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Critical Essay by Yvonne Shafer
SOURCE: "Breaking Barriers: August Wilson," in Staging Difference: Cultural Pluralism in American Theatre and Drama, edited by Marc Maufort, Peter Lang, 1995, pp. 267-85.
In the following essay, Shafer analyzes Wilson's life and his techniques as a playwright, and chronicles the stage productions of his plays.
August Wilson is one of only seven American playwrights to win two Pulitzer Prizes, and one of only three black playwrights to receive the prize. Unlike many black playwrights he has written plays which appeal to both black and white audiences. When Ma Rainey's Black Bottom opened in 1984, Wilson was completely unknown in the theatre. In the following ten years he achieved such success that, as critic Paul Taylor has noted, "Wilson is the only contemporary dramatist, apart from Neil Simon, who is assured a Broadway production and his have been the pioneer black works at many regional theatres" ["Emptying the Contents of His Bag," Independent (London), October 21, 1993]. He has won Bush, McKnight, Rockefeller, and Guggenheim Foundation fellowships in playwriting, and Tony awards and Drama Critics Circle Awards. In 1988 he achieved the distinction of having two plays running on Broadway, Fences and Joe Turner's Come and Gone. His plays have been described as "powerful," "thrilling," and "explosive." Critic Richard Christiansen noted the unusual quality of Wilson's work which has contributed to his popularity, saying, "Wilson's genius for translating common language into poetry through rhythm, repetition and telling imagery reveals a world of myth, religion, and folk spirit" ["'Two Trains' Has Ticket to Amazing Trip," Chicago Tribune, January 26, 1993]. Remarkably, Wilson has been able to explore and communicate the black experience in America in a way which seems particular to blacks and also achieves a universality which has drawn the white audiences needed for a commercial success in the American theatre. He explores small lives in very particular places, but as Taylor commented, "They're small people in a small space but in Two Trains Running they summon up a universe." An analysis of Wilson's background, his approach to playwriting, and the stage history of his plays reveals a unique experience in the American theatre.
Wilson was born Freddy August Kittel in 1945 in Pittsburgh, Pennsylvania. His mother's maiden name was Wilson. His background seems an unlikely one to produce either a poet or a playwright who has achieved "widespread acclaim as the most invigorating new voice in our theatre" [Sid Smith, "Playwright: Blacks Should Look Back, Go South," Chicago Tribune, February 23, 1993]. His white father was a German baker named August who "was at best an infrequent and sporadic presence in the household" [Samuel G. Freedman "A Voice from the Streets," New York Times Magazine, March 15, 1987]. Young August's mother (who supported the children by a janitorial job and money from welfare), however, was determined that her children would have a chance to compete in society. As Wilson says, "My mother taught me how to read. She had six kids and taught us all how to read. I learned how to read when I was four. She kept books around the house; it was very important. We had a time that we would all sit down and she would read a few pages and then she would let us go out and play" [quoted in Yvonne Shafer's "An Interview with August Wilson," Journal of Dramatic Theory and Criticism, Fall, 1989].
As a child Wilson suffered the effects of racism in America: when his family tried to move into a mostly white neighborhood, bricks were thrown through the windows and when he went to a largely white high school, white students left ugly, racist notes on his desk. He left one school, tried another, and at the age of fifteen dropped out of school. However, his education did not end: he spent part of his days in the library reading—especially books in the section marked "Negro." He recalls, "Those books were a comfort, Just the idea black people would write books. I wanted my book up there, too. I used to dream about being part of the Harlem Renaissance" (Freedman).
When he wasn't in the library, Wilson was hanging around bars and pool halls—his was the archetypal black American experience. From the streets he learned a rich, vibrant argot which he has transmuted into powerful, striking language in his poems and plays. He began his career by writing poetry for more than twenty years. His poems appear in numerous journals and anthologies including The Poetry of Black America. Unlike many black playwrights, his own experience and his knowledge of the history of blacks in America has not resulted in bitter, vituperative dramas. Particularly in the sixties, some black playwrights were so militant against white culture that they literally drove white audiences out of the theatre. Claude Purdy (director-in-residence at the Penumbra Theatre in St. Paul, Minnesota) knew Wilson in Pittsburgh, and encouraged his playwriting. He has commented, "August came out of the '60s with a responsible attitude, eager to explore his community's culture and do something for his people" [Hilary De Vries, "A Song in Search of Itself," American Theatre, January, 1987]. Wilson's plays both inform audiences about the cruelties of the past and indicate the possibilities in the future for blacks in America. He is keenly committed to the idea of demonstrating to white audiences the reality of African culture.
Wilson turned to playwriting during the black power movement in the United States. He began writing one-act plays to raise the consciousness of his community. He was cofounder of the Black Horizons Theater Company in Pittsburgh. In 1978 he was invited by Claude Purdy to join him in the Penumbra Theatre. In this period Wilson produced some plays at Penumbra and became a member of the Playwrights Center of Minneapolis. He began to receive grants which enabled him to focus entirely on writing plays. Although he has been closely related to the Eugene O'Neill Theater Center's National Playwrights Conference in recent years, at first he had little success there. He submitted five plays which were all rejected. However, he persevered and in 1982 his play Ma Rainey's Black Bottom was accepted. He traveled to Connecticut from his home in St. Paul and his work with director Lloyd Richards began.
Wilson is writing a play for each of the decades of this century depicting the black experience throughout the years. So far he has written five plays which are a representation and summation of a particular decade. When asked if he would start over, once he had finished, he responded, "Then I'll start over, sure. There's more than one story to tell" [quoted in Shafer interview]. In fact, Wilson takes umbrage at the suggestion that he could use up his material:
An interviewer once asked me if having written these plays, I hadn't exhausted the black experience. I said, "Wait a minute. You've got 40,000 movies and plays about the white experience and we don't ask you if you've exhausted your experience." I'll never run out of material. I'll just start over again. You can write forever about the clash between the urban North and the rural South, what happened when blacks came to the cities, how their lives changed and how it affected generations to come, [quoted in DeVries]
Part of the recent controversy which revolves around Wilson's work is the charge by Robert Brustein, artistic head of the American Repertory Theatre in Cambridge, Massachusetts, that Wilson is limiting his development by writing about the black experience. He further stated that he had been fatigued by "Wilson's essays on racism" ["The Lesson of 'The Piano Lesson'." New Republic, May 21, 1990]. Asked to expand his remarks for The New York Times, Brustein wrote, "I feel he's explored that [the black experience] in four plays. I want to see another theme. And therefore something like that can become self-limiting" (quoted in Mervyn Rothstein, "Passionate Beliefs Renew Theater Fight over Art and Profit," New York Times, May 15, 1990]. Wilson responded to Brustein's remarks by indicating once again his amazement that someone could feel the black experience was exhausted after a few plays, and concluded, "Has anyone ever told a white playwright to write about blacks? There's no idea that cannot be contained in black life. It's full and it's flourishing. How can that be limiting? Was it limiting to Chekhov to write about his people?" [quoted in Rothstein]
The plays Wilson has written about his people include Joe Turner's Come and Gone, set in 1911, Ma Rainey's Black Bottom, set in 1927, The Piano Lesson, set in 1936, Fences, set in 1957, and Two Trains Running set in 1969. As he has said, "I've got a very large story—the four hundred year biography of the black experience in America" [quoted in Janice Arkatov, "August Wilson: His Way," Los Angeles Times, June 7, 1987].
Wilson's plays were first performed in staged readings at the Eugene O'Neill Theater Center's National Playwrights Conference. Wilson worked closely with Lloyd Richards, then Dean of the Yale School of Drama and Artistic Director of the Playwrights Conference. (Richards came to prominence as director of the first Pulitzer Prize winning play by a black playwright, A Raisin in the Sun.) Wilson's fruitful relationship with Richards has continued to the present. Wilson says that they have developed a way of working together which calls for very little dialogue because Richards has an intuitive understanding of the overall arc of his work and what he is trying to accomplish.
Wilson slowly moved from his work as a poet to the profession of playwriting. Although he had read many plays, the did not see a professional play until he was thirty-one. Being a poet is still important in his writing. He has commented on this aspect of his work, saying in one interview, "I think the idea of metaphor comes into the plays because I'm a poet. Writing a poem you have a very small space to work in, you compress a lot of ideas in a small space, and it is the process of thinking that allows you to do that…. Now the play is a big space, but you still think the same way" [quoted in Shafer].
Turning from Wilson's background and his approach to playwriting to an analysis of his plays, one is struck by the themes and archetypal elements which have made them engrossing both to blacks and whites in the audience. The question of self-identity seems to be the major force in his plays. Ma Rainey's Black Bottom centers on black musicians who are exploited by white managers and record producers. Cutler and Sturdyvant represent white society, responsible in the blacks' view for their unhappy lives, yet the final arbiters of their actions. In a dispute over the arrangement of the music the blacks cease to argue only when the white man says what he wants. The piano player, Toledo, chides the others, saying, "As long as the colored man looks to white folks to put the crown on what he says … as long as he looks to white folks for approval … then he ain't never gonna find who he is and what he's about."
The title of the play is a type of pun: the Black Bottom was a dance popularized by Ma Rainey's song, but, of course. Ma Rainey also has a black bottom and she and the other blacks are at the bottom of society because of their color. The play explores their position through a simple story line: the black musicians and the white managers are waiting for the famous singer, Ma Rainey. When she finally arrives she initially refuses to make the records, then finally agrees. She makes it clear throughout the play that she feels used by the white men who run the business. Saying that they care nothing about her, she concludes, "As soon as they get my voice down on them recording machines, then it's just like if I'd be some whore and they roll over and put their pants on."
A young black trumpeter, Levee, is attracted to Ma Rainey's sexy young gal, but is warned by the other musicians to keep away from her or Ma Rainey will be jealous. Throughout the play tensions are high because of the frustration the black performers feel: their aspirations are meaningless given the impotence inherent in their positions. At the end of the play, as Ma leaves with her gal after firing Levee, the frustrations turns to rage—the senseless rage of black against black. Toledo accidentally steps on Levee's new shoe and this minor act sets off an explosion of emotion in Levee:
(All the weight in the world suddenly falls on Levee and he runs at Toledo with his knife in his hand.)
LEVEE: Nigger, you stepped on my shoe!
(He plunges the knife into Toledo's back up to the hilt. Toledo lets out a sound of surprise and agony. Cutler and Slow Drag freeze.)
He … stepped on my shoe. He did. Honest Mr. Cutler, he stepped on my shoe. What he do that for? Toledo, what you do that for? Cutler, help me.
He stepped on my shoe, Cutler.
In the published play the white man is taking charge and from the blacks the only sound is heard from Levee's trumpet: "a muted trumpet struggling for the highest of possibilities and blowing pain and warning." However, in the excellent 1994 production at the Denver Center Theatre Company only the blacks were onstage. This undercuts the point of the white men controlling the lives of the blacks, but the ending was still dramatically effective. At the end of the play, the largely white audience rose to its feet and shouted approval.
Ma Rainey's Black Bottom reflects Wilson's belief in the value of the blues to American blacks and the inability of whites to comprehend either the blues or black people. (Wilson has pointed out the irony that on most recordings the notes about the music are written by white men.) The blues become a metaphor for the differences between the two races. For Wilson music, the blues in particular, are a part of the black legacy and an important element of life. He frequently states that the blues are an integral part of black people's lives, so in all of his plays he uses music both for theatrical effect and as a true element of African-American culture. Critics often note, too, the "jazz rhythms" in Wilson dialogue.
The critics greeted Ma Rainey's Black Bottom with outstanding notices. Jack Kroll spoke of the "rich and resonant work," in "this extraordinary Broadway debut by a new playwright, August Wilson" ["So Black and Blue," Newsweek, October 22, 1984]. Frank Rich wrote in The New York Times, "Mr. Wilson articulates a legacy of unspeakable agony and rage in a spellbinding voice…. He makes [the characters'] suffering into art that forces us to understand and won't allow us to forget" ["Wilson's 'Ma Rainey's Opens," October 12, 1984]. Critics praised the direction by Lloyd Richards and the ensemble acting in general. For actor Charles S. Dutton, a recent graduate from the Yale School of Drama, critics used the terms "red hot," "magnificent," and "astonishing." All aspects of the production received praise from the critics. The Downbeat critic summed things up by saying,
Simply put, Ma Rainey's Black Bottom works. The language is rich, the emotions ring true and the direction by Lloyd Richards is right on target. Black playwright August Wilson is being hailed by critics everywhere as a major new voice in the theatre. It is rare that a black drama makes it to Broadway. One only hopes that Ma Rainey's Black Bottom stays around for a long time to come. ["'Ma Rainey's Black Bottom' Is a Winner on Broadway," March, 1985]
In contrast to many works by black playwrights which could not draw enough whites into the theatre to sustain a long run on Broadway, Wilson's play "stayed around" for a run of ten months and won the New York Drama Critics Circle Prize.
