his passion for hematology while caring for a young patient with end-stage beta thalassemia major. "I followed Alfred in clinic monthly until his death two years later. Alfred's gallantry taught me a lot about how patients can endure and prevail over unimaginable challenges and stresses." The complexities of his patient's disease fascinated and inspired him, ultimately leading him to conduct 30 years of research on hemoglobin. Dr. Bunn earned his undergraduate degree in chemistry from Harvard College in 1957 and his MD from the University of Pennsylvania School of Medicine in 1961. He believes his most important research contribution to date has been the discovery of the structure and biosynthesis of glycated hemoglobins (e.g., hemoglobin A1c) and their relevance to diabetes.
Dr. Bunn's research has taken many unexpected turns. From 1992 to 2002, Dr. Bunn's lab focused on oxygen-dependent gene expression and molecular adaptation to hypoxia. During the last seven years, he and his lab have been working on a novel flavoheme protein that plays an important role in fatty-acid desaturation and the production of insulin in pancreatic islets. Another focus for this year has been the undertaking of a textbook for medical students with co-author Jon Aster, titled Pathobiology of Blood Disorders.
For his many contributions to the field of hematology, Dr. Bunn will receive the 2009 Wallace H. Coulter Award for Lifetime Achievement in Hematology at 1:30 p.m. today in Hall F. "ASH has long been an integral and consistently positive part of my professional life. The associations that I have made at ASH and at the journal Blood have contributed enormously to my viability as a scientist and physician," Dr. Bunn said. Indeed, Dr. Bunn has been an outstanding contributor to the lives of his patients, the careers of countless hematologists, and to ASH.
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Latest Headlines
A low-flying plane on Sunday spotted an object in waters off Vietnam that could ...
You can register on site. The Hunger Walk/Run starts at 2 p.m. in Turner ...
William "Wild Bill" Guarnere, one of the World War II veterans whose exploits ...
The Colorado Rockies agreed to one-year contracts with 26 players for the ...
The St. Louis Cardinals signed Cuban shortstop Aledmys Diaz to a major ...
Scottsdale, AZ (SportsNetwork.com) - Troy Tulowitzki belted a pair of homers ...
Hands On Atlanta helps individuals, families, corporate and community groups ...
11Alive News personalities show fraternal/sororal allegiance
The 30th annual Hunger Walk/Run takes place Sunday, March 9, 2014 at Turner ...
Video: Man accused of slapping toddler on Delta flight
ATLANTA -- A Minneapolis woman is telling her side of the story after an Idaho businessman is charged with assaulting her crying toddler on an airplane. Jessica Bennett said her 19-month-old son, Jonah, started crying because of the altitude change.
"That's when the man next to me said something I couldn't believe," said Bennett.
A Federal Criminal Complaint obtained by 11Alive News it stated "According to Ms. Bennett, a male passenger seated next to her in row 28, seat A, later identified as Joe Rickey Hundley, told her to shut that (racial slur) baby up. Ms. Bennett stated that Joe Rickey Hundley then turned around and slapped (her son) in the face with an open hand."
RELATED | Man charged with slapping toddler loses job
Bennett claimed Hundley's slap caused a scratch below her son's right eye.
"I couldn't believe he would say something like that to a baby or about a baby," Bennett said. "And then to hit him? I felt like I was in another world, I was shaking."
Hundley is the President of an aircraft parts manufacturer in Idaho. He denied striking the child or using a racial slur. He has since been suspended from his job.
11Alive News has learned that in 2007 Hundley pleaded guilty to assault after a fight with his girlfriend.
It appears there were several witnesses that saw the incident on the plane.
According to the complaint Bennett received assistance from a number of people, including passenger Todd Wooten. "Mr. Wooten was seated in row 16, seat C, and heard derogatory language coming from the rear of the aircraft," the complaint said. "According to Mr. Wooten, he saw Joe Rickey Hundley strike (the boy)."
Bennett is convinced Hundley was intoxicated when he boarded the plane, adding that he "reeked of alcohol".
Hundley's Decatur Attorney said she is sure both parties are very nice people. "We want the case to move along as it's supposed to," said Attorney Marcia Shein. "We hope it will resolve itself."
Unitech, the aerospace and defense company Hundley works for posted a statement on their website:
"We understand that authorities are investigating the recent behavior of one of our business unit executives while on personal travel. The allegations are disturbing and are contradictory to our values."
"We are taking this matter seriously. In accordance with our company's personal conduct policy, we have suspended the employee pending investigation."
You can follow Kevin on Twitter @kgrowson


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orange oximega? sounds like and EFA product amybe?
Okay I'll guess: Orange OxiMega is a antioxidant forumula.
Could be competing with MST's excellent MycoGreen.
Triad has become my staple multi- now. MycoGreen is likely to become my staple anti... that might be revised depending on what OxiMega does.
join the promo to get free oximega
may be ready in one week or 10 days


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vendor info...
product info: ...
Paris Effile Tower Candy Favor Bags
12 x Paris Effile Tower candy favor bags ~ Ooh La La
♥ brown or white paper bag
♥ scalloped finish to opening edge
♥ each bag is individually hand stamped with a Eiffle Tower image & Paris text in chic black ink (color of ink can be changed)
♥ each bag measures approx: 16.5cm h x 10cm w x 4cm d / 6.5" h x 3.9" w x 1.5" d
♥ bags will arrive fully assembled all you need to do is add the candy
Party favor bags are 50 cents each and are made to order to allow for design changes if need be.
Bespoke partyware is a speciality at Ben & Jess so please email me if you would like a custom made banner and party accessories.
etsy products... View all Etsy products →
The term 'Etsy' is a trademark of Etsy, Inc. This application uses the Etsy API but is not endorsed or certified by Etsy, Inc.


