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Shows tour. Shows transfer. Shows are revived, sometimes right away, sometimes many years after the original production has come and gone. Sets and costumes can be recreated fairly easily based on sketches, ground plans, and photographs, but lighting has a more complicated set of variables. Lighting designers are often faced with unique challenges when relighting a show. Three lighting pros — Rob Halliday as programmer, David Howe as lighting designer, and Ted Mather as associate — weigh in on the art and technology of lighting revivals and transfers.
Halliday On Light
London-based LD/programmer Rob Halliday spent a great deal of time in New York City last fall working on the lighting programming for the Broadway version of Disney's Mary Poppins at the New Amsterdam Theatre. Lit by Howard Harrison, Mary Poppins blew in from London's West End, allowing Halliday the opportunity to use his FocusTrack system — which takes snapshots of every lighting position — to "revive" the show's lighting. The associate LD was Dan Walker.
"On Mary Poppins, the spacing of the overhead lights in London was quite strange because we had to work around scenic items. In New York, it is more typical," says Halliday. "Having a record of what the lights were actually doing in London was, therefore, invaluable."
Mary Poppins in New York has 170 moving lights. "There are 1,417 lamp-focuses in the show [each light averages eight different positions]. It's quite hard to remember all of those," Halliday admits. "Plus, we changed lights in New York [from Vari-Lite VL2000s to Martin MAC 700s]. When we started, the console would just send the values corresponding to the VL2000 spots to the lights in New York; the MAC 700s behave differently so those values had different meanings."
The pictures from London let Halliday check exactly what each light was meant to be doing and then correct the values in the desk to provide the same behavior. "On Les Misérables, which returned to New York at the same time as Mary Poppins, the FocusTrack pictures were invaluable because Ted Mather, who was relighting the show for David Hersey, had only seen the moving light version of the show a couple of times in London, and Alan Boyd, who was reprogramming the show in my absence, had never done the show from scratch," Halliday says. "They, too, had changed lights — from VL2000 spots and washes to VL2500 spots and washes. FocusTrack meant they had a way of seeing what each light was meant to be doing in each cue."
Changes in scenery and costumes can cause changes in the lighting, as well. "In pre-production, it's a matter of making sure that changes in scenery haven't caused problems to the lighting team. If they've moved where a cloth is hanging for a particular scene, is it now blocking the lights that you used to light that scene? If so, do you have other lights you can use, or do you need to fight your case for getting things moved back to their original positions, if that's even possible?" Halliday muses.
"And, of course, you have to take advantage of new possibilities as they open up," he continues. "The downstage third of the stage in New York for Mary Poppins is much more open than in London — since New York doesn't have the giant guide towers that support the flying nursery — so there was the possibility of getting much more sidelight into this part of the stage, which has turned out to be invaluable.
"I've always believed that the lighting data in the console is the ultimate reference as to what the lighting's meant to be doing," Halliday notes. "It has cue points, fade times, details of which lights are on, details of which color/gobo, etc., the lights are in, details of where they're pointing, and so on. If you've invested a lot of time and effort in that the first time you make the show, there's no point in throwing all of that away and starting again, so you work from those cues and adapt them to deal with little changes in the staging."
Halliday finds that some shows don't change much on their way across the pond, but on Mary Poppins in New York, some things — particularly the number "Jolly Holiday" — had changed so much, and the rig was so different that the LDs took a different approach. "We kept the cue points, cue times, color, and gobo setups of the scrollers and moving lights, but then we actually turned all of the lights off through the sequence and started again," he explains.
The concept and scenography of the number had changed significantly. In London, the number has a gray backcloth and gray sliders. The LDs attempted to make the black-and-white world turn colorful just by using lighting. "There was a feeling that the statues in the number should always feel stony-gray, making it hard to make it truly colorful; in New York, the gray scenery is replaced by colorful versions in a transition at the top of the number; the statues, costumes, and make-up are conceived differently," says Halliday.
All concerned were pleased with the new version of "Jolly Holiday," as well as with other design-related changes in New York, and wanted them made in the London production. "A laudable aim," says Halliday, who discovered it was not totally possible. "We couldn't add everything in London because of limitations in grid and substage space, so we added some of it and added versions of other bits and relit accordingly. The hardest part of this was going back to the old rig, having gotten used to the possibilities of the new rig. For example, 'Jolly Holiday' is now lit with VL1000 sidelights doing color shifts. Recreating that with the scrollers on the ETC Revolutions in London is quite hard. The colors were always just in the wrong order. So we took a slightly different approach to end up with lighting that is similar in feel and intent, if not exactly the same in look." Gear in New York not already owned by Disney from other productions was rented from Hudson Scenic's lighting division.
In meeting the challenge of moving a show from one theatre to another, Halliday suggests that LDs ask themselves: "What can you do in advance to make sure a show is ultimately movable, knowing what the lighting needs to do and fighting for the space and then equipment to let you do the same thing again?" From the control point of view, he works to make the show file "self-documenting" and easy to update as far as possible. "This means using preset focuses so that a light will say it's at position 'Bed Special in Nursery,' for example, rather than at 'pan 42/tilt 39' or whatever. I take this as far as possible by using as many different preset focuses as possible so that you might have a light pointing at 'Neelius DR' and another at 'Mary DL' in the same scene, rather than both being set to a position called 'Scene 1 positions.'"
Halliday also separates things out as much as possible, so edge focus will be in separate presets called "Wheel 1 sharp" or "Wheel 1 soft" and so on (though he notes that this becomes hard on some lights, such as the MAC 700s, where focus and zoom aren't interlinked in any way).
"My aim is that, if you look at the screen, you can tell what the lights are meant to be doing, which is good for the operator running the show and good for me coming back to the show after two years away," Halliday says. "If you then need to know precisely where the light has to point to light 'Mary DL,' then you look in FocusTrack. I also try to apply the same 'patterns' to the way the show is plotted. For example, with part cues, part 12 is always moving lights setting themselves for the next scene; part 11 is always scrollers setting themselves, and so on. Once you know the rules, it becomes very easy to figure out what's happening at any point in the show. Of course, this really only works if you use the same console from show to show."
Rather than transferring show files between consoles by different manufacturers, Halliday and team have been using Strand consoles on shows for more than a decade now — Mary Poppins has a Strand 520i as the main console, a 550i backup, and a 550i remote. "Though, in this case, where we often chose to start again on sequences of the show, we always had the structure of the cues, and we had as much or as little data from the cues as we chose to use," notes Halliday. "Some might argue that it would be in manufacturers' interests to develop a common show file format to sit alongside the common connection standards of DMX and ACN."
What happens when the LD isn't there at all? "Well," answers Halliday, "hopefully he or she has sent in, or left behind, people who are connected with the show — who were there when it was created and known to the director — who he or she trusts to make changes in the style of the LD and the show's original lighting, rather than going off and trying to make the show their own thing." In Halliday's opinion, that's why associates and programmers are often people who've worked with the LD for a long time and know his style. "Having been around from the beginning of the show is important because you understand why things are the way they are, rather than just that a particular cue is red," he insists. "Les Mis is a good example. It's very easy to come to that show in a lighting session with an empty stage and go, 'Ah, it's too dark,' and start throwing more light at the stage. It's when the people appear later that you remember that Les Mis is about containment as much as lighting — about seeing the lead singer down-center but not seeing the 30 people setting themselves to enter upstage. A good associate will remember why things are as they are, even as they make changes to compensate for a different theatre or changes in blocking."
On the recent relight on Poppins in London, Halliday's aim was to recreate the intent from New York, even when the precise look wasn't possible. "For example, the way we light the Perspex legs of the set is quite different in New York," he explains. "We use Pulsar ChromaBattens, set up to give us 10-segment individual control along each leg; whereas in London, each stage-left/stage-right pair of legs is patched together. So in New York, when, for one moment, we create a Union Jack British flag look across the LED legs, we can't do that in London, but we can do a red/white/blue look in a different way."
Halliday admits to a slight nervousness when making changes without the LD present. "What happens if they come in and hate what you've done?" he conjectures. "Well, if you've worked with them a lot, and you know in your gut that they'd hate what you were doing, you're probably doing the wrong thing!
"My worst nightmare," he concludes, "is to have the console turn on and have nothing in it and then find all of the backup discs are blank. I'm quite careful to load the saved show into the offline editor regularly to make sure that the backups will load properly, if required. Second worst is to have a show from years ago make a comeback and not be able to find the disc for it. That hasn't happened…yet!"
Mather Knows Best
In October 1985, Les Misérables opened in London, where it has now become the West End's longest-running musical, moving from the Barbican Theatre to the Palace Theatre and on to Queen's Theatre. In March 1987, the American version opened at the Broadway Theatre — winning eight Tony Awards, including Best Musical — and ran until 2003. Designed by John Napier with lighting by David Hersey, Les Mis reopened in November 2006 for a limited engagement at the Broadhurst Theatre on Broadway.
Associate LD for Les Mis Ted Mather worked on the bus and truck tour of the musical in 1989 and then worked on the first national tour and bus and truck tours for a few years after that. "I came back for the 10th anniversary restaging in 1997 and have looked after it in the US since then," he says.
The plot on Broadway this time around is quite different from the original in terms of equipment and control — "totally different," confirms Mather. In fact, he points out that the revival plot is based on the UK production, with a lot of automated fixtures instead of PARs (which were plentiful in the original NY plot, along with a few color changers with a selection of four colors), the original single-color DHA Light Curtains, and PANI projectors. "We took the UK plot and filled it out a bit more for the changes we wanted to make in the staging. Most of the effects are now done with Vari-Lites, but we still use White Light VSFX cloud projectors, as well as beamlights, animation disks, and gobo rotators. They're still the best units for those kinds of things," says Mather. The console is a Strand 550 as that's what was used in the UK. The lighting positions were mostly the same but jammed much tighter because the Broadhurst is a shallower theatre than its London counterpart.
The backbone for the relight was the UK disc. Mather made a cue synopsis that merged his notes from previous versions he had done with what Hersey had done in the UK. "We each have our way of remembering what a cue does, so I needed to keep my notes to recall each cue's purpose," he says. "It was a bit of a kludge the first time through because I had re-channeled some things, and I had not worked on the UK version, which this plot was based on. We had new lights that Rob Halliday copied information into to get us started, and, of course, our set and theatre were different. It was a lot to sort out during a short dry tech!"
Mather found that co-director John Caird (sharing the credit with Trevor Nunn) wanted to experiment. "It was all up for grabs, and whole sequences went out the window as we tried new ideas," he says. "John Caird was really liberating in pushing me to try different ideas and rethink certain scenes, just as he was doing. There was much talk of how and why scenes were staged originally, and if now, given the opportunity, we should do it differently."
In the same way, producer Cameron Mackintosh strongly encouraged the design team to rethink as much as possible. "His brief was to think as if we were lighting it for the first time today and how we would do it," explains Mather. "There were many looks that have become iconic, so we didn't want to abandon those, but we looked at how they were done technically in the past and tried to come up with the best way of doing them with current technology.
"Cameron was emphatic that the production be intimate and visceral and fresh," Mather continues. "He let us try a lot of different things, but the measure was, once we were in previews, whether it helped or hindered each emotional moment. We did a lot of polishing — and grinding — during previews."
In the end, the attitude was very similar during the 10th-anniversary restaging, where the lighting was "colorized" with the then-new DHA Digital Light Curtains and loads of scrollers. "We would try a new color or approach to a scene and think, 'Can we do that? Is it legal in this world we've created or just different from what we are used to?' You push, you pull back, and you get a comment or two from Cameron," says Mather.
The look of the show is still based on Hersey's original lighting. "I tried to push the color palette to be a bit more saturated while working in the same hues, and I was able to get much more specific and detailed because of the VLs," says Mather. "My concern was to not lose the poetry of the original lighting. It's so fluid and natural but totally manipulative. There's a great danger with movers to draw a lot of attention to the mechanics of what the light is doing, at which point you've upstaged those talking people on stage. If you pull the audience out of the time period, you've blown it."
One of the challenges for Mather was that Hersey was busy in London lighting a production of Porgy and Bess and unable to come to NY during the relight. "We had a meeting in London with the entire team and talked through the whole show and what ideas John and Cameron had for changes," Mather says. "I watched the show in London with David, and we talked about how we could adapt that version to accommodate all the potential restaging. A key part of that was getting a handful of new Vari-Lites so we could quickly try new ideas without untangling the existing cues. I did the New York plot but sent a steady stream of questions to David, Rachael McCutcheon — his associate in the UK — and Rob Halliday for their opinions."
Mather also made up a handful of custom gobos, which he sent to Howe for input, and they had a few email exchanges during the tech rehearsals. The lighting team also included Mather's assistant, Mark T. Simpson; Amith Chandrashaker, who tracked moving lights; and Anne McMills, who did pre-production. "Rob Halliday did the preprogramming and hoped to join us but got stuck at Mary Poppins. Alan Boyd did all the programming in the theatre," notes Mather. PRG provided the rental package.
"Half the battle in Les Mis is not lighting the 15 stagehands clearing furniture upstage while a scene is playing downstage," Mather notes. "The Broadhurst is very shallow, so we had to rethink how to bury the light in many cases because the geometry of the theatre was not helpful."
Mather finally admits he was a bit nervous just before tech started. "Cameron really wanted to reexamine everything — lighting, staging, orchestrations, costumes," he says. "On one hand, you think, 'Great, we're not bound by the past,' and on the other hand, it won a Tony for Best Lighting, Best Musical, Best Director — it's been hugely successful. Why mess with it? But Cameron and John told us lots of stories of how it originally came together, things being added, thrown out, and changed. It broke down the mythological proportion of the show, so we really did get into the mindset of doing a new production. After a show has been around so long, you forget that it went through the same growing pains in its genesis as any show today does. I had the rush from lighting a new show mixed with 'I'm dead if I screw this up.'"
Howe To Relight Woyzeck
Also based in London, LD David Howe was called upon to light the New York version of a recent production of Georg Büchner's play Woyzeck, which had premiered in London at the Gate Theatre and was subsequently invited to St. Ann's Warehouse in Brooklyn. "In actual fact, I did not design the original show, but I had been invited by the director to see it," explains Howe. "Therefore, I was extremely excited about working on the revised production for the much, much larger venue of St. Ann's. In London, the show was site-specific with no prospects of moving." The Gate Theatre in London seats approximately 90 to 100 people maximum, and the stage is 18' wide by 27' deep. In contrast, St. Ann's is vast, with a large black-box playing area of approximately 60'×60' with seats for 300 in the configuration used for Woyzeck. The production was really able to expand into the new space.
The brief from director Daniel Kramer to set designer Neil Irish and Howe — as the new LD — was to make the production work in the new space. "The set design retained some elements of the London production but also needed to fill and really inhabit the New York City space," says Howe. "We creatively felt our production should take over the theatre, and every inch of space should be used for the 'World of Woyzeck,' highlighting the space around the character and contrasting it with the tiny community of the play."
Equipment-wise, Howe felt the production needed broad strokes of light to either fill the entire space with light and color or to tightly define a minute private moment. "I was able to use a great deal of low-angle cross-light — unavailable at the Gate Theatre — crossing the space from one side only, enabling the characters to be etched in with light, sometimes against an upstage 20m-wide colored cyclorama." The equipment used was a mixture of ETC Source Four ellipsoidals, Source Four PARs, and a single Arri 4kW HMI Fresnel with DMX dowser colored with Lee 106, which blasted harsh color into the space, producing a wonderful single-source shadow.
"The director wanted to further develop the use of color, angularity, and the intensity of the focus of the lighting," says Howe. "He is constantly evolving and recreating his work. This production is his own published adaptation of Woyzeck. He's very happy to be in technical rehearsals and enjoys the constant search to find new symbolism and meaning. Therefore, he is open to bringing new thoughts, looks, colors, and textures to the lighting and production."
Having worked together on previous productions, Howe and Kramer have established their own form of color language. "So I know what type of colors and intensities excite his visual palette," says Howe. "The lighting never wants to be pretty, but 'clashing,' 'jarring,' and 'layered' are words we often discuss. Intensity and angularity are so important."
Since Howe was brought in to relight for a new space, there was never any intent to reproduce or reinterpret the original lighting. "We had to reinvent, move on, challenge, and explore," he says, not hampered by the original lighting design. The lighting team included moving lights programmer Jason Boyd on a Flying Pig Systems Wholehog 2, while conventionals were programmed on an ETC Express by what Howe calls "a changing team of St. Ann's wonderfully supportive freelancers." The Wholehog 2 triggered the Express console via MIDI.
Owen Hughes, the in-house production manager, produced bid documents for rental companies to add equipment to supplement house equipment. PRG supplied moving lights, plus extra dimming and conventional fixtures.


