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BPL Community Profile
Ryan Faulkner (ryanf) - BPL Forum Member
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All Forum Posts by Ryan Faulkner
Re: JMT speed attempt report
hi michael, thanks for the detailed trip report. I would be interested in seeing what was on your gearlist from the pictures aaron posted, it looks like you dressed similarly to how I would ...
Re: Re: JMT Attempt
wow, I cant beleive the new record, I had decided the 5day record was a possible goal to be broken, im not quite as confident I could do the JMT in 4days. thats too bad about the shoes, im inter...
Re: New Salomon 4oz windshirt
salomon has actually carried this product for quite some time im sorry, i kept it my secret, thanks for posting the info.
Re: Planning for 08 JMT hike - Questions on gear!
hey douglas, before making any suggestions, it would be good to see your current gearlist, that way we can see any weaknesses, and it will be easier to dial in your gear situation. as far as...
Re: 22.5 Gram gasification wood stove attempt
thanks mikie, I made the stove yesterday afternoon, i made it basically the same design i have had sucess with before, but i have seemed to misplaced my metal dril bits, so i made the holes in t...
Re: Backpack staining your shirt
my dad had problems with his mariposia staining his shirt, but it wasent the black mesh sleeves, it was the orange from his therma-rest prolite 3
Re: gasification wood stove
how did the test go?? is the inner can large enough? I have had sucess in making gassified wood stoves, and have come across some cans i think will work well, but are alot smaller than any other...
Re: Thru-hike of Roper's Sierra High Route without resupply
hey Adrian, its good to hear your sucess on the SHR. the sierra high route has been a trail i have been looking to do in the future. another trail you might be interested in is the Tahoe-yos...
Re: Re: Re: Reassure me about my poncho
i have used raingear/ catenary cut tarp, as well as poncho/tarp combinations in alomst all conditions possible, rain, snow, wind, ect. I feel confident because of my experience in using either s...
Re: Re: Re: Re: Re: John Muir Trail Unsupported Attempt
"Dang... why does it have to be red?" haha, I kind of like the red SLAB pack. I think the SLAB only comes in red, but you can get the Raid Revo 20 in either red or black. It is esse...
All Reader Reviews by Ryan Faulkner
Showing 1 - 4 of 4 | Page: 1
BackpackingLight.com Premium Membership
I am so glad I found this website, before this site I was carrying a 30-40lb pack, after reading the articles I got my list under 10, and after joining the forums, well carrying less than 4 pounds is ...
Snow Peak Gigapower Ti
Good thought. I bring this stove whenever I need to simmer, one disadvantage of alcohol stoves. I like it much, much, much better than the MSR pocket rocket, the 4 titanium stands are much more ...
ThermoJet MicroLite
I did not buy this stove, in fact, I have never bought a alcohol stove, but have many of the MBD stoves and tonight added this wonder to my collection. I actually
Minibull Designs Pocket Puck
I did not purchase a pocket puck from mini bull design, but from looking at pictures and from expeience from making other stoves I made my own flattened side burner stove. I like the overall design, w...


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Fresh Video of the Day: Dido "Thank You"
February 1, 2011 12:13 PM
British singer-songwriter [lastfm link_type="artist_info"]Dido[/lastfm] received an Oscar nod for Best Original Song last month. The nomination came after her song "If I Rise" appeared on the soundtrack for the Academy Award-nominated film, 127 Hours.
Check out the song, plus the music video for her 2000 hit single, "Thank You."

subset: commoncrawl


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Cpl. Richard A. Rivera Jr
Cpl. Richard A. Rivera Jr., 20 of Ventura, Calif., died Aug. 10 while supporting combat operations in Helmand province, Afghanistan. He was assigned to 3rd Battalion, 8th Marine Regiment, 2nd Marine Division, II Marine Expeditionary Force. Also killed were Marine Staff Sgt. Scott E. Dickinson, 29, of San Diego and Marine Lance Cpl. Gregory T. Buckley, 21, of Oceanside, N.Y. Rivera was a supply noncommissioned officer serving in theater as a logistics and facilities adviser. Rivera was a supply noncommissioned officer with Headquarters Company, 3rd Marine Regiment and was deployed as a logistics and facilities adviser, also as part of the advisory team. His personal awards include Afghanistan Campaign Medal, Global War on Terrorism Service Medal, National Defense Service Medal and NATO International Security Assistance Force Afghanistan Medal.
Santa Clara Cemetery
To be updated…


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Diet Challenge Tip 17: Have Some Yogurt
Published on January 16 2012 - 4:11 PM
Tip 17: Have Some Yogurt.
Of all foods it's the most closely linked with weight loss, according to a recent Harvard study. Find out the four other top weight-loss promoting foods (and the five that make you gain).
For more diet challenge tips, meal plans and get-started guide, visit the Diet Challenge landing page.