text: Asteroid buzzes, misses Earth — unlike meteorFebruary 16, 2013CAPE CANAVERAL, Fla. — A 150-foot asteroid hurtled through Earth's backyard Friday, coming within an incredible 17,150 miles and making the closest known flyby for a rock of its size.... MajoritarianI hope someone tells Laugher that Star Trek was Sci Fi--the Fi is short for Fiction dude. I wasnt scared. Im too darn cool to be scared. Just like the Polar Bear going bye bye, it doesnt mean a thing. Did I miss that something terrible happened when the annoying Dodo Birds depared? Of course not! For all the insignificance the left likes to put on our existence here, they sure like to elevate us to an unnatural position of bleeding heart for the tigers and bunnies. Hmmm, makes you wonder if maybe we are something different. (Outer Limits Theme) 0 Agrees | 0 Disagrees | Report Abuse » MajoritarianMrdlump:"What's even more noticeable is a supposed all knowing, all seeing and caring god would hurl rocks at his creation" Oh, and is this coming from a universalist such as yourself? Spare me. The arrogance of the left is very phony. If you know so much and have your written in stone "theories" to explain all, well, why so fearful? Again, the soft science of politics and Darwin reveals something about its lil activists. They are motivated by greed and needing attention. Yeh you are. 0 Agrees | 0 Disagrees | Report Abuse » BDaddy"Whats more noticeable is that all these inflated heads couldnt do a thing about it. Nothing." We have the same exact problem with you. 1 Agrees | 0 Disagrees | Report Abuse » WhyDoPeopleLaughAtCreationistsHe is willfully ignorant. en.wikipedia****/wiki/Asteroid_impact_avoidance 0 Agrees | 0 Disagrees | Report Abuse » HughJorgenDear Editor: When a meteoroid enters the atmosphere it becomes a meteor. When the meteor strikes the earth it then becomes a meteorite. Remember that in 40 years when there's a possibility of reporting on another incident like this. 0 Agrees | 0 Disagrees | Report Abuse » MajoritarianWhats more noticeable is that all these inflated heads couldnt do a thing about it. Nothing. 0 Agrees | 5 Disagrees | Report Abuse » Showing 6 of 6 comments


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Author's Comment
February sees the introduction of a surprise event. The Game Over Tinies is a pastiche of Edward Gorey's classic, The Gashlycrumb Tinies. I thought it would be fun if we did our own morbid alphabet book starring video game characters. We've got the first six letters today but, from here on out, it'll be four letters per update. Hope you enjoy it!
Uploaded by Dan at 00:09 on 05 FebuaryNews
Posted 14:03Sat 26 January
by Brent
Hey guys! Our buddy PsyGuy, who helped design our website, has a new video on Youtube about Wario and Waluigi. Watch it NOW NOW NOW! http://youtu.be/eEUvEDfWWTM


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Original Price: $69.99
Item Number: 258N95
Our Way West Madison Satchel boasts true western charm. This women's handbag features fashion-forward styling. Women's purse has one exterior zip pocket, two interior zip pockets and two interior pouch pockets. Silver-tone feet at bottom of bag. Women's handbag measures 14 1/2" x 7" x 4". Imported.


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42 U.S. Code § 2295 - Acquisition of nuclear materials
Authorization; restriction of amounts of plutonium or uranium; amount and use of plutonium authorized to be acquired
The Atomic Energy Commission is authorized to purchase or otherwise acquire from the Community special nuclear material or any interest therein from reactors constructed under the joint program in accordance with the terms of an agreement for cooperation entered into pursuant to the provisions of section
2153 of this title: Provided, That neither plutonium nor uranium 233 nor any interest therein shall be acquired under this section in excess of the total quantities authorized by law. The Commission is authorized to acquire from the Community pursuant to this section up to four thousand one hundred kilograms of plutonium for use only for peaceful purposes.
Terms and periods of contracts to acquire plutonium
Any contract made under the provisions of this section to acquire plutonium or any interest therein may be at such prices and for such period of time as the Commission may deem necessary: Provided, That with respect to plutonium produced in any reactor constructed under the joint program, no such contract shall be for a period greater than ten years of operation of such reactors or December 31, 1973 (or December 31, 1975, for not more than two reactors selected under section
(c) of this title, whichever is earlier: And provided further, That no such contract shall provide for compensation or the payment of a purchase price in excess of the Commission's established price in effect at the time of delivery to the Commission for such material as fuel in a nuclear reactor.
Terms and periods of contracts to acquire uranium
Any contract made under the provisions of this section to acquire uranium enriched in the isotope uranium 235 may be at such price and for such period of time as the Commission may deem necessary: Provided, That no such contract shall be for a period of time extending beyond the terminal date of the agreement for cooperation with the Community or provide for the acquisition of uranium enriched in the isotope U–235 in excess of the quantities of such material that have been distributed to the Community by the Commission less the quantity consumed in the nuclear reactors involved in the joint program: And provided further, That no such contract shall provide for compensation or the payment of a purchase price in excess of the Atomic Energy Commission's established charges for such material in effect at the time delivery is made to the Commission.
(Pub. L. 85–846, § 6,Aug. 28, 1958, 72 Stat. 1085.)
In subsec. (d), "sections
1342, and
1349–1351 andsubchapter
II of chapter
15 of title
31" substituted for "section 3679 of the Revised Statutes, as amended [31 U.S.C. 665]" on authority of Pub. L. 97–258, § 4(b),Sept. 13, 1982, 96 Stat. 1067, the first section of which enacted Title 31, Money and Finance.
In subsec. (e), "section
6101 of title
41" substituted for "section 3709 of the Revised Statutes, as amended" on authority of Pub. L. 111–350, § 6(c),Jan. 4, 2011, 124 Stat. 3854, which Act enacted Title 41, Public Contracts.
Section was enacted as part of the EURATOM Cooperation Act of 1958 which comprises this subchapter, and not as part of the Atomic Energy Act of 1954 which comprises this chapter.
The table below lists the classification updates, since Jan. 3, 2012, for this section. Updates to a broader range of sections may be found at the update page for containing chapter, title, etc.
The most recent Classification Table update that we have noticed was Tuesday, August 13, 2013
An empty table indicates that we see no relevant changes listed in the classification tables. If you suspect that our system may be missing something, please double-check with the Office of the Law Revision Counsel.
42 USC | Description of Change | Session Year | Public Law | Statutes at Large |
LII has no control over and does not endorse any external Internet site that contains links to or references LII.