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Suffern Mayor and Democratic candidate for Rockland County Executive Dagan Lacorte publicly apologized Thursday for a text he inadvertently sent to rival Democratic candidate David Fried this past weekend. Lacorte's message was intended for his campaign manager and directed him to ask Fried probing questions about his positions on the proposed desalination water treatment plant and gay marriage.
"I can only apologize for the mistake that I made," he said. "I'm not proud of what I did."
Lacorte said he took full responsibility for the text and had called to apologize to Fried earlier in the day. He noted Fried has been a friend for 10 years.
"I didn't try to hide the fact I sent the text," Lacorte acknowledged.
Fried, a former Spring Valley judge and county legislator, said "underhanded tactics" do not have a place in the campaign.
"This was not the way to do business," said Fried. "I'm disappointed in it."
Fried added, "I'm running for Rockland County Executive because the county is in its deepest financial valley in its history. I would hope each of the campaigns would focus on a solution."
Lacorte tried to draw attention away from the text that went awry by speaking about his campaign and the issues he sees as critical to the county. He does not think the incident will hurt his campaign.
"But this campaign is not about texts, it's about taxes," he told a small gathering of supporters at a private home in New City on Thursday evening.
Lacorte said all the candidates in the county executive race should address the issues facing Rockland – the budget deficit he put at $118 million, the proposed desalination plant, county imposed tax on residential energy bills. Lacorte said he opposed the water treatment plant, supported marriage equality and would repeal the energy tax if elected.
Fried spoke about his platform's two categories: short term and long-term actions to cut the deficit. He pledged to make government learned and rein in spending by reducing salaries for the county executive and staff and commissioners by $250,000. He said county workers should not be the only ones asked to give back.
"This is something I have demonstrated I will do and a promise I will fulfill," said Fried who explained he had turned down raises when he served as county legislator.
A longer-term goal is to boost the county's economy. Fried said the county did not have an economic development strategy and that was a mistake he would rectify.
"I want to open Rockland for business again," said Fried.
The other declared candidates for county executive are Legislators Ed Day of New City, a Republican, and Ilan Schoenberger of Suffern, a Democrat.