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Feature-packed ATI Catalyst 10.2 Released; 10.3 Previewed
"AMD today announced the release of its Catalyst 10.2 drivers and also previewed the Catalyst 10.3 drivers, which are slated for release next month."
Published: 17th February 2010 | Source: Hexus |
AMD today announced the release of its Catalyst 10.2 drivers and also previewed the Catalyst 10.3 drivers, which are slated for release next month. The new releases are part of AMD's on-going strategy of releasing new drivers for ATI Catalyst every month. The new releases however, are different from recent ones as they boast of many new features.
The first change in the new version is in the handling of ATI CrossFire technology. Catalyst 10.2 separates CrossFire profiles from its 3D drivers and puts it into a separate file. This should provide improved CrossFire support for new gaming titles; the profiles will also be regularly updated through a separate update mode. AMD has also enable CrossFire support for its ATI Eyefinity configurations in Catalyst 10.2.
The new release also comes with a new dedicated multi-GPU driver that separates the code from the 3D driver. This should provide improved "Fusion" between IGPs and discrete GPUs in new releases. Those multi-GPU users who have so far been concerned about their power usage now have an "Ultra Low Power State" option that brings down the voltage and clock speeds of the second GPU when it is not being used. All of these changes can be experienced by users when they download Catalyst 10.2, which is now available from game.amd.com.
The hardware giant also gave a sneak look at the new features it will be adding to its ATI Catalyst 10.3 drivers. Scheduled for release in March, 10.3 will bring a monthly release schedule for the ATI Catalyst Mobility suite, and multiple improvements for ATI Eyefinity. Among the major improvements is a wizard for removing pixels that are locked behind display bezels. Other changes include colour, brightness, and contrast adjustment capabilities for each individual Eyefinity display; and display configuration switching that will provide easy switching from one display mode to another.
Discuss in our forums
Most Recent Comments
Gives access to all three species and Deathmatch mode on a map called Refinery
[edit] also, no DX11 in the demo, only DX9.
Alien is my fav class though, charge then rip their heads off xD


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Travel New England
Search Yankee Magazine Travel
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Vermont recently declared itself home of the World's Best Foliage. With forest covering three-quarters of the state and... Read more
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Tour of Boston's Historic South End
On a day trip into Boston, you may feel compelled to visit all the traditional sights: walk the Freedom Trail, take a duck tour, or grab a drink at Cheers. But if you're a little more adventurous and want to...Read More
The Colors of Fall | Photographs
Join nature photographers Jerry and Marcy Monkman on a visual journey through the six New England states in... Read more
Fall in New England | Photography Slide Show
View a sampling of some of our favorite user-submitted photos depicting fall in New England. Read more
Photographs of Boston's Landmarks
Boston can lay claim to some of the most recognizable landmarks and icons in New England. Enjoy the... Read more
New England Wildlife | John Vose/Jericho Hills Photography
John Vose is a self-taught photographer living in the Jericho Hills area of Hartford, Vermont. He has always... Read more
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Covered Bridge on Batten Kill Road, West Arlington, VT. Taken last month on a wonderful trip to New... Read more
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Peaking foliage frames a mountain top along the Kancamagus Highway. Read more
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An early morning ride approaching a ring of fog in the fall foliage. Read more
Summer on Damariscotta River
This photo was taken on Damariscotta River along side of Schooner Landing Restaurant. Taken from the Damariscotta/Newcastle bridge. Read more


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The official website of the City of Wichita, Kansas, has been breached by Turkish hackers. In addition to defacing a subdomain, the hackers have also leaked some data allegedly taken from the site's databases.
The defaced subdomain is the one used for vendor services. The following message has been posted on the defacement page: "Since today, you have been trying to bring Middle east under chaos, United States of America, which is controlled by Zionist jewish people to achieve their goals for centuries."
They added, "While trying to draw the map of 100-200 years later from now, you are trying to make Muslim people fight each other and finish-waste themselves and, we can just spectate it."
The leaked data has been analyzed by Cyber War News. The 9 .xls files published online include data that goes back to 1997. The information consists of names, usernames, vendor names, passwords (some hashed and some in clear text), email addresses, phone numbers and physical addresses.
One of the files, named "co_bank_id.xls," contains bank accounts numbers, account owners and payment descriptions. It's uncertain if this is an older database or if the City of Wichita has been storing information in the same database since 1997.
Update. City of Wichita representatives say they're working with the FBI and other law enforcement agencies on investigating the hack attack.
According to a notice posted on the city's website, the hackers accessed "the private financial information of vendors that have done business with the City and current or former employees who have been reimbursed for travel and other expenses since 1997."
A total of 29,000 vendors and employees are impacted.