In his next play, Fences, Wilson is dealing with the polarities of loving and dying. In Beyond the Pleasure Principal Freud noted Eros and the death wish as the elementary powers whose counterpoint governs all the puzzles of life. Wilson establishes these two forces as governing factors in the life of the protagonist. Fences deals with the failed dreams of Troy Maxon, a black ball player who played in the minority black leagues, but was barred from the major (all white) leagues because of his race. Set in the 1950s, Fences presents conflicts familiar to blacks in the audience—indeed, one critic wrote that he was moved to tears because he seemed to see his own life on stage [Brent Staples, "'Fences': No Barrier to Emotion," New York Times, April 5, 1987].
The central metaphor in the play is that of fences: fences between the races, fences to keep people out, fences to keep people in, futile attempts at fencing in life. Troy Maxon was fenced in when he was in prison. He is literally building a fence around his house to please his wife, Rose, although he sees no use for it. Unable to fence in Troy's love, Rose is crushed when he informs her that he has another woman who is expecting a child. When the woman dies in childbirth, Troy challenges Mr. Death, and says he will fence in the yard so he can't sneak up on him again. In the following scene he enters the yard carrying the child which he asks Rose to take care of. She agrees, but tells him that he is now "womanless."
Juxtaposed with the threat of death is the attempt to find life and some meaning in life through sex. Troy's life has been blighted, and in a speech he describes an existence familiar to both blacks and whites:
I come in here every Friday. I carry a sack of potatoes and a bucket of lard. You all line up at the door with your hands out. I give you the lint from my pockets. I give you my sweat and my blood. I ain't got no tears. I done spent them. We go upstairs to that room at night and I fall down on you and try to blast a hole into forever. I get up Monday morning … find my lunch on the table. I go out. Make my way. Find my strength to carry me through to the next Friday. That's all I got to give. I can't give nothing else.
Another major motif which is familiar to blacks and whites is the difficult relationship between fathers and sons. Although Troy criticizes his own father, he gives him credit for raising him and feeding him. When Troy criticizes his grown son by a previous marriage, the son responds, "If you wanted to change me, you should have been there when I was growing up." With Cory, his son by Rose, Troy is hard and demanding, and in a strong scene between the two, grills him about his housing, his food, and his clothing, concluding, "I done give you everything I had to give you, I gave you your life…. And liking your black ass wasn't part of the bargain." Early in the play he tells Cory that he is in the batter's box and has one strike. Finally, Troy says Cory has struck out, and following an intense confrontation Troy ejects his son from his home.
In the final scene of the play Cory returns for Troy's funeral. The play ends with a climactic event as Troy's deranged brother Gabriel initially fails in his attempt to blow his horn so Troy can get into heaven, then does a "slow, strange dance, eerie and life-giving. A dance of atavistic signature and ritual." As he finishes his dance the stage is diffused with light as "the gates of heaven stand open as wide as God's closet." Gabriel has succeeded in playing Troy into heaven and states with satisfaction, "That's the way that go!"
Fences has been Wilson's most successful play to date. It broke the record for non-musical plays by grossing $11 million during the first year in New York. First presented at the Yale Repertory Theater (a pattern for Wilson's first five plays), the play subsequently moved to Broadway in 1987 where it was hailed by the critics as an outstanding play. Howard Kissel wrote, "Wilson is one of the few American playwrights you can call a poet. His characters are simple but deeply felt, and his language ennobles their troubling live" ["One Man's Failure Is Another Man's Smash," Daily-News (New York), March 27, 1987]. William A Henry III said, "Wilson's greatest gift is his ability to make sense of anger: he writes naturalistic scenes of genial humor turning into an explosive violence that flows from his characters and from the warping effect racism has had upon them" ["Righteous in His Own Backyard," Time, April 6, 1987]. In his review entitled "Fiery Fences," Clive Barnes stated, "It is the strongest, most passionate American dramatic writing since Tennessee Williams" [New York Post, March 27, 1987]. Several critics commented on Wilson's ability to depict the black American experience but extend the field of interest beyond that specific area. Edwin Wilson remarked, "Another impressive quality of Mr. Wilson's play is that it is not a polemical piece. Because the play is set in the late '50s, just before the civil-rights movement exploded, racial discrimination is very much a part of the fabric of the play, affecting the situation of every character. As important as it is, however, that is not the main focus. Rather it is the universal quality of the people ["Theater: Wilson's 'Fences' on Broadway," Wall Street Journal, March 31, 1987].
Fences won both the Pulitzer Prize and the New York Drama Critics Circle Award. It also won four Tony awards including best play, best direction of a play (Lloyd Richards), best performance by an actor in a play (James Earl Jones), and best performance by a featured actress in a play (Mary Alice). The play has enjoyed enormous success in regional theatres as well.
Following Fences came Joe Turner's Come and Gone in which the question of identity is central. Into a boarding house in Pittsburgh comes a strange lost man with a child seeking his wife. Almost everyone in the play is seeking someone, and they appeal for assistance to two wondrously mythic types—similar in many ways to the Rat Wife in Ibsen's Little Eyolf—the People Finder and the Binder of What Clings. The white man, Selig, is in a line of People Finders, but in contrast to his father who found runaway slaves for the plantation bosses, he is a beneficent figure who finds black people separated after the end of slavery and reunites families. Bynum is in a line of African conjure men and works spells. He, however, is in search of his own song; in a vision his father revealed to him that if he could find a "shiny man"—a man who is One Who Goes Before and Shows the Way—"I would know that my song had been accepted and worked its full power in the world and I could lay down and die a happy man." In the course of the play it is revealed that the stranger, Loomis, was entrapped into seven years of indentured servitude by the notorious Joe Turner (an actual historical figure) and thereby lost not only his wife, but his whole sense of the world and his place in it.
In an electrifying climax to the first act Loomis speaks like a crazy man of a vision of bones which rose out of water and walked on top of it, speaks in tongues, dances, and ultimately collapses, unable to stand up, skittering wildly across the floor. The play as a whole concludes with a number of people finding themselves or being found. The People Finder returns with Loomis' missing wife and Loomis turns their daughter over to her. Still lost, Loomis laments the past and the attempts people have made to bind him, "Well, Joe Turner's come and gone and Herald Loomis ain't for no binding. I ain't gonna let nobody bind me up!" The play rises to a climax as his wife prays and tells him he must be washed with the blood of Jesus, "You got to be something, Herald. You can't just be alive. Life don't mean nothing unless it got a meaning." But Loomis suddenly finds himself and responds, "I don't need nobody to bleed for me! I can bleed for myself…. You want blood? Blood make you clean? You clean with blood? (Loomis slashes himself across his chest.) I'm standing! I'm standing. My legs stood up! I'm standing now!" Having found his song, the song of self-sufficiency, and accepting the responsibility for his own presence in the world, Loomis is free. And Bynum, the Binder, has found his song because he has found his shiny man. He cries, "Herald Loomis, you shining! You shining like new money!"
The critics received the play enthusiastically. Noting that Wilson had two plays running on Broadway, "an unprecedented feat for a black playwright," Jack Kroll stated, "'Joe Turner' is Wilson's best play to date and a profoundly American one. Like all of his plays it resonates far beyond its explicit details" ["August Wilson's Come to Stay," Newsweek, April 11, 1988]. This was noted by several other critics including David Patrick Stearns who wrote, "There are flashes of profundity—Loomis is universal enough that he could be a Vietnam vet or anyone else who has suffered dehumanization. Indeed, the rooming house is in many ways a metaphor for the splintering of modern society. Characters reel about like pinballs, bouncing off their own self-perpetuating neuroses" ["'Turner' Comes to a Near Halt," USA Today, March 29, 1988]. Ron Cohen praised the play saying, "Playwright August Wilson is at the crest of his power in Joe Turner's Come and Gone at the Ethel Barrymore Theater…. The interaction of his people builds to a stunning climax that resonates with the power to overcome. Joe Turner is as evocative as Wilson's Pulitzer Prize-winning Fences and more original in scope."
The power of the climax was noted by a number of other critics including Douglas Watt who praised the play and the performance: "The cast of 11 is exceptionally directed by Lloyd Richards right up to the orgiastic climax, as striking a moment of theater as our stage has to offer" ["Second Thoughts on First Nights," Daily News (New York), April 8, 1988]. Describing the impact of the climax, Jack Kroll offers insight into Wilson's process of playwriting:
When he was writing the climactic scene in Joe Turner, in which Loomis slashes himself across the chest [Wilson says], "I had no idea where it was going. When Loomis cut himself it was a surprise to me. I looked down at the page and said, "Where did that come from?" I was drained. I was limp. But I felt good. I knew I had something." ["August Wilson's Come to Stay"]
Wilson's next play, The Piano Lesson, was first performed at Yale and then in a number of other regional theatres before opening on Broadway in April 1990. The setting is again a boarding house in Pittsburgh. A group of blacks who live there are displaced from their roots and their acquaintances in Mississippi. Doaker and his niece Berniece are surprised by the unexpected arrival of Berniece's brother, the high-spirited Boy Willie, and his friend Lymon who have driven from Mississippi with a load of watermelons. Boy Willie hopes to make a large amount of money from selling the watermelons so he will have part of the money he needs to buy a farm. He also hopes to persuade his sister Berniece to sell the family piano so that he can get the rest of the money he needs. The play becomes a struggle over the family inheritance, an elaborately decorated piano with pictures of family members carved on the legs. As critic Michael Billington noted in his review of the London production, "a bitter family dispute becomes a powerful social metaphor … in a play about the need to acknowledge the past without being in thrall to it" ["Family Discord," Guardian (London), October 9, 1993].
A history of tragedy is connected with the piano and each of the characters relates to it in a different way. The great-grandfather of Berniece and Boy Willie carved the piano for a white man. Later he was murdered and burned in a railroad car on the Yellow Dog Line by several white men. Each of these men has subsequently died mysteriously. Berniece claims that she has seen the latest, Sutter, standing upstairs in a blue suit. Boy Willie is alarmed, but claims she has made the story up as a means of getting him out of the house.
The play examines both the significance of death and the struggle in which blacks from Mississippi attempt to acclimatize themselves in the North. There is a powerful mood of the past which keeps a hold on the characters, and the voices of the dead are likened to the wind. It is not clear if the playwright intends the audience to accept the actuality of a struggle with a ghost or whether the implication is that the struggle is against the past history of the blacks in America. The present generation cannot disassociate itself from the past struggle against "the man." Even in Pittsburgh, the "ghost" of "the man" pursues Boy Willie. But in the final moments he and Berniece achieve a closeness which seemed impossible early in the play and the mystical ending gives the audience a sense of elevation and hope.
Several critics noted the increased ambiguity and complexity of this play by Wilson. Mimi Kramer noted,
The central object in this play—the piano, a beautifully carved upright, decorated with faces and scenes—means something different to everyone. To Boy Willie, who wants to use money from the sale of the piano to buy the land his family worked as slaves and sharecroppers, the piano means the future and his spiritual emancipation. To his widowed sister Berniece whose father died stealing it from the man who owned it, the piano means a heritage of grief and bitterness and women without men. ["The Theatre," New Yorker, April 30, 1990]
Some American critics and several British critics objected to the supernatural element in the play and to its length. However, Michael Billington commented that because of the inherent vital theatricality, "I can easily forgive Wilson's wordiness and the play's final descent into the supernatural in which the ghost of the slave-owning Sutter is noisily exorcised." Critics in general noted the preeminent position Wilson had reached with this play. The critic for Time Magazine wrote, "In just over five years, since his first professionally produced play. Ma Rainey's Black Bottom, reached Broadway, Wilson has established himself as the richest theatrical voice to emerge in the U.S. since the post-World War II flowering of Tennessee Williams and Arthur Miller. Just as significant, he has transcended the categorization of 'black' playwright to demonstrate that his stories, although consistently about black families and communities, speak to the entire U.S. culture" ["Two-Timer," April 23, 1990].
Critics also noted the powerful use of music throughout the play. Frank Rich concluded his rave review by saying, "That haunting music belongs to the people who have lived it, and it has once again found miraculous voice in a play that August Wilson has given to the American stage" ["A Family's Past in Wilson's 'Piano Lesson,'" New York Times, April 17, 1990].
It was no surprise that Wilson's The Piano Lesson garnered the major prizes for the year. First, the Pulitzer Prize, then the Drama Critics Circle Award. At this stage in his career critics began to ask, "How long can he keep it up?" Wilson responded with a new play which opened in New Haven while The Piano Lesson was running. Concluding his praise for The Piano Lesson, Time Magazine critic commented on the newest play by Wilson, "The episodic structure and co-medic tone differ radically from The Piano Lesson and Fences. The main thing the newest play has in common with them is that it, too, is terrific" ("Two-Timer").