subset: commoncrawl


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14 Review(s)


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festival guide
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Passes Now on Sale!
A variety of Festival Passes are already on sale. Pass options include:
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3. We strongly encourage you to redeem all your tickets in advance to avoid long line-ups at the theater and sold-out screenings.
Passes purchased online or by phone through September 23 will be mailed out. After September 23, all passes must be picked up in person.
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Join Mary along with Nashoba Valley Medical Center psychiatrist, Dr. Theresa Tedesco, and Andrew Tarasuk, MSW, LICSW for an enlightening discussion on understanding the difference between memory loss and dementia.
Wednesday, November 20, 2013
10:00 am – 11:00 am
Nashoba Valley Medical Center
200 Groton Road
Ayer, MA 01432
Refreshments and snacks will be served.
To register, please call DoctorFinder at 800-488-5959


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LAKE TOWNSHIP, OH (Toledo News Now) - Planning ahead for the worst, the Lake Local School Board made a move that will ensure voters get another chance to say yes if an Aug. 7 levy fails.
The past two levies at Lake High School have failed, but school administrators are optimistic a levy will pass this time. If not, they have a backup plan.
"We have to pass this year. If we don't, it will be devastating. I think you'll see a major exodus of leadership, teaching staff, students, families, board members because there really isn't much left to cut," said Tim Krugh, president of the Lake Local School Board.
Voters will have two chances to pass a levy for Lake Local Schools, with the first try Aug. 7. If it fails to pass, board members voted Wednesday morning to put the same levy at 6.75 mills on the November ballot.
"We've tried to stay off the ballot as much as we can and it's our time to do that. There's different things you can do, you can either cut expenses or raise revenue. We've cut our expenses, we've laid off some terrific, terrific people, but we still need these revenues," said Jim Witt, superintendent of Lake Local Schools.
The district laid off 43 people in March, along with closing Walbridge Elementary and ending all-day kindergarten in order to save $1 million. More savings were made Wednesday when a new deal with the teachers union included no wage increases, which is an additional $180,000 in savings.
"It's not easy to accept but we also understand with the economy being the way it is, with the lack of state funding support we've had- the school district doesn't really have a choice so we had to do our part to make things as good as possible for our students," said Rick Brimmer, Lake Education Association president.
A deficit is expected in January 2013. If the levy fails this year, in August or November, more cuts are expected.
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Starbucks for Android™
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Our dedicated app links to your Starbucks Card, so you can scan to pay – while earning Stars toward My Starbucks Rewards.
And there's more. If you want to find the closest Starbucks store, reload your Starbucks Card or manage your account, our app is here to make your day great.
- Pay for your purchases with your Starbucks Card.
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- Track your Stars and redeem your My Starbucks Rewards.
- Get directions to the nearest store, search by amenities and store hours.
Got an idea on how to make this app even better? Tell us about it at mystarbucksidea.com.
Have some questions about the Starbucks for Android™ app? Consult our FAQs.