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So let's find out a little more about Beal. An old interview at GQ devotes six paragraphs to the man's background, and although I don't have that kind of time, I can give you the basics. So before the music and the screaming crowds (I'm romanticizing), Beal joined the Army at 24 because, as he puts it,
"... I'd always been a big Batman fan. And I was a lost person, so I thought, 'Hmm. Maybe I'll become a crime-fighting vigilante for my life.' I designed a Bat Suit and everything. Thought about all the logistics, how it would have to be made out of kevlar, as opposed to that gray shit that Adam West wore."When debilitating stomach spasms prevented him from continuing, however, he returned to Chicago and worked in the Sears Tower, where, once again, the stomach issues got the best of him and he spent 5 months in the hospital with a colostomy bag. And fast-forwarding through his recovery and more time working at the Sears Tower, Beal then ended up briefly homeless in Albuquerque, an event which, according to an interview with the man at Pigeons and Planes, has been "over-publicized". Or has he puts it, "I'm just another delusional pseudo-hipster. That's all I am." And like a delusional pseudo-hipster, it was the girlfriend advertisements Beal used to leave around town that caught the attention of FOUND, who ran a cover story and published some of his poetry back in 2009 (incidentally, according to said advertisement, Beal "heavily favor[s] the music of Norah Jones"). There's also an X-Factor audition and the signing to Adele's label in there somewhere, but my timeline is getting fuzzy, so let's just move on to Nobody knows., Beal's second studio release, instead.
Hokey-doke. Although I haven't heard Beal's debut album, The Chicago Tribune has the good sense to hit him up with the question, "This new album is so confident and honed, it really dispels that idea that your talent is accidental. Was that what you were going for?", and Beal's answer reveals the differences. As he says,
"That is exactly right. When we went to release "Acousmatic Sourcery," XL selected the most rudimentary and lo-fi tracks. I had no clue how it would work out. They are not bad people, but they had a distinct idea of how they wanted it marketed, that I was an idiot savant, and these were, like, field recordings. When I first heard Lana Del Rey and that orchestral sound, that's what I wanted, what I heard in my head. I got marketed as "Daniel Johnston meets Robert Johnson." I'm not! Nor am I "black music" or a "black musician." I wanted to be a cult novelty, but I never intended this. XL didn't betray me. I signed the contract, but it's the classic situation of being put in a box."And while this, plus the Norah Jones thing, indicates that Beal and I have fundamentally different musical taste (Lana Del Rey, if you remember, isn't exactly my cup of tea), I can definitely tell you that his newest album, while spare, has a reasonable amount of polish, and showcases Beal's songwriting talent and vocal ability more than a lo-fi vibe.
So I'm gonna be honest: during my first couple of listens to this album, I was under the mistaken impression that Beal was pretty much a hobo, and I was surprised by the depth of his songs, as well as the honeyed, soulful tone of his voice (also, I read somewhere that he sings in a lower tone on this release, as opposed to the falsetto of his last). I also noted the spare but often lushly-humming backgrounds of simple acoustic guitar, keyboard, and drums. Of course, it's the lyrics that really make this album pop, something that first track "Wavering Lines" demonstrates perfectly by grabbing the listener's attention with nothing but a long a cappella intro that transitions into some antsy strings ("I got the Tupperware bowl with the turkey neck stew/Another couple of brews and a cookie too/I got a bladder full of piss now I'm gonna let go/Cause I ain't no priss I go down with the flow"). Then "Too Dry to Cry" is another winner, capitalizing on an old-timey blend of stomps, claps, and twangy plucks to deliver a chain-gang-reminiscent message of angst ("I got nine hard inches like a pitchfork prong/So honey lift up your dress and help me sing this song"). And finally, there's title track "Nobody knows.", where Beal layers soul-style vocals over a blurred bass haze, tense strings, and a snap of a beat ("You can get yourself an answer/Without the slightest query/But movement ain't necessary/To grow wired and weary").
Long story short; my husband was right, and this is a very decent offering that showcases Beal's lyrical and vocal talent, as well as a reigned-in propensity for gritty crudeness that gives Beal yet another thing in common with Wesley Willis (did I mention that Willis also references Batman in a song entitled "I Wupped Batman's Ass"?). And while the album would have been more effective if Beal's vocals were just a tad clearer (as so much of the interest lies in the lyrics), he certainly knows how to turn a phrase. Of course, there's a certain amount of kitsch to the record as well, since Beal often gives the impression of an eloquent hobo, even now that he has a roof over his head and, presumably, somewhere to wad his rolls of cash besides his sock. Basically, believe him when he says he's a delusional pseudo-hipster with his eye on cult novelty status, because that's EXACTLY what this album sounds like he's going for (although his voice is certainly better than that description requires). So in the words of another cult novelty: "A man walks down the street in that hat, people know he's not afraid of anything." What? I got bored of looking for a quote that was relevant...