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Philippe Ribiere rewarded with bronze at the first IFSC PARACLIMBING WORLD CHAMPIONSHIP in Arco (IT)
Thu, 21/07/2011 - 09:15 — Petzl NewsJuly 2011, the first Paraclimbing World Championship is included in the program of the Climbing World Championship actually in progress at Arco (It). This new event gathers for the first time ever disabled climbers form 15 countries for the world champion title. The climbers are split up in different categories depending on their level of disability.
- blind and reduced vision (three categories depending on level of vision)
- amputee – leg
- amputee – arm
Sasha DiGiulian joins the Petzl Athlete Team, pushes standards
Thu, 21/04/2011 - 18:14 — Petzl America -...A welcome addition to the Petzl Athlete Team, 18-year-old Sasha DiGiulian has spent the first months of 2011 re-adjusting difficulty standards for women's sport climbing. Hailing from Alexandria, VA, Sasha picked up climbing 11 years ago, after her brother's birthday party, when she was just 7 years old.
Girivihar International Bouldering Competition
Fri, 04/02/2011 - 15:39 — Petzl NewsFrom January 23 to 25 the city of Mumbay hosted the 8th edition of Girivihar International Bouldering Competition. Gathering over a hundred competitors the unique bouldering competition of India moved a step higher. Petzl and our Indian distributor (Allied Safety) support this event, and regularily sends team members to participate : this year Philipe Ribiére represented the team. Report from Vaibhav Mehta chief route setter on the event.
European arborist championship 2010
Mon, 05/07/2010 - 09:06 — Petzl NewsThis year the arborist championship took place on June 12 and 13 in Prague, Czech Republic. The event was organized by the European Arborist Committee, in collaboration with the Czech subsidiary of ISA (International Society of Arboriculture).
GRIMPday 2009 Video
Tue, 27/10/2009 - 13:57 — Petzl ProGRIMPday 2009: Rescue professionals with no fear
GRIMPday is an international, multidisciplinary technical rope rescue competition which takes place every October in Namur. The fourth edition was a face-off between 23 teams, from Belgium, France, Great Britain, Switzerland and Germany. The participants were firefighters, soldiers, police officers, rescuers, etc.
The 2009 North Face Mont Blanc Ultratrail - Highlights
Tue, 01/09/2009 - 18:40 — Petzl NewsThe North Face Mont Blanc Ultratrail is made up of several different trail running events:
WorldCup Bouldering Day.2 - Semi-Finals & Finals
Tue, 09/06/2009 - 09:57 — Petzl NewsAfter the exciting World Cup Bouldering qualifiers yesterday, in Vail, Colorado, the twenty men and twenty women continued the competition with the Semi-Finals and Finals today.


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When it comes to the education of our children, every parent wants to give their young ones the best possible start in life. Read
Receive the latest Wirral news and sport direct to your inbox. Sign up for our free E-Newsletter. Read
Find out what events are going on, in and around Wirral with our Events Calendar Read
A comprehensive listing of Wirral contacts for Emergency Services, Public, Health, Support, Travel, Library, Leisure/Recreation, Doctors, Vets, Chemists, Dentists and Schools. Read
We want your local stories, videos & pics.


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Rickie J Napier
Nelsonville, OH
Basic information on Rickie J Napier, Nelsonville OH. Find Rickie J Napier's age, gender, possible aliases, relationship status and professional status.
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Amazing piece of work I think.
Awww, very cute!
I've Been Frosted
That was very cute!!!
Our goal in life should be - to be as good a person as our dog thinks we are.
Thank you for the siggy, Michelle!
Cindy (Human) - Taz (RB Tabby) - Zoee (Australian Shepherd) - Paizly (Dilute Tortie) - Taggart (Aussie Mix) - Jax (Brown & White Tabby)
Adorable! Thanks!
Mommy to my sweet Lolli!
Buddy, you'll always be my silly boy! I love you and miss you so much!!!
Dogs are not our whole life, but they make our lives whole!
Some people believe holding on and hanging in there are signs of great strength. However, there are times when it takes much more strength to know when to let go, and then do it. --Ann Landers
Very cool.
I've Been Boo'd
I've been Frosted
Men, it has been well said, think in herds. It will be seen that they go mad in herds, while they only recover their senses slowly, and one by one."
Charles Mackay, Scottish journalist, circa 1841
Copyright © 2001-2013 Pet of the Day.com


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Many people give up something during Lent as a way to ground themselves in their faith. Even though I'm not a Catholic, I am definitely interested in month-long challenges, and since Lent is just over six weeks, it's a great time to give up something for a short time. Also, Lent can be good for your wallet, too! Let's talk about why and how.
We Give Up Vices During Lent
Chocolate, soda, caffeine, and alcohol are common responses to the "What are you giving up for Lent?" question. Catholics choose not to consume those during this period, which means they're not spending money in one particular category for six weeks. Vices are expensive. Even a casual drinker could save $100 going six weeks without a beer or a glass of wine.
How much are your vices costing you? And how much could you save if
Read More »from How Observing Lent Can Help You Fatten Your Wallet


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"Blood Detectives" has aired on the Discovery Health Channel, DC station WETA, and PBS-affiliated stations around the country. Check your local listings for upcoming air dates and times in your area.
"Blood Detectives" is an hour-long documentary that details the secrets and mysteries of human blood and the highly specialized medical professionals—hematologists—who unravel these medical mysteries to save lives. The film dives deeply into the lives of patients who are affected by some of the most common, and sometimes deadliest, blood disorders, from six-year-old Ezra, who suffers from severe life-threatening anemia, to Rebecca, the young mother whose life and that of her baby are at risk because of a disorder that causes dangerous blood clots. This hour-long show follows the best in the field as they race against time to find treatments for conditions, from leukemia to bleeding disorders and more.
Joseph Lovett is an award-winning documentary producer and director. Focusing on social issues and health, Mr. Lovett has produced more than 30 hours of prime-time television specials in the past 19 years. Past films and shows include: "In a New Light," an annual broadcast of AIDS education and outreach specials using Hollywood celebrity performances to showcase the real stories of people dealing with different aspects of the AIDS epidemic; "State of Denial," a feature film on AIDS in South Africa that aired on PBS's "P.O.V."; "Cancer: Evolution to Revolution" (HBO), a film about cancer that was honored with the Peabody Award, the Christopher Award, an Emmy nomination, and numerous awards from cancer advocacy organizations; "Fat Like Me" (ABC), a show about childhood obesity; "Coming Home" (Hallmark Channel), a film about forgiveness; and "Three Sisters" (HBO). In 2006, Mr. Lovett executive-produced "Too Hot NOT to Handle" (HBO), about global warming.
"Blood Detectives" was made possible with the support of the:
*The Institutes and Center listed above are part of the: National Institutes of Health U.S. Department of Health and Human Services
Millions of people are affected by blood disorders each year, yet many are uninformed about even the most common conditions. Help raise awareness by sharing this film and/or hosting a screening of "Blood Detectives." You might consider:
Two "Blood Detectives" discussion guides are available to help you facilitate a dialogue with participants about topics seen in the film.
"Blood Detectives" may be coming soon to a PBS station in your area, so you may want to coordinate a local screening to coincide with the film's air date. Check your local listings for the most up-to-date information on airings in your area. If the film is not scheduled to air in your area, please sign up to request a DVD.
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Support the mission of ASH and help move hematology forward