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On a day that felt more like another U.S. Open championship than your run-of-the-mill PGA Tour event, Bo Van Pelt is your first-round leader at the 2012 AT&T National at Congressional Country Club in Bethesda, Md., after a 4-under 67.
Tournament host and 2009 winner Tiger Woods stumbled into the clubhouse at a 1-over 72, mainly due to poor bunker play on a number of Congressional's holes. When asked about his struggles and those of his fellow competitors on Thursday, Woods basically blamed his 60-degree sand wedge and indifference.
"We've played three U.S. Opens so far this year," Woods said following his round. "We had Bay Hill, obviously Olympic and now one here.
"A little retribution for what happened last year. Don't be mad at me, I didn't play."
Vijay Singh, Brendon de Jonge and Jimmy Walker are currently one shot back at 3-under for the tournament.
For more coverage of the 2012 AT&T National, stay tuned to our StoryStream. For all news and information regarding the PGA Tour, please visit SB Nation's dedicated golf hub.


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Everybody's screen name tells a story. Ours are boring. My screen name is Jason Garrison because my name is Jason Garrison. The same goes for Josh, Anthony, Lucas, Andrew and almost every other writer on the site with a couple exceptions. Yours aren't boring, though.
After being here for a few years, I've gotten to know a few of you and I recognize your screen names. Some of them I see through and some make me wonder where you came up with them.
For example:
OregonBengalsFan has been around for a while and I expect he's a Bengals fan from Oregon. Way to be original (just kidding). JungleJohn is probably named John and he's either from a jungle or he enjoys the time he spends in Paul Brown Stadium, also known as "The Jungle." However, I have no clue where emeybee comes from. Same goes for AMAS85 and palewook.
It's time to open up and get to know each other a little better. Explain your screen names.


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Lamar University is now teaching students how to brew beer.
The new class is being taught by Doctor Christopher Martin, an Associate Professor of Chemistry.
He received a home brewing kit as a gift and quickly decided to take his brewing from his home to the classroom.
"They learn what the yeast is actually doing, what are the sugars, and why do you add things at different times," said Dr. Martin.
This is the first semester for the class which already sits about 30 students.
It's getting rave reviews and Martin hopes to offer the class each semester in the future.
Most students 12News talked to say they've tried home brewing in the past and this class helps them learn what all it takes to make beer.
There is no lab at Lamar for brewing beer so students can take a volunteer trip to Houston where a lab is offered.
Newsroom: (409) 838-1212
Front Desk: (409) 833-7512
News Fax: (409) 981-1564
News Email: firstname.lastname@example.com


text:
Maybe this is an overreaction to a perfectly rational and expected roster move. Maybe this is making a trend out of a transaction.
But Joe Saunders was non-tendered by the Arizona Diamondbacks. Saunders could have won as much as $7 million in arbitration, but Arizona decided they'd rather not risk that kind of money. Before the non-tender deadline, the Diamondbacks surely reached out to all sorts of teams. The offer was this: one Joe Saunders. The requested return was based on a sliding scale. Pay what you can afford! No one took the offer.
Growing up, there was ERA and there were wins. A pitcher with a 3.69 ERA didn't always mean the same thing year after year, but it always meant something. It was a big deal for a pitcher to have an ERA under 4.00 in the '90s -- less so in the '80s. In 2011, it meant the playoffs, apparently. Here were the regular-season ERAs of the four starting pitchers in the two NLDS games played on October 5th:
Roy Oswalt: 3.69
Randy Wolf: 3.69
Joe Saunders: 3.69
Edwin Jackson: 3.79
As luck would have it, three of the four are available in the free-agent market now, and the other one just signed a lucrative contract in 2009. Perfect for comparisons. They're all different pitchers with different backgrounds, of course. Roy Oswalt was a #1 starter for a decade, and Edwin Jackson has a fastball that averages 95. Apples, oranges, and all that. I think Randy Wolf is a pomegranate. Just gives off one of those vibes.
But what will Oswalt bring? At least a couple of years, probably at $10 million or so per. Edwin Jackson? Not sure about the annual value, but you can bet that he isn't signing for a single year. He'll probably sign for something close to what Randy Wolf got two years ago, which was three years and just under $30 million.
Joe Saunders, though, was non-tendered. Thirty teams had a chance to have him for a single season. No multi-year contract, no long-term commitment. The only catch is that he'd be slightly overpaid for the 2012 season. Not egregiously overpaid. Just slightly, but there wouldn't be any hassling and competing for his services as a free agent. And thirty teams said, nah. We'll just try to sign him on our own for less if we want, and if we don't get him, no big whoop.
This is a pitcher with a career winning percentage of .570 -- just about the same as Mark Buehrle, who just received a lucrative contract from the Marlins. It's the same winning percentage as Hall-of-Famers Steve Carlton and Catfish Hunter.
I mean, my lord, it's the same winning percentage as Jack Morris.
And that sort of thing used to matter. It wasn't that long ago that GMs would look at a pitcher with a .570 career winning percentage -- one who was coming off a season with a 3.69 ERA, no less -- and jump at the chance to get him, especially for a low-risk, one-year deal. Heck, it wasn't that long ago that a GM actually said this about Joe Saunders:
We achieved by maintaining major league quality with a 2008 All-Star in Joe Saunders and a guy who quite frankly has been one of the winners in Major League Baseball. I think he trails only Roy Halladay among major leaguers in total wins. He's won 63 percent of his games since coming to the major leagues
Now he's a guy who is probably not worth $7 million a year. He'll still get a deal and a job, of course. He will probably get a two-year deal out of this -- maybe even a three-year deal if a team is feeling frisky. But he's not going to get a lucrative contract, and teams weren't tripping over themselves to acquire him. Teams looked past the single-season ERA and career winning percentage and saw Joe Saunders for what he is: the Joe Saunders of pitchers. He's quite okay, if that's your thing.
It feels like this is progress. And, again, I'm probably reading too much into this. But it feels like Saunders would have been a hot commodity at some point. That point isn't now. The kinds of GMs who gave quotes like the fella in the blockquote up there are long gone, so there's j…
Wait, really? General manager of the Angels, you say? Maybe there's a reunion coming! Wherever Saunders goes, though, he isn't going to be a big deal. He'll be a solid mid-to-bottom-rotation guy who will eat innings and keep a team from relying on something from the bowels of AAA. He isn't going to be overrated. He'll just be rated. And that's just about right.