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DELL'ARTE Interview with Tara Cariaso, Barbara Geary, Mara Niemanis, Kolleen Richards
Interview took place at Mara's In Flight Theater Studio at Load of Fun.
All the following conversation was accompanied by lots of hand talking.
* * *
My first deep immersion and understanding of physical theater was leading a branding engagement with 500 Clown (in Chicago). I fell in love with them, their work, their core concept, belief system, culture, and process. In Baltimore I learned of and met Dell'Arte trained actors and am reminded of all that I admired about the physical (versus psychological) approach to acting and theater.
The interview is edited. I omitted many of the names and dates of revered Dell'Arte International leaders and teachers that WW readers wouldn't know in favor of sharing Dell'Arte spirit.
Dell'Arte International is the work of an extraordinary community of artists located amidst the majestic redwoods and rugged beauty of California's North Coast. The community output includes: actor training programs, original touring productions of the Dell'Arte Company, a summer festival, youth education programs in local schools, and work in economic/community development.
Mara: I've never had a gathering of Dell'Artians in my studio before and I just want to say blessings and I feel it's really wonderful. And that they are all women Dell'Artians…I just want to put out that I'm very happy to hold you here.
Peter: Who attended the school? (all raise hands) How long were you there?
Tara: 2 and a half years in the MFA program and almost a year working under Steve Tenerelli in the Youth Academy.
Barb: Went for a year as a student back in the 70's and then I worked with the company in the 80's off and on and then I went back in 2003 and I was there for 4 years as the Registrar and part of the Dell'Arte Company.
Kolleen: 1 year and still there in spirit.
Mara: I studied there for a year and then I worked with the Youth Program and helped define it at its beginning stages. I was there for 7 years and toured with the company too.
Peter: What is Dell'Arte? Is it an idea, a form of training?
Mara: Here's what we used to say at auditions. Dell'Arte is the only full-time professional training program that specializes in mask performance and European Circus forms in the United States.
Barb: Since then they've changed that to Ensemble Based Physical Theatre.
Kolleen: That's what it was for me, the notion of ensemble, famiglia. It showed me something that I didn't think was possible and made me see people in a very different way, and get excited about creation. To get in there and see people, really see who they are and what they bring to the work and cherish that. It really taught me to get through the crap and get to the core and have some fun. We seem to create a lot of great art through that. That's where it all started for me.
Peter: The mission on the current website reads: Dell'Arte International is the North American Center for theatre training, research and performance of the Actor/Creator. What do they mean by the Actor/Creator?
Mara: It teaches the forms: mask and clown, physical expression. I think the forms lend themselves to the performer who also devises story line or text or script. Some of those roots come from Italian forms where you have to make it very clear with your body because you are in the marketplace. When you create work, you're creating some sort of narrative no matter what style it is and I think the forms themselves that are part of Dell'Arte lend themselves to this proposal.
Peter: Proposal?
Mara: It means devised story or characters that are created, stories that are created not following a script that exists, but creating your own script.
Barbara: It's also about having a point of view that's really strong. That you come to the work maybe not knowing how to fully realize it at the start, but that you really have something to say underneath it all. There has to be an underpinning of something to say.
Tara: A place where you stand that's unique from what the rest of the world that might have to say–what it means for you.
Peter: Are writers and directors unnecessary in Dell'Arte work?
Tara: Collaboration…Whatever you have, you bring to the table and everyone is considered equal and everyone has something to say.
Barbara: They tried this. The Company tried this a long time ago…of everybody having an equal say and there's no director and…like it would be in any company, it was a disaster. So there usually is, within the context of the piece, and I think within the school too, you say, ok well, someone is the director who has the final say. Everyone can contribute and can say "what about this," but (to Kolleen) is that still true? I refer to you because you're the most recent grad…
Kolleen: It's interesting, when we went to our 2 week Rural Residency at the end of the Professional Training Program and I was chosen as Ensemble Director for my group. That was a really different place to be after a year of other directors. So I was like, well, what does that mean?
Tara: I had a really interesting experience with that because I did my Masters thesis trying to emulate that form that we had been saying…This exists, this exists! You can all do it together, you don't have to have a director…and I really just bought it, I bought it hook, line, and sinker. I'm going to do it for my Masters Thesis, I'm going to show that we can make this happen and then…
I can't even tell you how my nails were gone and my hair was being pulled out because we really found that it wasn't… in that structure, we had to cram it together very quickly and that just wasn't the right scenario for a completely ensemble driven work.
Mara: You know, you were on to something in that the director's task in this would be to make that story clear, just like it's the actor's task to do that, just from a different viewpoint and you can only get something better by having someone stand and look out.
(General agreement)
Tara: In the end was the realization that we have to have someone on the outside constantly to make sure there's support and I really wish that it was something we had found during my Master's training.
Peter: The other half of the mission is: We are a committed community of artists who model and share in a sustained ensemble artistic practice.