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Song Stories
The Walkmen | 2006
The Walkmen have a theory about their writing "Louisiana," the lead track for their third full-length, A Hundred Miles Off: "When you listen to the album over and over again, you're not going to hate the first song," lead singer Hamilton Leithauser said. They designed "Louisisana" to be a horn-aplenty party song in the vein of the Kinks, but somewhere out there exists another version. "Then we did a dub reggae version that was a little weird," Leithauser said. "It was all King Tubby-d out. We never made it out of the studio with that one. I hope it resurfaces as a B side some day."
Most Popular Song Stories
"Drifter's Escape"
Jimi Hendrix | 1974 -
"Crosstown Traffic"
The Jimi Hendrix Experience | 1968 -
"Voodoo Chile"
The Jimi Hendrix Experience | 1968 -
"Purple Haze"
The Jimi Hendrix Experience | 1967 -
"All Along the Watchtower"
The Jimi Hendrix Experience | 1968 -
"Kiss From a Rose"
Seal | 1995
Photos & Videos
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Random Notes: Hottest Rock Pictures


text: The 3 doesn't have to be part of his arsenal but it needs to be in his repertoire if that makes any sense. Look at MJ, he was never known as a 3 point marksman, his game was at the rim and mid-range, but he had a 3 you had to honor. If Junior can add that, I will FINALLY get off his ass about us not taking Jrue....promise!


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Fashion 5:33 pm Raif Adelberg Skull and Hula Girl Sweaters for Aloha Rag Raif Adelberg designed a series of sweaters for Aloha Rag. Pulling inspiration from Raif's archive, the two sweaters are fairly unique. The "skull" sweater is made from 100% cashmere and come in "black, red and grey with a traditional flower… 2815 - Read more
Fashion 10:00 am Converse for Aloha Rag – AR SRPLS Label Shoes – Q&A Aloha Rag unveils its second collaboration with Converse. The store has worked on two shoes, the Pro Leather Racer and Auckland Racer, produced under their AR SRPLS Label – a collection of classics that carry over season after season, inspired… 2458 - Read more
Fashion 11:28 am AR (Aloha Rag) Spring/Summer 2013 – Preview The AR brand, part of the Aloha Rag family, previews their SS2013 collection. AR goes a bit to the "wilder" side with a slight rugged take on the seasons. "AR pictured a man who is free-spirited, playful, and carefree… but… 569 - Read more
Fashion 5:00 pm Big John for AR (Aloha Rag) White Denim AR collaborated with Japan's Big John denim line on a pair of white denim for Spring/Summer 2012. All the original details of Big John denim remain including the black embossed tag on the belt line. The AR straight cut 508… 223 - Read more
Fashion 8:40 pm AR – Autumn/Winter 2012 Lookbook (Aloha Rag) Aloha means hello and goodbye and this collection from Aloha Rag means easy and idiosyncratic. Yes, more clean and ready to rotate private-label looks from our favorite boutique on the island of Oahu. Cool ass coats, pants, shirts, you call… 162 - Read more
Fashion 11:00 am Aloha Rag Paneled Jacket Aloha Rag's Paneled Jacket arrives as one of the standout pieces from their recently unveiled Autumn/Winter 2011 collection. The jacket features a base canvas of soft grey tweed, skillfully paired with tan corduroy panels found on the inner sleeves. The… 78 - Read more
Shoes 10:00 pm Converse, Aloha Rag 20th Anniversary Zip Sneakers A few special make-ups for Aloha Rag from Converse have come through recently. The Aloha Rag 20th anniversary Zip make-up may beat them all. In fact, it may well beat any sneaker this year. I'm giving it my vote for… 281 - Read more
Fashion 8:00 pm Aloha Rag Men's Collection for Autumn/Winter 2011 Here's a look at the private label (in-house) collection from Aloha Rag for Autumn/Winter 2011. The collection features a wide range of garments for the gents all ranging from $200-$1000. The looks remains contemporary and do not stray too far… 275 - Read more
Fashion 8:00 pm Aloha Rag Collection for Spring 2010 A few new things from Aloha Rag in the form of a small in-house collection. "Spring 2010 Tatsugo Yoda introduces the Aloha Rag brand. The collection consists of 10 men's and 10 women's items that are a nostalgic take on… 80 - Read more
Uncategorized 7:51 pm Aloha Rag's Tatsugo Yoda Interview Retail in the US has hit a bit of a crunch in 2008. All the while new stores continue to pop up on the scenes of city metros, including the Aloha Rag Store in Greeniwch Village. Division Street sat down… 125 - Read more