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The Perfect Home Away from Home - Completely Renovated in New Smyrna Beach
- bedrooms 2
- baths 2
- sleeps 6
- pool yes
- hot tub no
- pets allowed no
- type Condo
- community Sea Coast Gardens
rates (USD)
/ night
$ 602 - $ 1,589 / week
vacation rental description
Wireless Internet Included! In Unit and in Pool Area.
Sea Coast Gardens Condominium Complex, Oceanview 3rd Floor Unit with
balcony overlooking pool and ocean, 1,100 square feet with
balcony- 2 Bedroom Oceanview Unit
See photos-nicest in SCG!
Master bedroom has king size bed. 2nd Bedroom has a two twins with a
single underneath. There is also a pull out queen sleeper sofa. Sleeps 6 total. Fully eqiupped kitchen with range, microwave, dishwasher, refrigerator and small appliances. Dinette area that seats 6.
Washer and dryer are located on the floor (about 60 feet) in the
laundry room. Elevators are close (about 40 feet).
Email me for link with lots of pictures. See exactly what you are
vacation rental location
property availability
- dates with deals
- unavailable dates
Last modified on 05-27-2014 at 1:52 PM.
email owner view full calendar
Kathi and Maggie 407-965-2698
condo rental amenities
Condo is competitively priced for New Smyrna Beach rentals and
complex has recently been renovated. This is one of the nicest and
complexes on the non driving beach.
Complex has pool deck overlooking ocean.
Windscreens and a large deck for sunning.
Four lighted shuffleboard courts.
Two Olympic-sized pools (one heated)
Two kiddie-sized pools
A large clubhouse for activities
A rental banquet-sized barbacue grill.
Two laundry rooms per floor
Two elevators per building
Assigned parking with ample guest spaces
Condo located on car free beach-no need to be concerned about any
cars driving on beach. Wide flat beach for plenty of room to play.
Cable TV in bedrooms. Family room has DVD/TV/VCR combo TV.
Email me for link with lots of pictures. See exactly what you are
activities and attractions in New Smyrna Beach Atlantic Coast Central
New Smyrna Beach is the "Old" Florida type town. Laid back. Plenty
of casual dining with great seafood restaurants. Canaveral National
Seashore is 7 minutes down the road where you can put in your boat
for world renown flats fishing-snook, trout, reds in Mosquito
Lagoon. Ocean offers kayaking, surfing, sailing, sunbathing and any
other ocean activity.
Old Flagler Avenue has returned to life with shoppes, ice cream
treats, surf shops and restaurants. You can also take your car to
the North end (1 mile) of the beach and cruise on the driving beach.
The surfing is some of the best on the East Coast of the USA!
Highway A1A south of here is still a 2 lane road which dead ends
into the Canaveral National Seashore.
You can bike on the flat beach or bike in Canaveral National
Seashore as well. There are Indian Mounds there to see. 40 Minutes
to the west is famous Blue Springs where you can swim with the
Manatees or just watch them from the edge of the Spring.
People return to this area year after year because of the location,
affordability, and wonderful family atmosphere.
Plenty of affordable golf nearby. Disney, Epcot, MGM, Animal Kingdom
are a 1 1/2 hour drive; Universal Studios, Islands of Adventure, Sea
World 1 hour 15 minute drive, Daytona Beach 20 minute drive, Kennedy
Space Center 50 min drive.
vacation rental rates
Please note: We do not keep this calendar up to date! The rates listed are BASE RATES and do not include peak season and holiday rates.
We offer off season rate deals as well as multiple week and monthly discounts.
During peak season we accept Saturday to Saturday bookings only.
Email us for a link with many more photos, complete rates, and availability. We look forward to hearing from you!
Kathi and Maggie 407-965-2698
payment methods
Owner has not provided their accepted payment methods
Prior to paying a reservation deposit, always verify payment instructions by calling the phone number displayed on this listing page. By contacting the owner directly and paying by an approved method - credit card, paypal, check or bank transfer - your reservation payment will be protected up to $1,000.Learn more in our Security Center
Top things to do in New Smyrna Beach
- Play in the surf!
- Explore Historic Flagler Ave
- Fishing in Mosquito Lagoon
- Ride bikes on the beach or Canaveral National Seashore
- Visit the Indian Mounds
Top things to do on a budget
- Ride bikes on the beach or Canaveral National Seashore
- Play in the surf!
- See/Swim with the manatees at Blue Springs State Park
- Fishing in Mosquito Lagoon
- Visit the Indian Mounds
Top things to do with a family
- See the manatees at Blue Springs State Park
- Disney, Epcot, MGM, Animal Kingdom are a 1 1/2 hour drive
- Universal Studios, Islands of Adventure, Sea World 1 hour 15 mi
- Daytona Beach 20 minute drive
- Kennedy Space Center 50 min drive
Kathi and Maggie , owner