Barbara: I think that's the ideal, but I don't think it works in practical reality. At least not for them.
Kolleen: Explain, Barbara.
Barbara: Ok… it's kind of about money. It's nearly impossible in this country to have a company that can train together daily and only focus on making great work without the company members having outside jobs. I think that what they are saying here is that we are a company that over years has worked together and trained together on an ongoing basis. And that's basically what it is.
Mara: We come from very different times of Dell'Arte, but there is something about Blue Lake…
Tara: Yeesss.
Kolleen: Yeah!
Mara: About Humboldt County that is actually what I think we're talking about. That Dell'Arte was founded by Carlo Mazzoni-Clementi who was very influenced by Jacques Lecoq as well as Copeau and he felt that in order to really study these physical forms, you needed to be isolated in a very certain place and have absorption and be a community together that learns together as artists coming together everyday and having the outside world apart.
Kolleen: Or boot camp.
Tara: But not celibate.
Mara: It's a very profound experience. I think that nothing really happens with out the fact that you are in the middle of the woods and you are looking at this stuff and it is everything. It's a cellular knowledge and you take risks together and you get deep with your cells and it's a really, really good idea to do in a place where you can walk around in green fuzzy bathrobes during clown in town…they already think that you're going to do that.
It's just very important to be immersed. And later what I have found is this background has led me to a certain immersion and it's something I feel very strongly about. It's a beautiful way of living and it's a luxury to live as an artist like that. The best thing is when you go out, you carry it forward.
Barbara: It's also that there are cycles. I found in this last go round at Dell'Arte, watching the students go through their things and I was kind of the student advocate too, and some people would come to me when they were flipping out…there were cycles of flip out, before Clown…Clown, sometimes in Melodrama, ok this week, they're going to start, ok watch out…but…(general laughter)…we weren't cynical about it like that, but there is a cycle to the work and to the units and what was presented during the year…
Peter: Describe the units.
Barbara: There's Clown, Commedia and Melodrama and then there's different other things…But, also you're living in this place where the salmon run up the river that's half a mile down the road, and the river floods and everyone is, "oh my God is the bridge going to be washed out!"
It's tied in to the work. There are cycles within cycles in that really amazing place. It's really pretty cool.
Peter: Describe to me briefly the training and the units. How does it work?
Kolleen: 10 months for the professional training program (The PTP). Mine started Oct 2nd and we graduated June 13. And you've got the first 10 weeks is the Physical Body. We spend a lot of time in nature, we do a Nature Day thing. We work on voice, we work on yoga, we work on dance, tai chi, it's pretty extensive, on your feet all the time. And we explore a lot of acrobatics and we do an acrobatics presentation at the end right before December break. Then we come back and do Commedia and then another break and then Melodrama and then Clown.
Mara: What was your training, Barb? I'm curious to know.
Barbara: It was a little bit more of a mish-mosh because it was only the second year of the school. It was the beginning of the units, but there were only 12 of us in the class and people would come and go, you didn't have to be there the whole year. We did commedia and we did clown, but what we did for melodrama was Morrow Casey's, which is a system for orators and actors in the 1800's and you had a system of gestures you did that was very codified to describe emotions. You'd learn these gestures and these little speeches that you'd put together to portray emotional states. But Melodrama, the way they teach it, has changed.
And Carlo would get up there… and I was 17 and I came from a really straight theatre place… and Carlo would get up there and I'd just be thinking what the fuck is he talking about?
(General laughter)
But…as I continued to perform and continued to make work, so many times, I'd be like, that's what he meant…as I grew and learned as a performer, his teaching locked in and it was very profound. So that was my training, a lot of hard work mixed with a lot of "what the…?"
Tara: Well, it's still the same, there's that poetic whoosh, that haze that comes across you with words…
Mara: In my year we had The Actors Body, we had no nature days or anything like that, but we would do jump rope and falls (general agreement) and all sorts of mime stuff and then we had mask performance. We had a month of neutral mask and 3 months of expression mask, larval mask, and character mask.
Then we took a break, went into Melodrama, into Commedia and then we did a tour of the show. We went to Forks of Salmon, and Southern Humboldt and Orrick and we had gotten grants because it was all isolated places that needed art. And that's what was fueling Dell'Arte then, this idea of Theatre of Place, Theatre of Community and that's what I got.
Kollen: It's an immersion.
Tara: It's the place, it's the people.
Barbara: It's a shared experience. Because that's the thing. There's La Famiglia. It's a network of people all over the world who are part of La Famiglia. And there's a yahoo group and you can say, I'm going to Bangkok! Hey, anybody there? Can I crash on your couch? And somebody will say, of course, because you've been through the same fire. And it is a fire, a crucible.
Peter: On the website, under vision it says: We revel in ferocious play. Ferocious is a great word.