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Artisan Metal Works Insulated Stainless Steel Party Tub - 17 pt or 34 qt.
Item #: 302593 |Model #: T707PTA+ More details-
Stainless steel party tub has an insulated double wall construction and is hand hammered. Choice of 17 or 34 qt sizes.
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17 qt.- 17 qt.
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Clear Party Plates - 6" - 480 ct.
Item #: 910056 |Model #: N64021+ More details-
The 6" Party Plate is crystal clear so it can match all of your favorite holiday and theme colors. It features a simple but classy design that is the perfect to match any event.
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Be prepared with all the needed utensils for your gathering.
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These jug pumps are great for ketchup and mustard dispensing.
Soup Crock - 12 oz. - 48 pk.
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This soup crock is widely used in many restaurants.
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Mozaik® Platter Set with Mini Forks have the look of permanent ware with no hassle of clean up.
Insulated Paprika Tortilla Server - 8.5"
Item #: 168048 |Model #: 315-90151+ More details- Holds Up To 8.5" Diameter Tortillas
- Keeps Flour or Corn Tortillas Soft and Warm up to an Hour
- Top Rack Dishwasher Safe
- Microwavable
Ceramic Skillet - 18 oz. - 12 pk.
Item #: 691548 |Model #: IFPS18AW+ More details-
The ceramic skillet is excellent for special dishes.
Plastic Serving Bowls - Clear - 192 oz. - 6 pk.
Item #: 885713 |Model #: N1922421+ More details-
These 192 oz. plastic bowls are perfect for parties, food service and everyday use.
Clear Party Plates - 9" - 360 ct.
Item #: 910070 |Model #: N93021+ More details-
The 9" Party Plate is crystal clear so it can match all of your favorite holiday and theme colors. It features a simple but classy design that is the perfect to match any event.
Bakers & Chefs Melamine Ramekins Condiment Dish - 2 oz. - 24 ct.
Item #: 168038 |Model #: 315-90148+ More details- 2 oz. Portion Control
- Perfect for Condiments, Small Salads & Snacks
- Dishwasher Safe
Serveware Sets
The visual presentation is just as important as the quality ingredients and unique recipes. Plan your schematic with a variety of serving trays and dishes that help the food and dessert pop off the plate. At Sam's Club you can sort through and in-depth stock that includes everyday glass and plastic serving platters in addition to premium styles and design. Every piece - regardless of its affordable price point - will help you communicate the look and feel of the event through dishware. You can also find festive soup bowls and small ramekins for sauce or dip selections.
In addition to the plethora of dish or platting options, you can also browse signature stainless steel party tubs, multi-level serving stands, and all the small yet significant serving spoons and all forks you will require. Budget-friendly plastic serveware will help you dish your favorite plate and keep your guests moving smoothly down the buffet line. Also, expect to shop a variety of organizers that will help to keep track of all your important tools.
Whether you are searching for the perfect platter or easy-to-use serving flatware, you can find everything you need in just a few simple clicks. Turn to Sam's Club for their impressive assortment of serveware and save on all your supplies today.


text:
June 29, 2011
Opening arguments begin today in what observers have called the most important trial New Orleans has seen in a generation. It is a shocking case of police brutality that has already redefined this city's relationship to its police department and radically rewritten the official narrative of what happened in the chaotic days after Hurricane Katrina.
December 20, 2010
With 3,500 beds in a city of about 350,000 residents, Orleans Parish Prison (OPP) is already the largest per capita county jail of any major U.S. city. Sheriff Marlin Gusman, the elected official with oversight over the jail, has submitted plans for an even larger complex.


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Renaissance Fort Lauderdale Cruise Port Hotel
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I was up in Montreal and went through the mold room at Chocolat-Chocolat. I purchased a really nice thin bar/caraque mold with a feather on it for another chocolatier. I can't see it on their website but it would probably be worth calling them to see if they have it there still.
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© 2014 Created by Clay Gordon.


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...where ideas work harder
Memorial inscriptions from St Helens Church, Wheathampstead, Herts.