text:
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text:
The Best Beachfront Penthouse Condo at Aquatika in Puerto Rico
- bedrooms 3
- baths 2½
- sleeps 8
- pool yes
- hot tub yes
- pets allowed no
- type Condo
- community Aquatika
rates (USD)
/ week
vacation rental description
Beautiful vacation rental in the ocean-front Aquatika Resort complex located in the San Juan area (Loiza). This high-quality condominium features all of the comforts of home in a luxurious Caribbean setting.
Our vacation condo is a two story penthouse unit, the largest type available at Aquatika. It features extended main floor living space, a spacious loft area and a huge covered private patio. With over 1500 square feet of indoor living space and an additional 700 square feet of private outdoor space, both small and large groups alike will enjoy the extra room provided by this premium condominium.
The unit comfortably sleeps up to eight people. You will enjoy a tastefully decorated, clean, and comfortable space outfitted with all of the amenities you would expect and more. The unit is located towards the end of the complex closest to the ocean and beach, adjacent to the exciting water park. Its location is ideally close to everything the Aquatika complex has to offer.
Among the comforts and conveniences provided are:
- 3 bedrooms furnished with queen-sized beds (an additional Premium full-size or twin Air Bed is available upon request) (Sleeps 7-8). A Pack 'n Play crib and high chair are also available for use upon request.
- 2 and 1/2 bathrooms. Full baths offer tubs, showers and hair dryers.
- Climate controlled. Air conditioning units in all bedrooms as well as in the main living area and loft. Ceiling fans throughout.
- Two large, flat-screen televisions with satellite TV service and DVD players.
- Free Wi-Fi
- Satellite music stations as well as I-Pod docking stereo, compatible with your own I-Pod, all for your listening enjoyment.
- Cozy seating and relaxation areas on main level and in loft area.
- Modern kitchen with electric appliances to include: stove, refrigerator with ice maker, dishwasher, microwave, toaster, blender, and coffee maker. A complete set of dishes, mugs, glasses, silverware, utensils, pots and pans are all provided.
- Separate dining areas include a kitchen counter bar with three stools, a formal dining table with six seats, a pub table with two stools, and an outdoor patio set seating six. A child's high chair is also available upon request.
- Condo features a second floor loft area which opens onto a huge, beautifully tiled outdoor patio. Furniture includes large table and chairs, chaise loungers and a hammock.
- In-unit washer and dryer, iron and ironing board.
- Non-smoking unit throughout, including patio.
- Tastefully decorated, clean unit.
- 24 hour gated community.
- Must be at least 25 years old to rent this unit.
Select this special penthouse for your next vacation and get the very best at Aquatika.
vacation rental location
property availability
- dates with deals
- unavailable dates
Last modified on 08-27-2014 at 11:43 AM.
email owner view full calendar
Jeff Rekett 773-744-6552
condo rental amenities
Start out your island get-away feeling comfortable in your surroundings. Our representative will greet you in person at the San Juan (SJU) airport's car rental location of your choosing. From there, you will be escorted the short 15-20 minute drive to the condominium complex. Visitors who wish to stock up on groceries or other necessities for their stay will include a stop along the way at the supermarket to make any desired purchases.
Upon arrival in Loiza, a brief tour and orientation to the complex and condominium unit will get you off and running on your vacation. Rest assured that our representative will be available for any problems or concerns that you may have for the duration of your stay.
Daily maid service is not provided during your stay. Clean linens and towels will be provided upon your arrival. Guests are welcome to use the in-unit laundry center to freshen any linens during their stay. (A limited supply of detergent will be provided) Toilet tissue, paper towels and liquid and bar soap will also be provided.
The Aquatika complex offers guests a wide range of vacation pursuits. The development features multiple pool areas, including jacuzzis, a water slide, water falls, a lazy river (inflatable floats provided), basketball courts, mini-golf, tennis courts, sunning and lounging areas, children's playgrounds, shaded seating areas and green space.
Beach-side gazebos and BBQ grills provide the perfect setting for an afternoon cookout. The grounds display lush tropical plantings, palm trees and flowers.
The main club house area provides guests with a pool, a fitness room, climate-controlled seating with television, as well as a covered terrace with outdoor seating and a spectacular view of the Atlantic Ocean. Challenge a friend to a game on the foosball table located on the poolside terrace.
The Aquatika complex fronts the Atlantic Ocean and allows for direct beach access. Loiza's beaches are beautiful, with comfortable sand and clear, warm waters. Grab one of the beach chairs and the cooler provided in your unit, and head here for a day of fun and sun.
activities and attractions in Puerto Rico Caribbean
Take some time and travel outside of Aquatika to some of this tropical island's greatest treasures. Encounter friendly, welcoming people, most of whom speak English (in addition to their native Spanish).
Puerto Rico is a modern, progressive and civilized vacation spot that maintains the charm and hospitality of days gone by. You will find everything that the Caribbean has to offer in this all around family destination - and with it is a people whose warmth is equaled only by the sunshine that graces its shores.
Puerto Rico enjoys year round summer temperatures, an average annual temperature of 82°F (26°C).
Loiza is situated just east of the San Juan airport (SJU). As such, it is ideally located between the attractions offered in the northern and eastern regions of the island, allowing for a short drive to many activities.
Northern Region
The capital of the island lies within this region. San Juan is the center of commerce and is also the main port of entry. This is the most populous and economically diverse region in the island. It offers the island's major resorts and shopping areas and promises you a wonderful experience of diversity and culture. This region has lots to offer -- archaeological and historical exhibitions, beautiful beaches, forests, and fine dining.
Top spots: Historic Old San Juan district, Bacardi Rum factory tour, Arecibo Observatory in Arecibo, Guajataca State Forest and Lake in Isabela, Rio Camuy Caves in Camuy, Condado Beach in San Juan, Isla Verde beach strip with many hotels and casinos.
Eastern Region
This region is home of El Yunque, known as the Caribbean National Forest, and is located in the rugged Sierra de Luquillo, 40 km southeast of San Juan. Catch the ferry from Fajardo to the outlying islands of Vieques and Culebra, both known for their secluded beaches, snorkeling spots and spectacular views. A must see is the phosphorescent Mosquito Bay. This rare and remarkable phenomenon is caused by millions of luminescent dinoflagellates lighting up when disturbed by movement. The region is also famous for its fresh local
seafood and romantic sunsets.
Top spots: El Yunque, Luquillo Beach, Natural Reserve of Mosquito in Vieques, Las Cabezas de San Juan Nature Reserve and El Faro in Fajardo.
In addition, the island features many diving spots, hiking, bike trails, natural attractions, historical sites, golf and tennis and casual and fine dining. Consult one of the guide books provided in your unit to plan your excursions.
For golf aficionados in particular, the area boasts a number of high quality golf courses, including the Coco Beach Golf and Country Club, home of the PGA Tour's Puerto Rico Open. The course is just 15 minutes away from our doorstep.
Sample Itinerary
* Golfing at the Berwind County Club (5 minutes away)
* Shopping or a movie at the Belz Factory Outlet Mall (10 minutes away)
* Visit historic Old San Juan (30 minutes away)
* Try your luck at the casinos in Isla Verde (20 minutes away)
* Hike the trails of El Yunque rain forest (15 minutes away)
* Visit the "beautiful beach" at Luquillo (20 minutes away)
* Take the bioluminescent bay boat or kayak tour in Fajardo (30 minutes away)
* Take a ferry to the outer islands of Vieques or Culebra.
* Take a water taxi from Old San Juan to the Bacardi Rum Factory tour.
* Enjoy an evening of fine dining on Fortaleza Street in Old San Juan. (30 minutes away)
* Take in a morning of golf at the exquisite Trump Coco Beach Golf Course in Rio Grande (15 minutes away)
* Sample the unique food offerings at the kiosks located in Pinones, along scenic Route 187.
vacation rental rates
Note: Rates subject to change.
- No additional fees for use of any amenities and reserved parking is free.
- Rates listed are for up to 6 guests. Each additional guest (up to 2) is an additional $50 per week.
- Rates listed include all fees. There are no additional charges for use of any amenities and reserved parking is free.
- A $250 security deposit is collected on each rental and is refundable following checkout.
Rental fees are payable as follows:
First $300 is due at time of booking. (This is a non-refundable amount as we will remove your dates from our availability calendar and not offer them to other interested guests.)
Remaining balance is due 60 days prior to arrival.
This unit is a premiere two-story penthouse condominium featuring extended main floor living space, a spacious loft area with sofa, loveseat, and large flat screen TV/DVD, and a huge covered private patio complete with dining table and chairs, chaise lounges, and a rope hammock. Select this penthouse for your next vacation and get the very best at Aquatika.
Jeff Rekett 773-744-6552
accepted payment methods
Prior to paying a reservation deposit, always verify payment instructions by calling the phone number displayed on this listing page. By contacting the owner directly and paying by an approved method - credit card, paypal, check or bank transfer - your reservation payment will be protected up to $1,000.Learn more in our Security Center
Top things to do in Puerto Rico
- Bioluminescent bay tour in Fajardo
- Hike El Yunque Rain Forest
- Visit historic Old San Juan
- Take a ferry to the outer island of Culebra
- Take the Bacardi Rum Factory Tour
Top things to do with a family
- Visit the "beautiful beach" at Luquillo
- Swim in the many pools of Aquatika
- Have an authentic Puerto Rican meal
- Play a round of mini golf at Aquatika
- Bike the Pinones trails
Jeff Rekett , owner


text:
Hello, Giant Pacific Octopus
Every week, we'll be featuring a guest post from the travel writers behind Worth the Drive, a blog featuring nearby getaways, festivals, and sweet travel deals on NBC Bay Area.
It heartens us when we see families load up the ol' wood-paneled wagon – or, nowadays, we suppose, the hybrid SUV – and find the last remaining drive-in theaters still showing summertime movies. But those classic thrillers can be harder to find nowadays, at least at the drive-ins – which are in themselves hard to find – so we have to take our creature features elsewhere. It is best, we think, when we can admire the creatures in-person, if possible, and learn something factual about them, too. Nope, giant Pacific octopuses don't swallow major metropolises whole, but they are very smart and gorgeous sea-deep creatures with their own riveting backstory. And if you'd like to see a big one – and we mean 16-feet-long big – you can, at the Monterey Bay Aquarium.
Click here for the details on this newcomer to the Aquarium!
The Big Drink 2014: 50 Cocktails to Try Before You Die
The Big Eat 2014: 100 Things to Try Before You Die
The 2012 Big To-Do SF: 100 Things To Do Before You Die
The Big Veg 2011: 50 Vegetarian (Or Vegan) Things to Eat Before You Die
The Big Sweet SF: 50 Treats to Eat Before You Die
50 Things to Do in Wine Country Before You Die