Tara: It's a pretty indicative word.
Peter: How do you know when your play is ferocious?
Mara: Risky, it's mystery, you don't have any idea what's going to happen…
Kolleen: Hell yeah, it's scary.
Peter: What does ferocious play feel like?
Mara: Embodied.
Peter: What does that mean?
Mara: You're fully in it.
Barbara: Yeah. Your breath, your blood, everything is going for it. It's not always like AAARRRGH (big gesture). It can be very still and it can still be ferocious.
Tara: Dangerous.
Barbara: And fearless. You find that place in yourself where you're just not afraid. And away you go.
Peter: Afraid of what…failure?
Barbara: Failure…censure, being made fun of…
Mara: Falling!
Barbara: Losing control. Failing
Mara: Danger
Kolleen: And getting up from that and being, I'm ok.
Tara: It's the push through failure is what it is. It's the push through things that are intimidating.
Barbara: It's the Dare to Suck.
Tara: Dare to suck!
Mara: Whoa, dare to suck.
Kolleen: I like that.
Mara: It's visceral. They're asking you to run 100mph, full speed and the door's right there and you have to stop and are you going to? Well, the other guy just ran into the wall.
Kolleen: And for me, the ferocity came easily for me. I like to work, I like to get in there and be strong and for me it was finding softness and breath and being grounded, but still having that vibration inside.
Mara: Energy in stillness, we used to call it.
Barbara: There was a teacher named Carlos Simioni who came through when I was there from a company called Lume from Brazil and in his training, you would just be moving and moving and moving and then you'd have to stop and be absolutely still and he'd say, "I don't want to hear your breath. You'd have to control your breath and keep the fire alive." Keeping that fire all the time.
Tara: You have to keep at the edge of your skin so that it's hot.
Peter: What happens when Dell'Artian's do straight theater with people who aren't ferocious?
Mara: They steal the show.
(General laughter)
Tara: And somehow, the show starts to become an ensemble piece. I've seen people go in and say, you want to do this with me? Because if you do this with me, then we can do this and then all of a sudden there's this talk that wasn't there before. There's this attitude of being the author of your work that wasn't there before.
Barbara: And sometimes Directors have to be trained.
(General sounds of agreement)
Peter: How would you do that?
Barbara: Well, I was being facetious, but it's an acceptance that everybody can have input. I understand you're still the Director, but I also have things to offer. I'm going to make offers to you. It's not just you sitting back and you telling me what to do. You just continue to make offers and you make it clear that you're not challenging their authority, you're just offering. Saying hey, what about this? No? Ok, how about I do that?
Kolleen: And as far as straight actors I would say, really trusting in the play and really putting something out there that we can just try. Then you're playing and you're really trusting and not falling…it all comes back to that.
Peter: Dare to suck.
Tara: Dare to suck. I think that's the best one.
Barbara: And just learning too, how to do the "yes and", the improv thing.
Tara: The "yes and", yes.
Mara: This is also part of being ferocious. Let's see what works.
Peter: There's never one right answer.
Kolleen: Or one person's answer.
Tara: But that's the Actor/Creator.
Peter: Why Baltimore?
Mara: Creative Alliance…an organization that exists in Baltimore with a certain viewpoint and a multi-disciplinary sort of context. Without Creative Alliance I probably…might have taken a different choice. This was the organization that introduced me to a sort of Baltimore that would become a Baltimore that I would really love and thrive in.
Peter: And why are the rest of you in Baltimore? Did it have anything to do with your training or is it just serendipitous?
(General agreement on Serendipitous)
Tara: I chose to be here. I have family here…My daughter and my husband moved here from Arcata. My daughter, she was 3 months old and we were like ok…pack it up, going to Baltimore. I knew there was going to be a place for me to come here and do what I do in a way that would fell like I could start growing. In Arcata, I wasn't able to do that, because it was right next to Dell'Arte. I was right there with all these other people who, you know, had all of the things figured out. I really needed to get to a place where I could start growing roots.
Barbara: In 2001 or 2002 I met Trixie Little at an aerial dance festival in Boulder CO. And we kind of hit it off and we started corresponding. I had been to Baltimore before and I liked it, but she was doing all kinds of stuff, like water…I'm trying to remember…
Tara: Fluid Movement.
Barbara: Yes, Fluid Movement, that's what she was doing and she would send me things about it and I was so intrigued and I had a jeweler friend who lived in Baltimore and when I did the Maryland Ren Fair, we would hang out. And she had a studio in one of the mills and so between hearing about all the stuff Trixie was doing back then and then my friend Jeannie, I thought, there is some cool stuff that happens in Baltimore…it's kind of cheap and it's funky and so it was always kind of in the back of my mind as a place to come because it seemed like things could happen here.
Mara: Did you know that this was Trixie's studio?
Barbara: Yeah, you told me.