With his play Two Trains Running, Wilson explored the decade of the '60s. The play opened at Yale, then toured for two years to regional theatres, then in April 1992, opened on Broadway. Although some critics felt the critical political and social events of the period were too removed from the play, in fact, they are constantly in the air and from the underpinning of a period of great change, some of it good, some of it bad for the blacks. The play is set in Memphis' small diner in a section of Pittsburgh which has disintegrated and is scheduled for demolition. The decay of the inner cities is reflected in the conversation about the black businesses which have closed and the absence of opportunity for the blacks. Another change is in the world view of blacks. Holloway the 65 year-old neighborhood philosopher says he has lasted this long because he stayed out of other people's business. His allegiance is to Aunt Ester, a seer who claims to be 322 years old. The waitress Risa believed in the Prophet Samuel who is lying in state in West's funeral parlor across the street. In contrast, Sterling, the wild young man just out of the penitentiary and looking for some chance in life, hands out posters about a rally in memory of Malcom X. Risa will have no part of it because there might be a riot. In the event, she is wooed by Sterling and does go to the rally. The characters discuss it the next day and bring out the daily events of the '60s:
Wolf: I saw you all down at the rally last night. Wasn't that something? Everybody was down there Even the niggers that swear up and down on two sacks of Bibles that they ain't black … they was down there. Ain't but five hundred chairs and three thousand people. Wasn't no fight or nothing. It was real nice.
Sterling: The police was down there taking people's pictures.
Wolf: I seen that. Wasn't that something? They don't go out there where the white folks at and take their pictures…. It's hard to live in America.
Wolf is content to run the numbers which he feels is a legitimate operation offering the blacks hope. But Memphis has been run off his farm in the South by a white man named Stovall and is determined to take pragmatic action to better his life. He hires a white lawyer who knows the white man's rules, and demands a fair price from the city before they tear down his building. He refuses to display a poster for the rally, saying:
I don't want this up in my place. I ain't putting no sanction on nothing like that. That's what the problem is now. All them niggers wanna do is have a rally. Soon as they finish with one rally they start planning for the next. They forget about what goes in between. You rally to spur you into action. When it comes time for action these niggers sit down and scratch their heads. They had that boy Begaboo. The police walked up and shot him in the head and them same niggers went down there to see the mayor. Raised all kind of hell. Trying to get the cop charged with murder. They raised hell for three weeks. After that it was business as usual. That's the Sterling boy bringing that stuff in here. Something wrong with that boy. That boy ain't right. (To Risa:) If I was you I'd stay away from him. He ain't gonna do nothing but end up right back down there in the penitentiary.
In fact, Risa intends to stay away from Sterling and from all men. Through her character, Wilson subtly introduces another element of change in the '60s, the attitude of black women about themselves. Risa, a beautiful woman, has deliberately scarred her legs so that men will not consider her as a sex object, but will look deeper into her character.
Although several critics felt the social matter of the period was too much in the background, Frank Rich said the play "makes its own chilling point" and quoted Sterling's line relating to the pointless destruction in cities like Detroit and Watts, "You take something apart, you should know how to put it back together" ["August Wilson Reaches the '60s," New York Times, April 14, 1992]. Some critics commented that there was no central struggle in the diffuse, three-hour-long play which, as Edwin Wilson wrote could "give the play focus and move the plot forward" ["Two Trains Running," Wail Street Journal, April 20, 1992]. These critics were correct insofar as the structure involves the interweaving of all the characters, each of whom relates to the past and present in different ways, and each of whom tells a story. For example, Hambone is a man cheated out of a ham nine years earlier and whose mental state has deteriorated so much that he can only say, "He gonna give me my ham. I want my ham." Sterling tries to help him by teaching him to say "Black is beautiful" and "Malcolm lives." As Davin Ansen summed up the play,
As thematically rich as it is dramatically discursive, Two [Trains] Running isn't organized around any single dramatic event. It unfolds as a succession of street-wise arias, and the monologues, in Lloyd Richards's impressively acted production, often rise to musical eloquence. Wilson leaves it to the audience to pull together his interlocking themes of economics, self-esteem and spirituality. What we witness is not a play about the '60s, but a form of oral history, in which we're invited to eavesdrop on the timeless continuum of the African-American experience. These are the stories behind the political slogans, Wilson implies: listen and learn. ["Of Prophets and Profits," Newsweek, April 27, 1992]
Ultimately, Wilson ties up all the stories. Sterling has finally lured Risa out of her nun-like existence and they have what seems to be a meaningful relationship. Memphis enters in the last moments, drunk and hilarious, having got $35,000 from the city. On Aunt Ester's advice, he plans to settle his feelings about the past by going back to see about his farm: "I'm going back to Jackson and see Stovall. If he ain't there, then I'm gonna see his son. He enjoying his daddy's benefits he got to carry his daddy's weight. I'm going on back up to Jackson and pick up the ball." Finally, Hambone gets his ham. Although he has died and the white grocer Lutz refused to the end to give it to him. Sterling breaks into the store, takes a ham and the play ends as follows: "(Sterling enters, carrying a large ham. He is bleeding from his face and his hands. He grins and lays the ham on the counter.) Say, Mr. West … that's for Hambone's casket."
Many critics noted that the play ended happily and that there was a great deal of comedy throughout. (The comedy is present in all of Wilson's plays, but critics have not given it much attention.) David Patrick Steams observed, "this is Wilson's most moving play in years. While his writing can often be diffuse, Trains is well-focused and intermingles extremes of comedy and tragedy with breathtaking elegance" ["Wilson's 'Trains' On Track," USA Today, April 14, 1992]. Much of the comedy is just tossed off in causal conversations. Talking about bad luck reminds Holloway, "A man was driving a truck … hauling a whole truck full of mirrors … lost the brakes and ran into a telephone pole. He wasn't hurt or nothing. He looked back there and saw all them mirrors broke … he was staring at two hundred years of bad luck. They had to carry him away in a straitjacket." As John Beaufort noted, "Two Trains Running seems the most comic of the Wilson cycle thus far. Wilson doesn't write jokes. But he finds constant humor in the speech patterns and verbal idiosyncracies of his characters" ["Wilson's 'Two Trains Running' Scores," Christian Science Monitor, April 28, 1992]. Critics of the regional theatre performances of the play, too, noted the comedy and its obvious appeal for audiences. In Chicago, Julian Frazin wrote:
Once again under the sensitive direction of Lloyd Richards, Trains is a tale built upon almost 350 years of disappointment and shattered dreams; yet little of the bitterness emerges in this story of joy, laughter and the continual hope for change…. Unlike many of the recent films of Spike Lee and others depicting rage and violence in the African-American neighborhoods, Wilson's play is one of little heroes who survive and prevail in spite of life's calamities. ["'Two Trains' Runs Faster than An Alleycat," Chicago Lawyer, March, 1993]
While not all the critics in New York or throughout the country were satisfied with this play, a number felt it was his best to date. In it he explores the interaction of life and death, his title indicating the literal two trains which run down to Jackson every day, and, as Wilson wrote in a program note, there are "always and only two trains running. There is life and there is death. Each of us rides them both. To live life with dignity, to celebrate and accept responsibility for your presence in the world is all that can be asked of anyone" [quoted in Linda Winer, "Grappling with Their Stations in Life," New York Newsday, April 14, 1992]. Writing in Time, William A. Henry III called the play "Wilson's most delicate and mature work" ["Luncheonette Tone Poem," April 27, 1992]. The critic John Simon, notoriously difficult to please, wrote a long thoughtful review in New York in which he said,
What I find a step forward here in Wilson's stagecraft is the ability not to rely on such obvious dramatics as onstage violence, supernatural phenomena, vicious heavies, mysterious strangers, ponderous symbols, and the rest. Indeed, the play's eponymous symbol, the place to and from which only two trains are running, is mentioned but once, and left open to several interpretations—my own being that you can live your life blindly forward, or go back into the past and try to mend the old mistakes. ["Two Trains Running," April 27, 1992]
During the pre-Broadway tour the play Wilson was awarded the American Theatre Critics Association 1990–91 New Play Award. The play itself did not receive any major awards after the New York opening, but Larry Fishburne won a Tony Award for his dynamic portrayal of Sterling.
In the 1994–95 season, Wilson's first play after a break of several years will be presented at the Goodman Theatre in Chicago, directed by Lloyd Richards. Seven Guitars, Wilson says, is about a jazz musician whose death is explored in a series of flashbacks. "The point is not who killed him but the content of his life. Barton was in and out of jail and a vagrant in some ways. But one of the issues I find fascinating is the separate relationships between these '40s musicians and the black and white communities" [quoted in Smith].
August Wilson is only 48 and as a playwright he is still developing and perfecting his art. Compared to someone like Eugene O'Neill his body of work is small. Yet, he is already one of the most honored playwrights in America. It is inevitable that his work will be compared to that of Eugene O'Neill as there are many similarities. In fact, Clive Barnes called his review of Joe Turner's Come and Gone "O'Neill in Blackface," writing, "Wilson starts his play with the leisureliness of a Eugene O'Neill slowly pinpointing this family—a boarding house in industrial America, filled with transients…. The mood, however, is funny, odd, eccentric … very cozy, very O'Neill himself in blackface" [New York Post, March 28, 1988]. Reviewing The Piano Lesson in London, Michael Billington wrote "As in Ibsen or O'Neill, the past constantly informs the present." Wilson is associated with O'Neill in critics' minds in part because his first opportunities occurred at the Eugene O'Neill Theatre Center. Just as O'Neill provided great roles for black actors including Charles Gilpin and Paul Robeson, so Wilson has provided great roles for black actors including James Earl Jones, Yaphet Kotto, Charles S. Dutton, Mary Alice, and Larry Fishburne. Both playwrights have won the Pulitzer Prize more than once. Like O'Neill, Wilson envisions a cycle of plays about the history of America. But more important than these similarities are their shared viewpoints about the seriousness of writing. Like O'Neill, Wilson writes about serious subjects but mixes comedy and tragedy. As O'Neill wrote about matters which disturbed him emotionally, Wilson says he is writing plays "about the stuff that beats in my head" [quoted in Arkatov]. Critics rarely commented on the comedy in such plays as O'Neill's The Iceman Cometh in which, as in Wilson's plays, each of the characters has stories to tell, and many of them are very funny. Although critics occasionally comment on the comic element in Wilson's plays, not enough attention is given to his ability to create strong, memorable comic characters and speeches. A final similarity with O'Neill is that both playwrights are motivated by the urge to create works of art, rather than by financial gain. Wilson said once, "All I ever needed was a few dollars for cigarettes and beer" quoted in William A. Henry III, "Exorcising the Demons of Memory," Time, April 11, 1988]. Although he quit his four-pack-a-day habit, he has changed little else. In 1993 he told a critic that he prefers smaller cities to New York's glamour, doesn't drive, and prefers a simple life, "Give me my books and records and I'm happy" [quoted in Misha Berson, "The Story Weaver," Seattle Times, April 11, 1993]. He presently lives in Seattle and has continued his connection with O'Neill Center working with a young playwright as Lloyd Richards worked with him.
At a time when many American playwrights write about transitory problems Wilson seeks the great themes. When asked about his opinion about the state of playwriting in America, he responded that he thinks the present generation of American playwrights has been spoiled by a childhood spent with television rather than literature. Of those he has met, "There were not very many who knew authors and writers, who had read novels: they were actually in a very small world. They talked about TV and movies." He says that most of the playwrights he knows have little to say and nothing beating in their hearts that drives them. Making a distinction between the artist and the craftsman, he cast his lot with the former, saying, "I think that plays should be considered a part of literature…. I aspire to the highest art" [quoted in Shafer]. However, he regards his own work with modesty, and commented amusingly about his slow process of work on his latest play. It took him a long time to complete the play which was initially called Moon Going Down and was set in a turpentine camp down South: "The more I got into it, the more I realized I didn't know much about turpentine camps" [quoted in Peter Vaughan, "After Three Year Break from Writing," Star Tribune (Minneapolis), April 30, 1993]. His modesty is also expressed in his reaction to theatre critics' comments about his work: "I read all my reviews, of course I do. I think writers who say they don't aren't being entirely honest. And I learn something from every review" [quoted in Berson].
August Wilson occupies an unusual position in American theatre. Although he feels very passionate about the historical treatment of blacks in American society, his characters break through the barriers of race and speak to both whites and blacks because they relate to archetypal themes and questions: What is true freedom? What is it to be a man or woman? How does a family relate? What is the nature of responsibility? What, ultimately, is the purpose of life and how does one "find one's own song?" How does one become (or find) a "shiny man"? In plays filled with poetic images, Wilson explores these questions. So far his record is amazing: in the terminology of baseball which occurs in Fences, Wilson has never struck out, he is batting a thousand, and there is nobody else in his league. One critic wrote, "He is the playwright that in forty years we will still be hearing about" [De Vries]. He has a long career ahead and looks forward to it with zest. He has recently agreed to write a play to premiere at the Alliance Theatre Company in Atlanta during the Olympic Arts Festival in 1996. He looks forward with pleasure to completing his cycle of plays: "I think I'll do the 80s and 90s first and then go back to the first decade. It would really be something to have all ten finished" [quoted in Vaughan]. Wilson's fans and many of the critics share that feeling. Writing in 1993, Misha Berson summed up Wilson's achievements so far:
Wilson will leave behind his own record. At age 47, the largely self-educated author has racked up a rare achievement: five plays successfully produced on Broadway and nationwide, two Pulitzer Prizes, and the forging of a distinctive voice, a sensibility, a style not to be mistaken for that of any other taleteller.
This section contains 8,247 words
(approx. 28 pages at 300 words per page)