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777 Is The Number Of God Because I Am God
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[quote:T Ceti H.C. Radnarg:MV8xOTAxMzQ3XzM0NDc5NTgyXzk0MkEwMjVG] Rhode Island and Maine are now drafting bills to Re-legalize marijuana....looks like an " agency " finally got around to reading my memo on how they better allow everyone to get stoned, to try to keep Everyone from waking up,lol.:stoner:..:hemp:...the plastic and petroleum cartels and the other mafia's are getting nervous these days.. [/quote]
Original Message
...going from a jesus to a god and then to a co-creator spirit within in this ascension process....i have grown within since the thread started so please bare with me..777=7.77 food pH level in the body...so if you want to be a god/creator in your temple and your kingdom>...first you must become a "jesus" in your temple/body and kingdom/mind with the keys...the first key is die-t<see the cross and the word die...and the second key is manna which is potassium iodide KI crystals<it looks like white colander seed as the codebook describes it...the diet and manna is to flush out all unnatural foods/drinks we have stored since birth because our kingdom/pineal gland and other 7 parts of your brain and temple/body, stores it instead of burns it or passes it out...eat what the codebook tells us to put into our body/temple and taking our manna and in about 6-8 months to clean our temple and kingdom out to be the jesus,but we continue the manna and diet... we will be god/creator spirit in our temple and kingdom with the 3rd key of positive attitude/thinking and remembering we are spirit within
...Romans 8:14>we all can be a jesus... sulfur based microscopic parasites live in mud critters>cattle,pigs,catfish,founder,etc. and is the hell referred to by "jesus" because cooking doesn't kill them(worms)..."their worm does not die and the flame is not quenched" is said of people in hell...and today's grocery store meat is also packed full of chemicals...only ocean fish doesn't have chemicals added and the jesus symbol is the fish with scales,but not bottom dwelling fish in the die-t
...this is how i because a "jesus" then a "god" in my own temple and kingdom and then a co-creator as i remembered i/we are spirit within that created the religious concepts...die-t and manna will get you to jesus state,then maintaining the 2 keys with the 3rd key will get you to a godlike state in your temple and your kingdom and then into our co-creator spirit within state...these keys i/we give to everyone....the bible is also metaphors of our ego traits freewill,humility,pride,desire and vanity to hang upon our cross and die to as humility at the head of the cross cry's out for the creator...pride and vanity are nailed together at the feet as free will and desire are nailed at the hands...the statute of liberty has 7 points in it crown because of the 2 sides of the brain,pineal gland,pituitary gland,thalamus,cerebellum and medulla...the torch symbolizes the pineal gland lit like a burning flame... the 8th brain part that all together form the divine feminine...and the bible is also about our 6 senses..
PS as "gods" code book gave us the diet and manna ,we must supply the other 3 keys of an open mind ,an open heart and positive thinking/attitude to produce the 5 pointed star of venus the morning star to rise in our hearts..after maintaining that, the 6 pointed star of 3 points above and 3 points below will be given making us a co-creator in our temple and kingdom...(((here's an recent edit ,the longer i have used the keys i remembered we are all co-creators with the same shared spirit and our spirit existed before the creation making us co-creators instead of gods,goddesses,saviors or prophets,
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Chislehurst Road bridge graffiti - art or vandalism? Editor's Eye comment (From News Shopper)
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Chislehurst Road bridge graffiti - art or vandalism? Editor's Eye comment
1:43pm Monday 19th November 2012 in Opinion By Andrew Parkes, News Shopper editor
GRAFFITI – a foul scourge on society or a modern expressive art form?
We've been waiting a year for the Chislehurst Road bridge to reopen, and the ribbon was finally cut last Friday. But, within hours, someone has scrawled graffiti right across the brand new, shiny surface.
So, should we celebrate the wit required to come up with: "Don't jump, life is so amazing", or do we call for the immediate re-introduction of birching for anyone caught in the act?
You could argue that at least this comment has a relevance to the site where it has been scrawled. You could even make the case it is upbeat. Mind you, alongside this carefully scripted witticism was a far more mundane, and universal, graffiti offering — a crudely drawn penis.
So, should humour and artistic ability be celebrated, whilst those without talent, who tend to fall back upon obscenity, be roundly punished?
I strongly suspect there's very little point even pondering the question as the chance of actually catching the nasty little scumbags is negligible.
And, if there is any inconsistency regarding graffiti 'artists' we've only got ourselves to blame. As soon as anyone labelled this criminal behaviour as an art form we were on the ugly, defaced road to ruin.
Even the authorities approach the problem in wildly different ways. Luckily responsibility for this bridge falls to Bromley Council, which has an avowed aim to remove graffiti within 24 hours of being informed about it. Network Rail's view appears to be that, unless it's offensive, they won't even touch it.
Presumably if this little 'artist' wrote: "What a lovely looking bridge" on a new Network Rail structure it would stay for eternity.
What do you think? Is graffiti ever an art form or is it always just vandalism? How should people guilty of graffiti be punished? Who should pay for the removal of graffiti? Add your comments below.
Comments (11)
Please log in to enable comment sorting
2:01pm Mon 19 Nov 12
Jenfleur says...
2:47pm Mon 19 Nov 12
the wall says...
2:51pm Mon 19 Nov 12
the wall says...
the wall wrote:Oops my mistake it on the other report of the graffiti on the same bridge.
I don't know why comment was removed?
3:00pm Mon 19 Nov 12
Have your say says...
3:44pm Mon 19 Nov 12
Lord Erastus Theobald Piggott says...
4:30pm Mon 19 Nov 12
Have your say says...
7:22pm Mon 19 Nov 12
madras says...
It's also a poor effort having bare concrete when they could have come up with something a little more sympathetic to the eye - even for a bridge
Perhaps the council could sponsor local school / college to design something?
11:45am Tue 20 Nov 12
ksc says...
12:45pm Tue 20 Nov 12
PaulErith says...
8:16pm Tue 20 Nov 12
2bobsworth says...
if it was graffiti on the bridge up the top of star lane,noone would be botherd!!!!
its only because its up in petts wood that its made the newsshopper!!!
11:14am Wed 21 Nov 12
Polly Staight says...
If the "scumbags" of which the NS speaks, whether they be a kid from the local school or the one known as "Banksy", did whatever it is they do on their own property, they could call it "Mary" if it pleased them...
...When it is on public property, it is vandalism.
Comments are closed on this article.


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Stanford beat Oregon last night and in addition to giving mad props to my fellow Dukie Johnny Dawkins, I have to update the Library as Icon series:
Stanford students chanting overrated at the end of the FIRST half. You don't know anything about sports. Go back to the library.—
Mark Yost (@Yostoppotamus) January 31, 2013
Rush the floor. Tonight. More Stanford students likely to be in library then on court after game.—
Jimmy Wood (@JimmyWoodCU) January 31, 2013