Mara: And Barb told me bout Trixie and when I came I looked her up because she did aerial work.
Kolleen: The network of the Dell'Artians… In my exit interview…Dell'Arte was like a whoooa for me, a total blur that I've been processing daily since I've left.
Tara: Still doing it.
(General laughter)
Kolleen: And in my exit interview I got offered this great internship with Clowns Without Borders which is D.C. based, but I was talking to Stephanie Thompson and she said, Do you know Mara? Have you heard of Mara? She's in Baltimore. And this is where I grew up, in Montgomery County, so I'm sort of equidistant from both cities. So I looked up Mara, started hearing about Tara. You start to see, ok where can I go where there will be some people. As a young artist, that is so invaluable, to be like Hey, let's get lunch and talk. Let's meet for dinner and talk. That's a huge resource as a young person in this work.
Peter: This was also on the website…"foster the importance of independent cultural production to our society's health." What does that mean?
Tara: I think it has to do with them thinking that by creating Actor/Creators, they are putting seeds out into the world. Seeds of a new theatre. The physical theatre and ensemble theatre movement is really on the rise right now. I think that they're trying to link themselves in now to the identity of being seeders of this theatre going out into the world.
Peter: Another phrase I liked, "The value of our work to the field as a laboratory for exploration and development."
Kolleen: That's a whole way of living. At least that's been my experience coming back… It's not about the art and the work as the artist…it's a whole way of hey, I see your model and I get that and that's working for you. I'm interested in trying something totally different. Like a new model for living. And living as an artist, but it's a whole lifestyle of just trying something new and off the map and not often accepted or acceptable. And that's part of that ferocity, of taking the risk of ok, I'm sound with my decision to live this way. I'm gonna continue to forge forward and see what I find. The nature of the journey.
Tara: The idea of a laboratory is really powerful. In traditional theatre we get really caught up in, "this is our deadline, and so the director says this and then this, there's the end." There's a clear path, yes, but there's no room for the windy, there's no exploration of the things that ignite the visceral senses because there's just a click-by-click. It's not the click by click that gives you life and excitement and catches your breath. The things that catch your breath are the things you don't expect. So the things that you don't expect, those are the windys and the curls and the things that give you excitement in a piece and very often that's not caught in the click-by-click.
Kolleen: And there's no room for breath in the click-by-click. There's no room to breath and be like, Oh, what's that?
Mara: Well, there it is again, ferociousness. Click-by-click does not have any potential for ferocity. You have to be ferocious.
Tara: You have to be disciplined…
Mara: Mystery and indirect get bad press.
Barbara: Just to link to what everyone is saying, if you think about the idea of how…there is a thing too…at least in my experience of Dell'Arte, there is a thing about legacy. In that, there is the history of the forms, there's Carlo who brought them further and he studied with masters and this legacy goes back so far and there is that sense of…you can be that fearless because you're standing on the shoulders of these amazing people. And you have to acknowledge that and where the roots are coming up. That tree is very tall and we're on top of the redwood and it's surging up from the ground and all those people who came before. And the pedagogy is completely being redefined all the time. There's always subtle various tweaks every year, but it has… it has a connection to hundreds of years of people performing and training and they are conscious of that. At least they were when I was there.
Tara: Thank you for saying that.
Kolleen: You go to Carlo's grave now.
Tara: Yeah, yeah.
Kolleen: You go to his grave and you walk together, you carry light in your hand, you carry candles and you walk together through the darkness of this sleepy little town, through the mountains, up the hill, to Carlo's grave and you drink Carlo Rossi wine and you bring garlic for Carlo, and sausage.
Barbara: And salami.
Kolleen: Yeah, and you sing the song and you feel like you are part of something really big.
Barbara: We tell stories, pour wine on his grave…
Tara: And you go back to the theater and you party really hard.
Kolleen: I partied HARD at Dell'Arte. I got there being like I'm going to do a good job and I'm going to be a good student and I'm going to learn everything and then I was like Oh, this isn't fun and I'm going to go crazy so let's party really hard and let's love these people really hard and work really hard and create fun art. It's a big part of it. That Saturday and Sunday is a big part of it.
Tara: The momentum that you build up in yourself has got to go somewhere.
Kolleen: You party together that night and talk about it and process it.
Peter: Also part of the manifesto is the seriousness of comedy. I've heard that one a couple of times.
Walk me through that. Tell me what that means to you guys.
Barbara: It's hard work. It's timing. You know, people think, you see these stand ups and they get up and those people work really hard on their routines…you work timing, you work…it's more than just falling down.
Tara: It's service. You're serving the audience. Whereas you know like some theatre…straight theatre where you go in and there's a fourth wall. And there's that sense of we're doing what we're doing because that's what we rehearsed 3 times…and there's a safety and there's a sense of it doesn't matter who you're beholden to. You're just beholden to one another and the director. But with comedy, you're beholden to them. You're serving them so everything that you do has to be served to them, the audience. You have to stay in touch with them. You're doing all this that you would have done in straight theatre as well as staying in touch with the audience and then juggling a reality between the two.