text:
Product DescriptionOur polka dot four cup teapot is just right for your family breakfast tea. Polka dot is a fabulously popular Emma Bridgewater pattern, helping to bring that homely feel to your kitchen. Imagine pouring hot cups for friends from this polka dot four cup teapot, with a big plate of cake alongside of course! This piece comes boxed to make it a perfect gift for that lucky person.
- Earthenware
- Dishwasher safe
- Microwave safe
- Not oven safe
- Height 16.5 cm
- Volume 1.4 cl
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subset: commoncrawl


text:
The Career Management Professional's Story
Lynn Tulip is a career management professional, with over 12 years of consultancy experience. She is based in Lindfield, Sussex. You can find Lynn at Assessment 4 Potential.
Having just written her first book, in only 90 days, Lynn was keen to engage us to help tell her story. You can find more about her new book at Get That Job Book.
Here's her story told in three short sections:
Lynn's background and the foundation of Assessment 4 Potential
How to write a book and get it published in 90 days: Get That Job Book.
On writing her next book: Can't Get That Job .


text:
Cancer Health Center
Oral Cancer Prevention (PDQ®): Prevention - Health Professional Information [NCI] - Overview
Note: Separate PDQ summaries on Oral Cancer Screening; Lip and Oral Cavity Cancer Treatment; and Cigarette Smoking: Health Risks and How to Quit are also available.
Who is at Risk?
People who use tobacco in any of the commonly available forms (cigarettes, cigars, pipes, and smokeless tobacco) or have high alcohol intake are at elevated risk of oral cancer; and they are at particularly high risk if they use both tobacco and alcohol. People who chew betel quid (whether mixed with tobacco or not)—a common practice in south central Asia and Melanesia—are also at high risk. Individuals with persistent oral infection by carcinogenic strains of human papillomavirus (HPV) are also at increased risk. People with chronic sun exposure are at elevated risk of lip cancer, particularly on the lower lip.
Factors associated with increased risk of oral cancer
Tobacco use
Based on solid evidence from numerous observational studies, tobacco use causes cancers of the lip, oral cavity, and oropharynx.[1,2,3] Smoking avoidance and smoking cessation result in decreased incidence and mortality from oral cancer.
Magnitude of Effect: Large (most cancers of the oral cavity are attributable to the use of tobacco products).
|Study Design: Numerous observational case-control and cohort studies.
|Internal Validity: Good.
|Consistency: Good.
|External Validity: Good.
Alcohol use
Based on solid evidence, alcohol use is an independent risk factor for the development of oral cancer.[4,5,6,7]
Magnitude of Effect: Lower than the risk associated with tobacco use, but the risk is approximately doubled for people who drink three to four alcoholic beverages per day compared to nondrinkers, and is dose related.
|Study Design: Case-control and cohort studies.
|Internal Validity: Good.
|Consistency: Good.
|External Validity: Good.
Oral cancer risk is highest in persons using both alcohol and tobacco compared with those using one or the other.
HPV infection
Based on solid evidence, there is a strong association between oral HPV infection and oral cancer, particularly HPV type 16.[8,9,10,11] Given the known causal association between HPV infections and cancer of the cervix, the established strong association between infection by carcinogenic strains of HPV and oral cancer may also be causal.