St Helens is a pretty 13th Century church at the centre of Wheathampstead village. The memorial inscriptions below represent around 40% of the graves in the churchyard and I hope to add more in the coming weeks so please check back soon for updates.
If you have any specific queries relating to any missing inscriptions, please email from the link at the contacts page above and I'll see if I can help.
Elaine Saunders
William Robert Simons 1915-1986
In loving memory of Frederick George Collins Died 29-1-1936 aged 56And his wife Gertrude Olive Died 6-11-1980 aged 91And his son Michael Died 11-11-1935 aged 12
John William Edmonds 21-5-1924 aged 5?3Kate Emma Edmonds 22-3-1964 aged 92
In loving memory of Elizabeth Carter 25-11-1929 aged 73And Charles Carter - obscured
In loving memory of Sarah Swain 24-8-1908 aged 66And William Swain 3-1-1914 aged 73
In ever loving memory of my dear husband, John Potter who passed peacefully away 5th November 1940 aged 62 Also of his beloved wife Hatty Potter who was called to rest 13-9-1968 aged 89. Rest in peace
In loving memory of Henry Edward Sibley 27-3-1895 aged 27 Thy will be doneAnnie Sophie Sibley 12-11-1890 Brief life...
In loving memory of Henry Sibley 12-2-1910 aged 75 Trust in the LordSophia Sibley 13-3-1927 aged 89 Abide with me
Edward Nor...ton George 2-6-1976 aged 71Doris Ellen George 22-3-1977 aged 76
In loving memory of William Watson Austin who passed away 7-10-1936 aged 67Also his beloved wife Ellen Alice who died 27-5-1956 aged 86
In loving memory of our dear mother Mary Davies 1896 - 1990 Aged 93Always in our thoughts. Together again at last In loving memory of my dear husband David Davies who died 21-4-1941 aged 50
Elizabeth Claridge 20-10-1941 aged 73 Also Joseph Claridge who died 13-4-1943 aged 78 At rest Gone but not forgotten
In loving memory of Emily Wakefield died 24-10-1861 aged 6 and a half.Also John, brother of the above, ? November 1915 aged 69 At rest
Susanna Wakefield. The beloved wife of Thomas Wakefield Born 18-3-18(13?)Died ? November 1895Thomas Wakefield Illegible Sept 1905?
Sacred to the memory of M Benjamin Jennings who died 17-1-18(5?)8 aged (5?)1 Also...N Jennings, wife of the above 21-3-18(5?)8 aged 57
In loving memory of Charles Sibley 4-11-1898 aged 75Also Charles Soppit Sibley 16-11-1950 aged 84
2 more Sibleys - IllegibleCould be Marion, wife of Charles Sibley aged 61 and Charles himself
Elizabeth Day 1928-1938 At rest
Thomas B...Husband IllegibleJulia wife of the above 4-6-1925 aged 76
James Daley Wiltsher 9-1-1949 aged 72Rosa Wiltsher 13-5-1973 aged 94Nobby Francis 13-7-1978 aged 73And his wife Besse Alice Francis 3-4-1952
Thomas (Ephgrave?)
William (Ephgrave?) 11- (11?)- 1847 aged 23
George (Ephgrave?)
(Ann Shard)
William John Dickinson of Cross Farm Born 20-12-1872 died 11-11-1941And his beloved wife Gladys 11-9-1892 to 6-2-1986
Flora, daughter of John and Mercy Mary Dickinson. 11-11-1861 to 23-12-1926
In loving memory of Mercy Mary Dickinson died 15-1-1893 aged 56John Dickinson born 4-11-1826 died 13-6-1905 of Bamville Wood and of George Ernest, their second son Died 13-10-1897 aged 23
Here lyeth the body of William Lawrence, son of John and Ann Lawrence dates illegible.
James Elliott 24-2-1897 to 11-11-1978
In loving memory of our dear parents George Beadle 19-4-1956 aged 69 and Amelia Priscilla 19-2-1970 84 years Reunited
In loving memory of Robert Arthur Beadle 21-7-1952 aged 42
In memory of Anne Noblett 30-12-1957 aged 17Thomas John Noblett 25-11-1985 aged 75
Sacred to the memory of Thomas James Noblett 16-10-1940 aged 60Lydia Ann Noblett 2-2-1975 aged 95Leonard Robert Noblett 20-9-2001 aged 87Enid Margaret Noblett (Peggy) beloved wife of Leonard 22-9-03 aged 85
Not sad but beautiful, his memory so calm so bright, twill guide us through Earth's darkness tenderly into God's light. In loving memory of Major General Apsley Cherry Garrard GB of Denford, Berkshire and Lamer, youngest son of G. H. Cherry of Denford and Charlotte his wife.90th Light Infantry Indian Mutiny assault, relief and capture of Lucknow campaign in Oliah 1857-1859, Kaffir and Zulu campaigns 1877-79 was mentioned in dispatches 1878High sheriff for Hertfordshire 1901 Born 1-9-1832. Fell asleep 8-11-1907. Respected and beloved by all who knew him.
[And on same memorial as above]Apsley George Benet Cherry Garrard of Lamer Park, Wheathampstead only son of Major General Apsley Cherry Garrard born 2-1-1880 died 18-5-1959Margaret Ursula Cherry Garrard daughter of Major General Apsley Cherry Garrard born 1896 died (1929)
Ida Evelyn Shorting 21-3-1887 died 20-3-1975 widow of cannon CHC ShortingDaughter of Major General Apsley Cherry Garrard and her daughter Susan Elizabeth Widow of John Cott born 19-10-1912 died 5-9-1982
M Henry Sibley 11-8-18? Aged 4? And his wife Sarah August 27th 1869
Mrs Ann Sibley 9-4-1850 aged 68
Charles Francis Sibley 6-12-1932 and Alice his wife died 25-7-193(1)
For new ideas or a fresh slant, why not contact us?