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India's wake-up calls
Despite a growing demand for an end to the ugly realities of patriarchy and gender inequality in India, such change is unlikely to come easily or soon.
India has been in the headlines recently because of three high-profile cases of sexual assault.
In one, a Swiss woman cyclist was attacked and raped by a gang of thugs. In another, a five-year-old girl was brutally raped, and in still another, a young Indian medical student was assaulted and gang raped and her male companion beaten in a bus as it traveled, with its tinted glass windows, around Delhi. After a brave struggle to survive, the victim died, and so the five accused were charged not only with rape and assault, but also with murder.
The Government has acted quickly, setting up 2,000 "fast-track courts" to deal with such crimes all over the country. One of those courts is well on the way to convicting the adults accused in the Delhi outrage. The rapist who was the most brutal and violent, was only 17 – legally a "minor" under Indian law – for whom the maximum sentence would be three years. A Bill is now before the Indian Parliament to reduce the age of majority from 18 to 16, when the offence is rape.
The country has taken these latest atrocities seriously, and a number of actions have been taken. More streetlights are being erected in cities. Tinted window glass in vehicles has been banned. There are more police patrolling Delhi streets. A law was passed in February to curb workplace sexual harassment, and a provision in the Indian government's most recent budget speech announced a 10-billion rupee (app. $189-million Canadian) fund to address some of the root causes of violence against women.
With all this going on and with talk of chemical castration or even capital punishment for rapists, cases of rape and violence against women and girls continue to be reported in the media – horrible incidents, such as the rape of a three-year-old child, the rape and murder of three young sisters, and so on. "What's going on here," you may well wonder?
It may be that there is more reporting and publicizing of such crimes these days. Are all the perpetrators mentally unstable? One newspaper editorial I read put forward the view that Indian women's liberation from traditional confining customs, illiteracy, and old ways of doing things has now gone so far that some men want to do something to stop this process and push things back, to make women retreat back into the home and not move out freely. It's all about power, not lust or sex, the editorial said.
And what has been the reaction of the women of India? They have come together to shout, "Enough is enough! No more!" A "One Billion Rising" international campaign culminated in programs in February – street plays, speeches, pamphlets, petitions, banners, slogans, songs, and dances all over the country – which have helped to keep visible the positive public views protesting violence against women.
Many men have joined the campaign against violence on women. International Women's Day on March 8 took the theme forward all over India. There were many activities involving hundreds of thousands of women and men, in both rural and urban areas. Communities were talking. Violence against women was on the agenda of village council meetings. However, patriarchy is very deeply entrenched in Indian society. Female feticide and female infanticide continue despite all laws and the growing social awareness and abhorrence of these crimes.
Families do not want daughters. Widows and separated women are called "witches," and this results in social ostracization, which often leads to them being evicted from their homes and villages, or stripped naked and paraded publicly. Many men regard a woman without a man behind her as being weak and helpless, and feel they can do anything they like with her. In such cases, a male relative or another male member of the community often starts the "witch rumour," after being rebuffed in some way.
It's the norm in India that men control their wives, mothers, sisters-in-law, and sisters, and don't let them move and travel freely. If a women rebels, often she is beaten, kicked, or called names. And most men think that it is their right to have this kind of control over their wives and women in the household.
That brutal Delhi gang-rape, and the attacks on that five-year-old and on the Swiss tourist were wake-up calls for this country. The Indian government has acted positively, putting new rules and structures in place. Young people – women and men – across the country are coming together in protest, and are working to bring about change in communities. The focus is on change in attitudes toward women, and "implementation"– of existing laws, new laws, and the need to take action for justice. Violence against women is finally on the agenda of public discourse.
It will be a long struggle to bring about real change, but something new has started in India. I join in the loud and growing cry. I, too, say, "Enough!"
Ginny Shrivistava makes her home in Udaipur, Rajasthan, India, where she is an organizer of the Astha Sansthan, an NGO that has helped to form the gender-equality group the Association of Strong Women Alone. She was the 2005 winner of the Alumni Achievement Award.
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Jermauria Rasco is coming to LSU. What does the future hold for him?
A breakdown of Odell Beckham Jr. and his future at LSU.
A breakdown of freshman sensation Jarvis Landry.
A breakdown of Anthony "Freak" Johnson and his future at LSU.
Jermauria Rasco commits! Rasco is the final commitment for the 2011 Recruiting class (barring a hail mary from Clowney), and another outstanding addition to the defensive line. He hails from Shreveport, prepped at Evangel and should be in the mix for playing time next season.
A breakdown of LSU's incoming WR recruits.
Paul Turner just committed to LSU. More at TSD.com— Shea Dixon (@Sheadixon) July 31, 2010
Shea Dixon from Tiger Sports Digest just reported that West Monroe athlete Paul Turner has committed to LSU. Turner is 5'11, 185. Coming in to the season, it was unknown whether or not Turner would be LSU quality. A highly popular player within the state, Turner dominated in the Dome last season. At the recent LSU camp, Turner impressed coaches, running in the low 4.4s and impressing in WR drills. Turner's offer is as an ATH, so where he plays will still be up in the air, but the kid is definitely a versatile athlete sure to be shooting up the rankings.
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3 Responses to "Review of "Ideology, Psychology, and Law""
May 30, 2012 at 7:05 am
[...] here to see the original: Review of "Ideology, Psychology, and Law" « The Situationist May 30th, 2012 | Tags: Case, Domain, the-case, the-domain, the-law, these-avenues, thought-had, [...]
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The Bruins finished Day 2 of pre-season camp in San Bernardino with a bit more heat on the thermometer and a bit more heat from the head coach.
Yesterday was a big day for UCLA football with a new commit, seniors showing off at Pro Day and Bruin alums in the NFL getting love (and $$)
A look back at the NFL Combine and a look ahead to some upcoming events in UCLA Football.
Part 2 of a 3 part Q&A with Scout.com's Brandon Huffman, who recently discussed with Bruin front pagers number of issues related to UCLA football recruiting and thoughts on the upcoming football...
As we get ready for the return to Spaulding Field on April 2, BN previews spring football practice and rosters. We continue our nine-part spring football preview with our sixth installment and...
Johnathan Franklin and other Bruins have a great Pro Day at Spaulding
Bruins Nation fires up the third part of their pre-fall football camp positional interviews, with this segment taking a look at the defensive secondary.
Spaulding Roundup: Game Situations, Consistency, and...ugh...Injuries for U.C.L.A. Football
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It seems as if there is a proclivity to make things as complicated as possible and very few questions are ever answered as unambiguously as they should be.
As a case in point, consider the topic of the Indiana state sales tax that was first discussed two weeks ago. There is a tendency to think that like items are either taxable or nontaxable, but the truth is that the matter is a lot more muddled than that. Per the Indiana Department of Revenue's Information Bulletin #29 (effective Feb. 1, 2012), a number of food items are explicitly listed as nontaxable that are often associated with things that are taxed. For example, the category "Candy and confections" is listed as taxable but Nestle Crunch bars are explicitly listed as "Non-taxable Food Items" along with Kit Kat bars, Twix bars, and 72 other bulleted items (the full bulletin can be found here: http://www.in.gov/dor/reference/files/sib29.pdf).
In the past two weeks, I've collected sales receipts for identified nontaxable items from 16 area retailers and the compliance rate found is only 50 percent (a scan of receipts for those erroneously charging sales tax when they should not be can be found at: https://docs.google.com/file/d/0B4RpixnfkUSDczM0bEpPcVFJcUU/edit?usp=sharing). This means that half the time, a consumer is paying 7 percent more for the purchase of specific items than they should thanks to errors in the point-of-sale database that should have been corrected more than 18 months ago. While the cost of maintaining accuracy in the database can be viewed as burdensome for retailers when sales tax issues are so convoluted, it is still the law and the ethical thing to do to protect the consumer.
When I contacted a chain with approximately 50 convenience stores and errors in their database, the only response came from the director of human resources. Their response assured me, "We work closely with the Indiana Department of Revenue on all taxable and non-taxable products and undergo rigorous state audits of these products on a regular basis. [We] will introduce the specific examples from your email into its ongoing discussions with the IDOR." From this response, I find two things surprising: first, that the state audits do not verify accuracy and compliance with the bulletins the department publishes, and second that the retailer will stop only when the Department of Revenue tells them to stop. If the scenario were reversed, I cannot imagine any retailer who would tolerate a wholesaler incorrectly charging them 7 percent more than they should for purchases and allowing it to continue for almost two years.