text:
Hang tight!
Recipe by TaurusChefNYC
"For the legume fanatic, have this for dessert or as a side. A major bean infusion pour into a nutty crust. WARNING: Soak the beans to release any gassy properties."
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2 1/2 cups
all-purpose flour (spooned and leveled), plus more for rolling and cutting out dough
2 tablespoons
white sugar
1 teaspoon
1 cup
vegetable shortening, chilled
1 1/2 cups
6 tablespoons
ice water
1/2 cup
dried great Northern beans, soaked overnight
1/2 cup
dry garbanzo beans, soaked overnight
1/2 cup
dry navy beans, soaked overnight
1/2 cup
dry black beans, soaked overnight
1/2 cup
dried black-eyed peas, soaked overnight
1/2 cup
dry mixed lentils, soaked overnight
1/2 cup
dried pinto beans, soaked overnight
1/2 cup
dry kidney beans, soaked overnight
1/4 cup
olive oil
1/2 cup
prepared hummus
1 teaspoon
ground nutmeg
1 teaspoon
ground ginger
1 teaspoon
ground cinnamon
1 teaspoon
ground allspice
1/2 teaspoon
cream of tartar
1 tablespoon
vanilla extract
Very strange. Pretty dry. I wonder if the beans were supposed to be cooked after soaking? (its not in the directions)... also, the end result after processing all those beans came to 8 c... way too much for one pie. I think I'll try to cook the other half of the bean-mush and try again... Back again... cooking the stuff just made it lumpy and more solid, but it seems to be a good hamburger substitute. The pie is very good cold with lots of ketchup (sorry, chef)
I did not care for this recipe.
3 Ratings
I was pleasantly surprised by the flavor of this pie. It was a bit bland, but other than that, the taste was pretty good, albeit reminiscent of refried beans with unusual seasonings. The only unpleasant part about the flavor is the hint of vanilla. I should have followed my instincts and left that out. I did cook the bean mixture before pureeing it, because uncooked/undercooked beans can be toxic and I didn't want to end up poisoning my family. I'm only giving the recipe three stars because of the blandness, fact that the beans really do need to be cooked more thoroughly, and also I really think there's something wrong with the measurements for the crust. I've never seen a pie crust where the amount of fat equaled the amount of flour, so I reduced the amount of butter (COLD) to 1 cup and chilled the shortening for over an hour. Even so, I still ended up with a thin paste rather than a dough. I had to add almost two cups more of flour before I had anything close to a dough. Like the previous reviewer, I noticed that the amount of beans were way too much for a single pie. I only pureed about half of the beans and still had enough for an 11-inch pie. I used the rest of the beans to make chili for dinner. While this was a fun experiment, I doubt that I'll make it again. It was a lot of work and the end result just wasn't enough to justify it.
* Percent Daily Values are based on a 2,000 calorie diet.
Super Bean Pie
Serving Size: 1/8 of a recipe
Servings Per Recipe: 8
Amount Per Serving
Calories: 1078
Calories from Fat: 630
Memorial Day is a time to get together with friends and family for food, fun, and memories.
Nothing beats a big bowl of cool, creamy potato salad at your cookout.
Delicious recipes, party ideas, and cooking tips! Get a year of Allrecipes magazine for $7.99!
Learn how to make Chef John's favorite apple pie recipe.
Pecan pie with the perfect ratio of nutty crunch to sticky sweetness.
See how to make a super-simple strawberry-rhubarb pie.


text:
Pathogen Found in Wiper Fluid
May 19, 2014|
Scientists isolate the bacterium that causes Legionnaires' disease in windshield-washing liquid taken from school buses.
May 19, 2014|
Scientists isolate the bacterium that causes Legionnaires' disease in windshield-washing liquid taken from school buses.
February 1, 2014|
Developing nonaddictive drugs to combat pain
February 1, 2014|
Meet some of the people featured in the February 2014 issue of The Scientist.
January 30, 2014|
As experts warn that health-care facilities are "the perfect breeding ground" for transmission of the Middle East respiratory syndrome coronavirus, scientists identify a potential therapeutic target.
January 22, 2014|
Researchers apply epidemiological approaches to model user adoption and abandonment of sites like Facebook.
December 5, 2013|
A model that tracked last winter's flu season could accurately predict peak outbreaks across the United States.
November 14, 2013|
Taiwanese scientists confirm the first person to have been infected by the H6N1 strain of avian flu.
October 1, 2013|
A new tick-borne disease has emerged in the US Midwest—and the culprit is not a bacterium.
September 8, 2013|
As researchers test a treatment for Middle East respiratory syndrome, the deadly coronavirus that causes it slowly reveals itself.
September 1, 2013|
Researchers characterize drug-resistant tuberculosis by analyzing the genomes of more than 500 Mycobacterium tuberculosis isolates from around the world.