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Private Dining
Woodward Table
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Reviews ›
1426 H Street NW
Washington, DC 20005
Getting there ›
$31 to $50
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Woodward Table Details
Dining Style:
Casual Elegant
(202) 347-5353
Hours of Operation:
Lunch: Monday - Friday: 11:30am - 2:30pm; Dinner: Nightly: 5:30pm - 10:30pm
Payment Options:
AMEX, Diners Club, Discover, MasterCard, Visa
Executive Chef:
Joseph Harran
Dress Code:
Smart Casual
Accepts Walk-Ins:
Additional Details:
Banquet/Private Rooms, Bar Dining, Full Bar, Happy Hour, Non-Smoking Restaurant, Patio/Outdoor Dining, Takeout, Wheelchair Access, Wine
Getting there
Cross Street:
15th & H
Public Transit:
We are located half a block away from the McPherson Square metro.
Parking Details:
We offer valet every evening, beginning at 5:30 PM. Parking garages and street parking are available.
A word from Woodward Table
Jeffrey and Sallie Buben's Woodward Table, housed in the historic Woodward Building is a concept that exudes a timeless feel with neighborhood charm. Located just one block from The White House, Woodward presents a "table" of dining possibilities with two eateries...the main
restaurant with its creative and diverse American menu and Woodward Takeout Food, a sprite artisanal alternative for breakfast and lunch. The soul of Woodward Table's cooking involves creating seasonal iconic American dishes, a chef's contemporary approach and a regional repertoire of ingredients. Woodward Takeout Food, aka WTF, adjacent to the restaurant, creates a quick serve American breakfast or lunch for the busy Washingtonian, available to eat in or take out. Woodward Takeout Food is like being in a good cook's kitchen...a venue of sights and sounds with the bakery of the entire restaurant located at one end. Smell the fresh baked bread and other concoctions as you place your ord
Foodspotting photos
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Diner Reviews
I went to Woodward Table after
hearing it got great reviews and knowing I loved Bistro Bis. Unfortunately, I was disappointed completely. The food was mediocre. It was over-spiced and generally not that exciting. Definitely won't be coming back for seconds."
Dined on 3/8/2014
Our server was top notch and the
atmosphere was vibrant. Food was good (strip steak and scallop gratin) and their s'more cheesecake was outstanding."
Dined on 3/8/2014
This was my first time goign to
Woodward Table and was very excited. Unfortunately my first impressions weren't great. The service at the bar was PAINFULLY slow and frankly embarrassing however the server didn't even care or acknowledge it. When I asked for the check so we can go to our table we probably waited 5-10 minutes and then I told my guests to go without me. Then I waited another 1-2 minutes and then asked the server to bring everything to my table as I was tired of waiting. Appetizers were great - we got oysters, steak tartare and ahi tuna. Great for sharing and were all very good!"
Dined on 3/4/2014
I and several of my girlfriends
celebrated my birthday with Sunday brunch at Woodward Table. Everything was great (service, food, price), except there was a miscommunication between our server and the kitchen staff, so our food took over 1.5 hours to arrive after we ordered! Normally this would have been a major deal-breaker (0 star rating) however, the server was very straightforward about the mix-up, his manager comped my meal & birthday dessert, and since we had all ordered the bottomless brunch deal none of us minded too much that we had to wait so long (besides the fact that we were drinking on empty stomachs!). Since this seemed like one of those 'one time mistakes' I think 3 stars is fair and I would still recommend brunch here."
Dined on 3/2/2014
I've been here twice now and have
not been disappointed. They really do get everything right. The food and service were outstanding. The bread before the meal was phenomenal. Entrees are very well presented, and portions are just right. What else can I say?"
Dined on 2/28/2014
Our second visit, first brunch.
Very pleased with the varied choices, easy to avoid typical brunch food if so desired. I had the hang town fry, good but oysters were a little too breaded. Two had the marinated fish platter and enjoyed it. Our waiter was a novice but very nice and he needs more practice but will be there soon. Appreciated the fact that the staff didn't try to remove our dishes till all parties were through. The space is large but the placement of the seats makes it seem more intimate."
Dined on 3/2/2014
We were seated right at the
railing of the open kitchen which was so fun to have the theatre of dishes being prepared and sent out to diners. We had the following delicious and very rich dishes: marrow bones (pickled strips of beets, carrots + capers helped cut the richness), crab and artichoke flat bread, corned beef brisket and skate wing (a special). Very high quality. I can see why it's on the Washingtonian top 100 list!"
Dined on 3/1/2014
First time dining at Woodward
Table for me and my husband. We decided to have a drink at the bar before our dinner reservation. Bar area has a great atmosphere and should we go again would probably walk in and just dine at the bar. Dining room acoustics awful to the point of annoying. Too many other good/great restaurants in town. This was a bit touristy."
Dined on 3/1/2014
Reserved a table...was shown to a
booth...asked for a table, and was finally provided a table...waited at length for a waiter...then again for a menu...then again to have questions answered about our order...then for our food -- which did not come as we ordered it."
Dined on 2/16/2014
Even with a reservation, we got
seated by the kitchen. Our server Bridget was top notch. I ordered Shrimp and Grits. I'm from NC where Shrimp and Grits are done right. I was handed an ENORMOUS oblong-shaped plate with 8 grilled shrimp. My first thought was, "Where are the grits?" Then I moved one of the shrimp aside and noticed the tiny smearing of grits. A mere suggestion of grits. Tasted pretty good, but I ran out of grits long before I ran out of shrimp. And the plate wasn't flat. The sides were so deeply sloped that every time I tried to rest my knife it either slipped off onto the table or slipped into the plate itself, covering the handle with sauce. Felt like I spent the entire meal fighting with the china."
Dined on 2/24/2014
Had an amazing dinner with
wonderful sercive. We didnt feel rush and were able to just relax and enjoy our dinner and drinks. The food melted in our mouths!"
Dined on 2/22/2014
We tried Woodward Table for the
first time on a Saturday night. We were celebrating my wife's birthday. We were very happy with the entire experience and especially the monkfish. It was delightful, nicely prepared. With it we enjoyed a bottle of Muscadet and noticed that they don't gouge you on their wine prices. We would definitely return to this restaurant!"
Dined on 2/22/2014
I had heard great things about
Woodward Table for a while and have made numerous reservations for others to dine there, but the time finally came for me to try it out and it was fabulous! The service was outstanding and prompt. The energy in the restaurant was great for a Friday evening everyone seemed happy and all the way live, especially folks at the bar! That will be my next stop. This bar was still stacked with folks as the evening progressed and the old school music was awesome! I wish some of that music was filtered more into the restaurant. I had the pork chop w/grits which was great! The best kale salad ever and the bread was incredibly good. OMG! Woodward table is an outstanding restaurant and a DC gem. Can't wait till I go again!"
Dined on 2/21/2014
They seem to have nailed it: very
good food, atmosphere and service at a reasonable price. Nice!"
Dined on 2/21/2014
Great food, great service and
great location. Vibrant bar scene, busy restaurant, fun place to go for 2 people or a group."
Dined on 2/18/2014
We went here for Valentines Day
and the ambiance is better suited to a business lunch than to a date. Despite this, the service was very good and attentive, and some dishes were good."
Dined on 2/14/2014
Wonderful creative menu, variety
to please all my friends with me, beautiful space, LOVE the rolls."
Dined on 2/16/2014
There is something for everyone
here. Menu is large and interesting. Food is well-executed and well done. Despite its size, WT manages to be professional. Manager is very hands-on. Good to see attention to food and customers. Some of these large restaurants are like eating in cafeterias. WT rises above this."
Dined on 2/13/2014
This was my second trip to
Woodward Table, and it did not disappoint. My husband and I went on Valentine's Day, and we were impressed that we could order from the regular menu not just a limited pre-fixed options set for the holiday. At Woodward Table, the entire menu is so full with great choices that I look forward to more trips to test out different foods. The staff was very warm and welcoming from the host stand to the manager who stopped by mid-way through our meal. This restaurant is quickly becoming a favorite location."
Dined on 2/14/2014
Wonderful setting, wonderful food,