text:
Pinned topic APL2 and Debian
I installed APL2 to new debian server and when i try to start apl2 -hostwin off and it says that it cannot find apl2exe.. all the rights are right but still no work..
any help?
Re: APL2 and Debian2012-12-26T18:11:55Z in response to SystemAdminThe most probable reason for not finding apl2exe is that the directory in which apl2exe resides has not been appended to PATH. When you installed APL2, did you use the standard installation script we provide? Was it installed from a userid with root authority? Did you accept the default directory or choose an alternate? When you tried to start APL2, was it from a command shell window or by some other means? What was the working directory at the time you started APL2?
Since the apl2 command itself was found, but apl2exe was not, it would indicate that the apl2 command script, which should append the correct directory to PATH, has not done so, either because the directory that was used during installation was not the default, and the apl2 command script was not updated properly with the new directory, or that something else non-standard was done during the installation or is happening at startup time. Another possibility is that you have a customized apl2 script from some older installation that is being picked up in preference to the standard product one in /usr/APL2/bin.
Things to verify: that APL2 was installed in /usr/APL2, that /usr/APL2/bin (or alternate if /usr/APL2 was not used) contains an executable file named apl2exe, which apl2 script is being used (command "which apl2" should tell you), that the apl2 script being used has the correct directory in its logic to append to PATH.
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2012-12-26T21:27:15Z in response to Nancy WheelerHi there..
i made standard installation as it is on readme file..
so everything is in right PATH /usr/APL2/ and binary files /usr/APL2/bin/
'which apl2' informs /usr/bin/apl2 which is symlinked to /usr/APL2/bin/apl2..
i am running apl2 from command shell..
even adding the right path to PATH does give same error..
Re: APL2 and Debian2012-12-26T22:03:12Z in response to SystemAdminI am stumped. I would try starting apl2exe directly, i.e., in your command shell type
. /usr/APL2/bin/apl2exe
and see what happens. It probably won't work completely since several crucial environment varaiables are not set, but at least you can see if it will come up when directly addressed. If it does not, put here the complete entire message that you get.
If that does work, then my next hypothesis would be that there is something about the shell language that is interpreting the apl2 script incorrectly. The script is written for the Bourne shell. What shell are you using?
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2012-12-27T11:23:45Z in response to Nancy Wheeleryup.. i am stumped too.. :)
jari@stb1:~$ apl2
/usr/bin/apl2: line 131: /usr/APL2/bin/apl2exe: No such file or directory
jari@stb1:~$ . /usr/APL2/bin/apl2exe
-bash: .: /usr/APL2/bin/apl2exe: cannot execute binary file
jari@stb1:~$ ll /usr/APL2/bin/apl2exe
-rwxr-xr-x 1 root root 9219 Feb 24 2012 /usr/APL2/bin/apl2exe
maybe i just re-install the server and try again?
thank you anyway.. :)
Re: APL2 and Debian2012-12-27T19:05:05Z in response to SystemAdminThe only explanation I can think of is that the file is damaged in some way. Either the file as placed into the installation image was originally damaged, or the zipping/unzipping process has gone wrong. Can you show me the result of command
ls -lpat /usr/APL2/bin ? (I want to check the byte count on the files).
Also, how many bytes does the installation image you used contain? Where did you obtain it? From download or CD?
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2012-12-27T23:09:44Z in response to Nancy WheelerHere is the listing:
-rwxr-xr-x 1 root root 108540 Feb 24 2012 ap100
-rwxr-xr-x 1 root root 126142 Feb 24 2012 ap119
-rwxr-xr-x 1 root root 233316 Feb 24 2012 ap120
-rwxr-xr-x 1 root root 191755 Feb 24 2012 ap124
-rwxr-xr-x 1 root root 205546 Feb 24 2012 ap127
-rwxr-xr-x 1 root root 282127 Feb 24 2012 ap144
-rwxr-xr-x 1 root root 21695 Feb 24 2012 ap200
-rwxr-xr-x 1 root root 549659 Feb 24 2012 ap207
-rwxr-xr-x 1 root root 118420 Feb 24 2012 ap210
-rwxr-xr-x 1 root root 120685 Feb 24 2012 ap211
-rwxr-xr-x 1 root root 211946 Feb 24 2012 ap227
-rwxr-xr-x 1 root root 5239 Feb 24 2012 apl2
-rw-r--r-- 1 root root 36688 Feb 24 2012 APL2DDT.ans
-rw-r--r-- 1 root root 121344 Feb 24 2012 APL2EDT.ans
-rwxr-xr-x 1 root root 2299 Feb 24 2012 apl2env
-rwxr-xr-x 1 root root 9219 Feb 24 2012 apl2exe
-rw-r--r-- 1 root root 29072 Feb 24 2012 APL2HST.ans
-rw-r--r-- 1 root root 250800 Feb 24 2012 APL2IDI.ans
-rw-r--r-- 1 root root 16955 Feb 24 2012 apl2.jar
-rw-r--r-- 1 root root 62144 Feb 24 2012 APL2PARA.ans
-rwxr-xr-x 1 root root 10456 Feb 24 2012 apl2prt
-rwxr-xr-x 1 root root 13641 Feb 24 2012 apl2psrv
-rwxr-xr-x 1 root root 4314 Feb 24 2012 apl2runt
-rwxr-xr-x 1 root root 39321 Feb 24 2012 apl2tcl
-rwxr-xr-x 1 root root 106361 Feb 24 2012 apl2tcps
-rw-r--r-- 1 root root 126080 Feb 24 2012 APL2WSC.ans
-rwxr-xr-x 1 root root 7167 Feb 24 2012 apl2xtrd
-rwxr-xr-x 1 root root 91724 Feb 24 2012 apl2xtrn
-rw-r--r-- 1 root root 21312 Feb 24 2012 APL2ZIP.ans
-rwxr-xr-x 1 root root 21127 Feb 24 2012 aplna010
-rwxr-xr-x 1 root root 34740 Feb 24 2012 aplna011
-rwxr-xr-x 1 root root 53508 Feb 24 2012 aplna012
-rwxr-xr-x 1 root root 43003 Feb 24 2012 aplna014
-rwxr-xr-x 1 root root 39484 Feb 24 2012 aplna015
-rwxr-xr-x 1 root root 668148 Feb 24 2012 aplnls
-rwxr-xr-x 1 root root 9219 Feb 24 2012 arunexe
-rw-r--r-- 1 root root 167712 Feb 24 2012 FILE.ans
-rw-r--r-- 1 root root 518000 Feb 24 2012 GRAPHPAK.ans
-rw-r--r-- 1 root root 199792 Feb 24 2012 MATHFNS.ans
-rw-r--r-- 1 root root 90032 Feb 24 2012 SQL.ans
and installation package is here:
-rwxr-xr-x 1 jari jari 14080000 Sep 11 22:51 IBM_APL2_SL19_Linux_CI6DYEN.tar
Re: APL2 and Debian2012-12-28T01:11:02Z in response to SystemAdminAll the file byte counts are correct.
The only difference between the output you get and mine on my Linux machine (which is SuSE) is that on my machine instead of the file owner being "root root" it is "lin2dev users". lin2dev is the userid I installed with (I became root authority using the "su" command rather than logging in to root). I am not 100% sure of the significance of "users", but I think it is the group that the lin2dev userid belongs to.
The permissions for the file (i.e. rwxr x r x) are the same for me, but I wonder if possibly the fact that the userid and group name are both "root" may be the problem. Perhaps the userid you are using to start apl2 is not a part of any group that the permissions would grant access to the files. If you have a Unix expert there that you can ask, that would be something I would ask about. I would think there would be a way to modify the userid to make it part of the right group.
Another way to possibly get around the whole issue is to reinstall in the same manner that I did, i.e. Use a regular userid to do the install, and use the "su" command from that user to switch to root authority rather than logging in to the root userid. Be sure to say "yes" when it asks if you want to clean the directory, as you want to get rid of the files owned by "root root" and start fresh.
One thing that bothers me about this theory, is that if it were really true that the "root root" issue is the cause of the problem, I don't understand why the apl2 script is OK. It should have the same issue, except that you get it using the link, and maybe the link has different properties.
I hope something in this note helps. I could arrange for you to get a new install image, but my suspicion is that the install image is not the problem. If it were, there would be problems during the installation. But if nothing else works,
we will do that next.
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2012-12-28T12:43:38Z in response to Nancy WheelerThank you for your help..
you recommend SuSE or OpenSuSE OS for APL2? and is there any difference with 64bit and 32bit? we recommend 64bit OS..
we can install OpenSuSE that to server instead of Debian if that helps? i have been UNIX/Linux admin since 1993 so it doesn't matter which one we run on server.. :)
Re: APL2 and Debian2012-12-28T18:52:31Z in response to SystemAdminI would like to understand what the problem actually is before advising any radical action like installing a different operating system. I do not have any confidence that SuSE would behave any better for you, unless I know why it does not work on Debian.
Your mention of 32-bit vs. 64-bit, however, makes me think of another possibility. I assume since you say you recommend 64-bit that the version of Debian you are using is 64-bit? Is it possible that your Debian system does not support running 32-bit programs, or that running 32-bit programs requires some special method that you have not used?
APL2 is a 32-bit program and will only run where 32-bit programs are allowed to run. It will also only call other programs that are 32-bit (for example, if you want to use APL2 with Rexx or DB2 they must be 32-bit.).
To understand whether the problem is permissions, please try logging on to root and running APL2 from the root userid. This should elimiate any permission issues. If APL2 runs, then you need to investigate the properties of the userid from which APL2 will not run. If APL2 will not run even from the root userid, then the next hypothesis is that it has something to do with running 32-bit programs on a 64-bit system.
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2013-01-06T11:57:41Z in response to Nancy WheelerHappy New Year..
i got that working on Debian.. i installed 32bit library as command: "sudo apt-get install ia32-libs"
and made symbolic links at /usr/lib32/
libXm.so.3 -> libXm.so.2
libMrm.so.3 -> libMrm.so.2
and Voilá.. APL2 is working.. so my problem was only missing 32bit library on 64bit server..
now i just need to get APL2 and APL2 keyboard working trough SSH-connection.. Any Help for that?
Re: APL2 and Debian2013-01-07T18:14:08Z in response to SystemAdminThat's good news, that you got it working.
I am not familiar with "SSH", but in general if you want to use APL characters when accessing a Unix machine remotely you must make the APL2 fonts available to the emulator software you will be using to connect to it. This usually means copying the fonts from /usr/APL2/fonts/X11 to the client machine, and then following whatever procedure is required to make them known to the emulator software (adding to a path, perhaps). Check your emulator's documentation for how to add fonts.
In addition you will need to export DISPLAY from the server machine to the client machine.
Nancy Wheeler
APL Products and Services
Re: APL2 and Debian2013-01-07T18:14:31Z in response to SystemAdminThat's good news, that you got it working.
I am not familiar with "SSH", but in general if you want to use APL characters when accessing a Unix machine remotely you must make the APL2 fonts available to the emulator software you will be using to connect to it. This usually means copying the fonts from /usr/APL2/fonts/X11 to the client machine, and then following whatever procedure is required to make them known to the emulator software (adding to a path, perhaps). Check your emulator's documentation for how to add fonts.
In addition you will need to export DISPLAY from the server machine to the client machine.
Nancy Wheeler
APL Products and Services
DiGraaf 2700051FEY6 PostsACCEPTED ANSWER
Re: APL2 and Debian2013-06-16T13:22:05Z in response to SystemAdmin
Hello Nancy..
We got it working thru SSH-tunnel between Linux - workstations.. Thank You for that.. But now we have problem with APL2-keyboard.. We cannot get some characters to display right. and this is on debian linux again.. Any Help? :)
Re: APL2 and Debian2013-06-17T18:09:50Z in response to DiGraaf
When you say "this is on Debian again", do you mean that you are accessing APL2 directly on the system where Debian is installed, and not through the "SSH-tunnel"?
If so, did you follow the directions in the README for adding the font path to your shell profile (using xset command?)
If you have added the font path correctly, which characters are not correct?
DiGraaf 2700051FEY6 PostsACCEPTED ANSWER
Re: APL2 and Debian2014-07-29T13:35:05Z in response to Nancy Wheeler
Hi Nancy and others..
SSH-tunneling is working too from linux to linux.. You just install APL2 and fonts to both machines and start SSH with tunneling and You can use remote APL2 on your local computer..
thanks for that..


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Binghamton University is able to offer limited housing for graduate students in our apartment community, Hillside. Life on campus offers convenience, comfort and community — perfect for the busy graduate student. Housing contracts are currently for 10-months (including break periods) with the option to request additional summer housing. You will be able to move into your apartment in mid-August before classes begin. Halls then close for the year in mid-May.
If on-campus housing is secured, you'll live in a 4- or 6-person apartment with fellow graduate students. Each apartment offers single, private bedrooms, and a shared kitchen, bath and other common areas. Apartments include a fully furnished living room, a bedroom with an extra-long twin bed and a kitchen with stove, oven and refrigerator. The room rate — billed in fall and spring installments to your student account — is all-inclusive of utilities (heat, water, trash removal) as well as building maintenance, lockout assistance, snow removal, Wi-Fi, cable and laundry. Please note that academic funding awards are separate from housing costs, and do not automatically cover this expense.
You'll appreciate the close proximity of life on campus. There are several dining options to choose from, adjacent parking, on-campus mail service, access to local transit and free campus shuttles. Hillside also has great proximity to the Nature Preserve which provides 11 miles of walking trails and amazing scenic views.
Unfortunately, the University is unable to offer a family housing option.
Housing sign-ups are available on the Residential Life website, once your enrollment deposit has been paid.
Most graduate students live off campus in the Binghamton city area. The affordability and availability of off-campus housing, coupled with free bus service, make it easy for you to find housing in the surrounding area. The University's Off Campus College (OCC), a resource for students seeking housing in or around the area, maintains a computerized listing of available housing and also provides lease reviews, weekly legal clinics, community events, and educational programs.
Bus: With a valid Binghamton University ID card, you can ride the Broome County Transit and Binghamton University OCC Transport buses at no charge. Bus schedules can be accessed from the links below.
Parking: If you plan to commute and park on campus, you may purchase a parking permit at the Parking Office (Couper Administration Building, Ground floor, Room #8) from 9 am to 4 pm weekdays or at the Visitors' Information Booth from 7:30 am to 7:00 pm. Parking permit fees are available online at Parking Services.
Getting to/from Binghamton, NY: It is easy to get to Binghamton by car, bus or plane. For driving directions, links to bus companies and information on nearby airports, including the Binghamton Regional Airport, go to the campus's Maps and Directions page.
Some graduate students choose to relocate to the Binghamton area with their families. The Binghamton community has a wide variety of social activities, top-quality elementary and secondary schools, world-class health-care facilities, and convenient shopping and services. With low crime rates and moderate economic growth and development, Binghamton is an excellent community for raising children. The Binghamton University Campus Preschool provides child care and kindergarten programs, while the Family Enrichment Network and Mothers & Babies Perinatal Network can help you find other local resources. In addition, you can participate in play dates and other social events with the Graduate Parents Collective.
Binghamton University's Annual Security Report (.pdf, 176kb) shows statistics for the previous three years concerning reported crimes that occurred on campus, in certain off-campus property affiliated with the University, and on public property within, or immediately adjacent to and accessible from the campus. The report also includes institutional policies concerning campus security. If you would like a paper copy of the report, contact The Graduate School.
Study in the States: The U.S. Department of Homeland Security has a website designed to help international students who want to pursue their studies in the U.S. Study in the States provides current and prospective students with a step-by-step guide for what they need to do (in terms of documentation, visas, and so forth) to study in the U.S.
Last Updated: 3/27/15


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Panorama Comes On Board 'Pride and Prejudice and Zombies'
Panorama Media has come on board "Pride and Prejudice and Zombies," joining Darko Entertainment, Handsomecharlie Films and producer Allison Shearmur.
Panorama Media has come on board "Pride and Prejudice and Zombies," joining Darko Entertainment, Handsomecharlie Films and producer Allison Shearmur.
An inspired mashup of zombie heart and romantic-comedy brains, "Warm Bodies" offers a welcome twist on the living-dead canon, even if the decidedly femme-skewed results ignore pretty much every rule…
One of the key takeaways from the current TV season has involved the important reminder that hits can now emanate from anywhere, underscored by the enviable ratings for "The Walking Dead" and now…
SAG-AFTRA has managed to combine zombies with its opposition to California's Proposition 32, the campaign finance reform measure on the November ballot.
Featuring the concept of Japanese anus-worshipping redneck zombies incubating carnivorous mutant tapeworms, "Zombie Ass: Toilet of the Dead" is somehow worth only a few laughs.
Fledgling Amazon Studios has signed Clive Barker to come on board its action horror project "Zombies vs. Gladiators" with a rewrite of the project.
Disney Channel has greenlit a pilot for musical program "Zombies and Cheerleaders," with an eye toward a 2012 premiere if the cabler orders it to series.
Will Emma Stone ever get away from the zombies?
Amber Entertainment is teaming with British comicbook house 2000 AD and its Rebellion Publishing arm to bring medieval zombie tale "Stronghold" to life as a feature film.
Given Natalie Portman's elegant demeanor, a turn in a period Jane Austen adaptation was inevitable.


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The Watch of the Champions
The watch manufacturer "Alexander Shorokhoff" well known by its unique mechanical watches arranged a limited edition of Kostya Tszyu - watches on the occasion of the 40 birthday of this exceptional Russian boxer and 4 times champion of the world.
The steel case with vaulted sapphire glass, screw-type glass back and the black guilloched dial with luminous figures and appliqués give this watch a sporty and at the same time elegant appearance reflecting Kostya's manner of fighting (deportment) in the ring.
The multiple functions of the watch – showing hours, minutes and seconds of the current time, the stop-watch function with indication of the passed seconds, minutes and hours and also the days of the week and the month, are - so to speak - underlining the versatile character of Kostya in all spheres of life as a sportsman, sponsor, politician and businessman.


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The Alabama Constitution was ratified in 1901. At more than 800 amendments and 310,000 words, it is the world's longest constitution. It is said to be approximately forty times the length of the U.S. Constitution. Also known as "the Heart of Dixie," Alabama's capital is Montgomery, but its largest city by population is Birmingham.
Alabama has two members of the U.S. Senate, a total of six members of the U.S. House of Representatives, 35 members of the State Senate and 105 members of the House of Representatives.
Ballotpedia has 806,202 articles and 10,757 registered users. We've had more than 450 million page views. Join us.


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Central Operations is the home of over 2,700 employees who handle Fifth Third Bank's back-office functions and Contact Center services for nearly six million customers. Our goal is to operate as an efficient, behind-the-scenes machine to allow Fifth Third Bank transactions to be seamlessly executed for our affiliates and customers. If this type of work appeals to you, consider a career within Central Operations at Fifth Third Bank.
Consumer Operations services all Fifth Third Bank consumer loans, commercial loans, and Bankcard products consisting of consumer loans/leases, Residential First Mortgages, Commercial Loans and Bankcard products.
Our Operations teams are responsible for all servicing activity from new product boarding to payoff or lien release, including: payment processing, escrow activity, homeowner/automobile insurance tracking, investor reporting, Bankcard dispute processing, customer service research, and file management/imaging.
Consumer Operations supports our affiliate network and external investors (Freddie Mac, Fannie Mae, FHA/VA) and works closely with each line of business to deliver high-quality service to our customers.
Commercial Operations is comprised of two distinct divisions that support key business verticals within the Commercial Line of Business; Cash Management is comprised of seven distinct operational functions that support the Treasury Management product suite and deliver revenue of approximately $400MM per year. The Commercial Loan Fulfillment group provides all due diligence, loan documentation, loan boarding and funding for all Commercial Loans, Industrial Revenue Bonds, and International Letters of Credit.
A total of 850 employees located throughout the Midwest, with significant sites in Cincinnati, Ohio and Grand Rapids, Mich., work diligently to serve the Commercial customer base.
The Commercial Support Center provides customer care for Commercial and Business Banking clients who use our Treasury Management solutions and Commercial Loan products. The Support Center, located in Cincinnati, Ohio, handles approximately 400,000 service interactions per year through phone and email channels and includes products like 53 Direct, Account Management and Payments, Lockbox, Cash Vault, and Electronic Deposit Manager.
The Consumer Contact Center services all in-bound customer phone calls and emails regarding consumer products. These products include: Deposit Accounts, Bankcards, Mortgages, Installment Loans, Internet Banking, and Auto BillPayer.
The Consumer Contact Center is located between two sites, Cincinnati, Ohio and Grand Rapids, Mich. The division is made up of a Production Team, a Quality Analysis Group (monitors agent calls to ensure continuous service excellence), and the Work Force Management Team (plans day-to-day schedules and forecasting).
Check Services is comprised of four teams that support the Bank's check and mail processing.
The Item Processing Division processes all paper and image checks received from branches, internal departments, and in clearings from the Federal Reserve Bank and multiple correspondent banks. Depositor Services consists of Returns, Adjustments, and Legal Operations processing to internal departments and all Lines of Business. Mail and Print Services facilitates all interoffice and overnight carrier mail distribution, printing for statements, reports, and statement rendering utilizing high-speed inserters. The Float area manages all check-clearing relationships for the Bank and assists with pricing new clearing partners, while Transportation manages all outsourced courier relationships. Check Services Support and Implementations manages projects for Check Services and Information Technology and leads the Division for mergers and acquisition activities.
The Treasury Management Implementations Division is responsible for on-boarding products and services for commercial clients with cash flow and liquidity management needs via our Treasury Management suite. Products within this suite fall into three main verticals: Receivables management, Payables management, and Healthcare services. The professionals associated with Treasury Management Implementations provide project management service and support for commercial clients that require assistance up to and including transition of existing services to Fifth Third Bank or establishing connectivity for new services. Project management services include utilization of standardized project management methodologies. These key professionals serve as a trusted advisor and coordinator for internal and external partners necessary for enabling the relative products and services and are accountable for the success in the implementations efforts and overall customer satisfaction.
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Prospect Park steps into the future with DIY urbanism
By Jesse Marx
Cable's plot to destroy the internet
By Chris Parker
Signature business: Behind the lucrative autograph industry
By Jake Rossen
How Patrick Wall became the Catholic church's worst...
By Jesse Marx
By Michelle LeBow
The quest to close the achievement gap in north Minneapolis
By Alleen Brown
50 things to do in the Twin Cities before you die
By Maggie LaMaack
By CP Staff
That's about as topical as a show like this can ever get: Imagining a "very special" episode where the gang strives to cope with September 11 gives me chills. Aimlessness is Apatow's calling, his great insight into the adolescent soul. In this slack universe, lack of direction seems like a permanent personal, moral, and intellectual predicament for everyone striving to mold themselves into the "adults" around them. When indulging Wainwright's old-guy antics, Undeclared feels like dull shtick. But when Apatow lets his characters flounder into things or stumble over emotions they haven't the faintest clue how to handle or even understand, this show hits something valuable and true--that our inner loser might be the most appealing thing about all of us.
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Navorro Bowman's Pick 6 Seals 49ers Victory (Video)
by Robert Littal | Posted on Monday, December 23rd, 2013
The 49ers were really close to blowing the game against Falcons and Bowman himself had just blown an opportunity to recover an onside kick.
Then this happened.
H/T SB NationPowered by Sidelines