wonderful service. Delicious salad. Loved the sweet potatoes in it. Very nice serving sizes. Topped off with some very good tea. Perfect!"
Dined on 2/14/2014
Food was very tasty for the most
part. Nice ambience-comfortable and warm but not stuffy. Wines by the glass a bit limited and pricey. We ordered the hummus appetizer which was good but the chips were too weak to dip and only a few. The fries were excellent. Fish was delicious- red snapper and halibut, and scallops very good. Bread pudding was yummy. We were happy with our choice and the service was great."
Dined on 2/14/2014
The restaurant was completely
empty and I suppose that should have been a signal to head to another restaurant but given all the positive reviews, decided to risk it. Wished we hadn't - the food was oversalted and plates so large there was no room on the table for the vegetables, which you have to order as sides. Won't be back."
Dined on 2/9/2014
Wonderful attentive service,
interesting food, and we could speak to one another."
Dined on 2/11/2014
I frequent Woodward Table because
I work in the neighborhood and visit for business lunches from time to time. This Tuesday I ate there for lunch and while the food was very good, and normally I experience great service, I had to give it a lower score this time for service. The server was not very friendly and seemed annoyed during every interaction. It wasn't just once that I experienced this--it was every interaction we had with him. We also had to wait a while for a table even though I made a reservation with OpenTable for 1pm. So hopefully on my next visit the server's attitude will be better. Maybe he was having a bad day?"
Dined on 2/11/2014
Bonus brunch, casual and excellent
food. Service also super"
Dined on 2/9/2014
Service was terrific, food did not
disappoint and I am so glad the restaurant kept the homemade chips on the menu!"
Dined on 2/7/2014
One of the best meals I've had in
DC. The cocktails were great, excellent wine list. The appetizers (flatbread and hummus) and the mains (duck and ahi tuna) were expertly prepared and delicious. The two servers were very knowledgable, pleasant and gave us great recommendations. Overall the entire dining experience was delightful and an opportunity to try to interesting food combinations! We look forward to our next visit."
Dined on 2/8/2014
I went to the Woodward table
excited after seeing the menu. Parking was difficult for Saturday brunch. The waitstaff were extremely inattentive. We had to repeatedly ask the waiter for items we ordered such as coffee multiple times when he came to the table but there was a 30 minute stretch where he did not come check on us. We had to ask other waiters to please get out waiter. Also I got a mimosa and only wanted one but I was charged for bottomless anyways. The food was small and bland. I have had better food with more reasonable prices and plate sizes. I will not be returning."
Dined on 2/8/2014
Saturday Brunch felt like an
afterthought for the restaurant. The bathrooms were dirty from the evening prior and there wasn't ant toilet paper. The Hostess apologized and filled the TP, but it shouldn't have been an issue to begin with. The food was fantastic and served by kitchen staff."
Dined on 2/8/2014
I often end up working late on
Fridays and Woodard Table is close and often has seats available. The food is good. Has a great wine list."
Dined on 2/7/2014
Waiter deferred to the man in the
party all the time. Hey, it's no longer the 1960s. Food good, I'd go back."
Dined on 2/6/2014
Our group of 8 split evenly and
everyone loved their meals. The slight crunch of my lightly glazed thick salmon filet yielded a succulent core; my niece commented her seared tuna was delightful -- one of the best she has had. The serious meat eaters from the Southwest applauded their significant steak and pork chops -- a high bar for them. Just shy of irreverently precocious, the waiter provided guidance on food, 3 bottles of wine and 3 shared desserts. Eat here -- you will not be disappointed."
Dined on 2/5/2014
First time @ Woodward Table and
was very happy with the friendly and attentive service. The fabulous trout with glazed veggies and Loire in Winter sealed the deal. Enjoy!!"
Dined on 2/4/2014
We were a group of six and were
seated far enough away from other people, in a separate section of the restaurant, that noise from other tables wasn't an issue. the service was prompt and efficient, and the food earned high praise all around. recommendations include the trout and the crab cake sandwich."
Dined on 2/3/2014
The food was excellent, nicely
presented and the portions were more than generous. The restaurant is attractive and comfortable. Our only complaint was our server who seemed rushed and impatient. He hovered around the table while we were trying to decide what to order but didn't offer any suggestions other than presenting the daily special menu. Then he totally disappeared after we placed our order. We wouild definitely go back but would not want to have the same waiter."
Dined on 1/31/2014
I rally appreciate that WT has a
very flexible and diverse menu for lunch. You can make any of their starter salads and many of their appetizers/small plates into lunch entree sizes. So if you're not feeling like eating their fantastic corned beef, you can have make a salad entree-sized and add a protein. Or you can start with a salad but make the shrimp and grits starter into an entree."
Dined on 1/30/2014
I took a client to lunch here last
week. The service was excellent, but they did not push us to finish, giving us plenty of time to talk. The booths were comfortable, clean and spacious. Although it was fairly full and I was glad I had made a reservation, the noise level was only moderate and we could talk naturally. The food was excellent - my client had the butternut squash flatbread which looked fantastic - I had the Kentucky hot brown (it was very cold outside) and not only was the turkey fresh, it was layered on top of a brioche lighter than air. Simple sounding dishes, but they showed love and care in every detail. They also have a separate cafe next door for casual, quick dining and takeout."
Dined on 1/29/2014
Other than our lackluster server,
who had to be reminded of a few things and never really seemed to be "into it," the experience was a good one: good food, good wine, good location, well-appointed interior."
Dined on 1/28/2014
This was our second trip to
Woodward Table, and we enjoyed it all over again. There were four of us, and everyone really liked their dinner. The atmosphere is great, and the waitress was very attentive and nice without being over-bearing. We will definitely be back."
Dined on 1/24/2014
Outstanding food and service. A
wonderful restaurant with a great variety of choices and a superb wine list. Don't pass up the opportunity to dine here."
Dined on 1/25/2014
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text:
Christian Democrats support moral values
Regarding the Clairmont L. Smith letter of Feb. 19, in West Virginia there are many Democrats who believe in Christ. Their moral values are practiced, held in high esteem and taught in their homes and churches! Thomas Jefferson described Jesus as one who practiced and taught "moral values" more so than anyone in history. These values are failing because we as believers and our churches are not practicing and teaching them to our children and grandchildren. When was the last time you prayed for our leaders, including President Obama?
Quoting Ann Coulter, a radical Republican, does not bode well for the argument. She doesn't have a good grasp on "moral values." Her vocabulary is full of disrespect and incivility.
Classifying the Democratic Party's beliefs as only rejecting God and his gifts, supporting abortions and unions and prohibiting prayer in school shows a lack of understanding and respect. This argument is just recycled rhetoric of Coulter and Rush Limbaugh. These two commentators lack civility, respect and common decency by promoting falsehoods and contempt.
As a Christian Democrat, I fully support our senior citizens, veterans, the middle class and rights of the common worker, the poor, and I believe in protecting the rights of the disabled and mentally challenged. Our ancestors shed their blood to obtain rights for these people and many others.
Franklin D. Roosevelt stated in his second inauguration, "But here is the challenge to our democracy: In this nation I see tens of millions of its citizens who at the very moment are denied the greater part of what the very lowest standard of today called the necessities of life. Families trying to live on incomes so meager that the pall of family disaster hangs over them day by day. I see millions whose denied education, recreation and the opportunity to better their lot and the lot of their children. I see millions lacking the means to buy the products of farm and factory and by poverty denying work and productiveness to many other millions. I see one-third of our nation ill housed, ill clad, ill nourished."
These are the same signs we see today! These are the challenges I want to defeat!
I am proud that Jesus is my Savior and I am proud to be a progressive voting Democrat! We need to return to practicing common decency to all, regardless of our party affiliation.
Eddie Fisher
School leaders view libraries differently