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FIFA Soccer 06 Xbox
- Publisher: EA Sports
- Release Date: Oct 4, 2005
- Also On: Mobile, PlayStation 2
User Score
Mixed or average reviews- based on 20 Ratings
User score distribution:
Positive: 14 out of 20
Mixed: 1 out of 20
Negative: 5 out of 20
Review this game
- User score
- Most active
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- Most helpful
There are no positive user reviews yet.
It plays superbly, the management mode is certainly addictive in the extreme, the AI is great, the graphics detailed and crisp and there are so many modes to enjoy. So it all comes down to those stutters, which seem to affect some gamers more than others.
I feel in about a year's time, when they have this new engine perfected, FIFA might be a serious contender, but at the moment it's not quite realising its full potential.
As it stands, FIFA once again offers a huge amount of entertainment - but you'll be left covering your face after you've witness EA miss a hatful of chances to go top of the table.


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Defence ministers from the A400M partner nations will meet in Nice, France on 24 July, where they will make a potentially crucial decision on the future of Airbus Military's troubled airlifter.
The A400M's failure to fly has placed the project at risk of cancellation since late March, and partner nations Belgium, France, Germany, Luxembourg, Spain, Turkey and the UK in June agreed a one-month extension to a rolling moratorium period to agree its fate.
EADS-led Airbus Military has continued development work on the A400M since the last agreement was reached, and has previously said that it will continue to do so until the end of this year. This should allow its customers time to agree a new contract for their combined 180 transports via Europe's OCCAR procurement agency, it says.
The late availability of the Europrop International (EPI) TP400-D6 engine has been a key area of attention since Airbus Military rolled out its first A400M in June 2008, and the project has experienced mixed fortunes since last month's Paris air show.
EPI member MTU Aero Engines delivered a new version of the propulsion system's full-authority digital engine control software in late June as planned, with this now undergoing test using an "iron bird" facility in Toulouse, France. Airbus Military says the software will be further updated "by the end of the summer", and delivered for flight test late this year. First flight of the A400M is expected between "the end of the year and the start of 2010", it says.
But risk-reduction activities using a modified Lockheed Martin C-130 testbed (above) in the UK have failed to add to a pre-Paris total of 12 flights and 35 flight hours; some 15h short of a planned programme total which EPI officials had expected to conclude by mid-July. However, Airbus Military notes that additional testing has been performed since the show using some of the TP400 programme's six ground-test engines.
The UK has been the most vocal of the partner nations throughout the A400M's development difficulties, with its Ministry of Defence having stated that it is not willing to spend additional money above its fixed-price deal for 25 aircraft.
But industry sources say that with future wing work on Airbus's A350 XWB and future narrowbody products at stake in the UK, the UK government is unlikely to walk away from the A400M. Withdrawing from the project would also cause a new budget crisis, they add, as the MoD would have to somehow find the money to acquire additional Boeing C-17s and Lockheed C-130Js instead.
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31st December 2013
United Nations warns Ugandan President against signing anti-gay law 22
4:29 PM — The United Nations has warned the President of Uganda against signing the country's Anti-Homosexuality Bill into law.
27th December 2013
Gay Ugandans urge President Museveni not to sign Anti-Homosexuality Bill into law 5
10:36 AM — Campaigners are reiterating calls on Uganda's President Yoweri Museveni not to sign the country's Anti-Homosexuality Bill into law, following cautious comments by the Ugandan leader.
26th December 2013
Ugandan president Museveni says he will send anti-gay bill back to court if it is 'not right' 14
12:32 PM — Uganda's president Yoweri Museveni has announced he will not pass the anti-homosexuality bill before carefully scrutinising it.
20th December 2013
Kaleidoscope Trust: Uganda's passing of anti-gay law represents a terrible fortnight for LGBT rights 10
3:15 PM — The Kaleidoscope Trust says today's news out of Uganda represents a "terrible fortnight in the struggle for LGBT rights."
Peter Tatchell: Uganda's Anti-Homosexuality Bill breaks country's own Constitution 11
1:53 PM — Human rights campaigner Peter Tatchell says the decision of Uganda's Parliament to pass the country's Anti-Homosexuality Bill violates constitutional law.
Activists urge Ugandan President not to sign Anti-Homosexuality Bill into law 8
1:01 PM — Campaigners are calling on Uganda's President Yoweri Museveni not to sign the country's Anti-Homosexuality Bill into law, following today's vote by the Uganda Parliament.
25th November 2013
Ugandan President pays funeral tribute to anti-gay bishop 15
7:02 PM — At the funeral of a bishop who died earlier this month, Uganda's President, Yoweri Museveni, has offered praise to a man who campaigned against homosexuality.
12th November 2013
Ugandan President takes HIV test as part of prevention campaign 2
11:23 AM — The President of Uganda, Yoweri Museveni, has taken an HIV test in public, saying he wants all Ugandans to know their HIV status if the country is to reduce new infections.
14th August 2013
Activist: Most Ugandans support anti-gay bill but the government is worried about losing aid 22
6:44 PM — A Ugandan gay rights campaigner has told PinkNews that the Speaker of Uganda's Parliament has faced criticism from elements of the country's government who fear the Anti-Homosexuality Bill threatens aid revenue.
24th April 2013
Anti-gay Ugandan pastor Martin Ssempa tweets PinkNews to warn of 'sodomy' 66
3:28 PM — A notorious homophobic Ugandan pastor responded to news of a new HIV prevention campaign in England by tweeting "stop sodomy" at PinkNews' Twitter account.
19th March 2013
Uganda's president describes gay people as 'deviants' 28
4:55 PM — Uganda's President Yoweri Museveni says gay people can be viewed as "deviants" and has accused European countries of trying to promote homosexuality and sexual liberalisation.
9th January 2013
Peter Tatchell: Ugandan leader pulls back on 'Kill the Gays' bill? 1
2:02 PM — Amid fears that Uganda's notorious 'Kill the Gays' Anti-Homosexuality Bill will soon be revived in parliament, the country's Prime Minister, Amama Mbabazi, has appeared to distance himself from aspects of the proposed legislation.
8th January 2013
Ugandan university loses UK accreditation over anti-gay legislation 12
2:51 PM — A college in Uganda has lost the accreditation of its degrees by a UK university, because of a disagreement surrounding anti-gay legislation seeking to intensify penalties for homosexuality.
19th December 2012
US Pentecostal churches blamed for homophobia 'surge' in Africa 25
10:38 AM — Extreme elements of the US Pentecostal Church are behind the 'surge' in homophobia across Africa, according to human rights groups.
17th December 2012
Uganda's president: Gay people should not be killed or persecuted 26
4:44 PM — Uganda's president has said gay people should not be killed or persecuted as the country's parliament runs out of time to pass the proposed Anti-Homosexuality Bill for this year.
14th December 2012
Campaigner: Uganda's anti-gay bill may not be passed in time for Christmas 7
1:16 PM — The executive director of Sexual Minorities Uganda believes the Ugandan Parliament may break up for the year without passing the notorious Anti-Homosexuality Bill.
11th December 2012
Uganda anti-gay law protest takes place outside London embassy
9:52 AM — Campaigners have staged a protest outside the Ugandan embassy in London over the country's pending Anti-Homosexuality Bill.
7th December 2012
US: Christian right leader continues support for Ugandan President, despite "kill the gays" bill 15
5:49 PM — Despite the fact that the Ugandan Parliament has been reviving its so-called 'kill the gays' bill, the US-based Family Research Council has continued to offer its support to the country's president.
19th May 2011
Reports say Ugandan parliament will return to the anti-gay bill 11
12:09 PM — Reports suggest that Uganda's new parliament will consider the notorious anti-homosexuality bill. The last parliament, which was dissolved last week, ran out of time to debate the draft legislation, which calls for the death penalty for some cases of gay sex.
9th May 2011
Gay activists' petition against Ugandan 'kill gays' bill 30
12:55 PM — Gay rights campaigners hope to collect enough signatures to ask Ugandan president Yoweri Museveni to refuse to sign an anti-homosexuality bill. The legislation, in its current form, calls for harsher punishments for homosexuality. For "aggravated" case, such as those involving disabled people, those with HIV or minors, it calls for the death penalty.


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Hacker attempts to extort Dutch iPhone owners
updated 03:10 pm EST, Tue November 3, 2009
Exposes security vulnerability
A hacker in the Netherlands has attempted to extort several iPhone owners, reports say. The hacker is believed to have used port scanning to identify T-Mobile-branded phones running SSH, commonly used in jailbreaking techniques. Because many people do not change the default root password on jailbroken devices, the hacker was able to take control of iPhones, and send custom text messages warning them to visit a website in order to resecure their firmware.
Once at the website, doiop.com/iHacked, victims were asked to send �5 to a PayPal account in exchange for instructions on closing the vulnerability. "If you don't pay, it's fine by me," the hacker claims. "But remember, the way I got access to your iPhone can be used by thousands of others -- they can send text messages from your number (like I did), use it to call or record your calls, and actually whatever they want, even use it for their hacking activities! I can assure you, I have no intention of harming you or whatever, but, some hackers do! It's just my advice to secure your phone."
Apple has taken a strict stance against jailbreaking, going as far as to call it illegal under the DMCA. New firmware updates from the company regularly disrupt jailbreaking tools. While critics have charged that Apple is locking down devices for its own profit, the company has defended itself by pointing to the increased security risks posed by allowing easy access.


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