Kolleen: And being alive and comfortable enough in everything that you've played and worked on together and sculpted together, so that if something totally changes, you can keep your feet on the ground, and breathe and go with it and maybe you have 10 new minutes of this clown piece, that just…happened. But it was the best shit in there. Because you did all this play…the importance of play. You did all that so you could be alive enough to experience that opportunity as it came in to you.
Mara: It's the closest thing to aerial work because you're constantly sifting through gravity and a character that lives in gravity. It's the gravity of the clown that causes certain things to happen, it's the gravity that is the state of being, this idea of toying with it, playing with it, partnering with it, it gets you down, it brings you up and it was a really big force in creating aerial work for me.
Barbara: To find your innocence again. Because in comedy, there always is an element of innocence in it, I think. And we are trained to be cynical as we grow older, it's like grrr, I know all this stuff, it's like a defense, and when you are innocent, it all falls away. You have to be open, there can't be any guards or walls or anything. You just have to be open to everything.
Mara: You can't fake it.
Barbara: Because it's a real state.
Tara: Because it's a real relationship with the audience.
Mara: Truth, truth, truth. It will fuck you up too.
Kolleen: You're right there. You're just totally exposed.
Peter: Is that where the power of it lies, in that vulnerability?
Mara: I think the power is in the universality of that innocence. All of a sudden you're with a whole bunch of people in an animated place that is very real.
Barbara: There are clown characters who are very full of façade, but they always fall. And it's that moment of falling, of exposure, the coup de foudre…there's that moment of, uh…the audience sees me…
(General "yes's")
Peter: What are you doing next? Where are you taking this training and world view?
Tara: I'm working here in Mara's studio and we are doing The Larval Project, that's the title of it right now and when we get there, it will be 9-10 original larval masks that are full face larval…in a piece with 5 actor/creators and 2 musicians and they will be short works that examine the masks in a familiar and unfamiliar realm. The exploration will be understanding the masks and what their characteristics are and how they exist in a space and their rhythms, their moves, their shapes, their personality on a stage as a shape. And then understanding what world they can live in that tells a story. That's going to happen at Theatre Project in the end of August.
Peter: Barb, what are you up to?
Barbara: I'm working on a play that's…written and directed by Peter Davis called Breadwinners, which opens in the end of May and performed in this studio. Then I'm going up to the Sterling Renaissance Festival to play a mad noblewoman and direct a commedia, and then I'm going to come back to Baltimore…my last go-round at Dell'Arte was a great laboratory for work that I wrote on my own and some that I did with Giulio Perrone and I want to revisit some of the stuff that I wrote and bring it forward and produce it.
Peter: Kolleen?
Kolleen: I'm doing a lot of work with Clowns Without Borders.
Peter: What's that?
Kolleen: The mission statement is: Spreading joy and laughter to children in zones of crisis. I've been teaching clown in Anacostia regularly and I was part of the Atlas Intersections festival. I'm madly falling in love with teaching, it's like a torrid love affair that just found me, so that's great. I've been experiencing that mission statement locally in our zones of crisis here in all kinds of ways, administratively and volunteer based teaching and some street theatre kind of stuff. And I'm about to experience it internationally by going to Indonesia with them for 23 days. We're doing 30 shows throughout Jakarta and on a very remote island called Mintowi and in orphanages in Jakarta.
Peter: Mara?
Mara: I am going into the final phase of a new show that I'm writing and performing with Arachne Aerial Arts. that goes up Sept 29th in Reston, VA.
I am looking into bookings and creating press materials for Naomi's Flight and talking with people in Toronto about doing it there and trying to get into this Festival in Albuquerque. Going to be at Theatre Project for That Which Returns, the ensemble piece in the first 2 weekends of Nov and then Naomi's Flight is there in Feb. And planning the Aerial Festival for next June. A brand new piece with Tim Scofield with a huge new sculpture.
Peter: Can't wait to see it.
Kolleen: I would like to say that I really found myself through Dell'Arte. I showed up having no idea who I was at 25. It found me and so I answered it and I went there with a very supportive partner and a very supportive ensemble and handed myself over to that and since I've left there, I continually find myself more and more on a very personal level and it's sort of like I had shunned myself as an artist for so many years. Being in Los Angeles doing the cog in a wheel thing, hard core judgment…I was there for 5 years. When I showed up a Dell'Arte I just was like, ok, I'm here. And I went there ready to work, which is what I know how to do and instead, besides the work, I had a lot of fun and I found myself and I found fun again. And I found Clown which I couldn't have found if I hadn't found fun. It was interesting to see people change and grow and the more they seemed to find themselves the more they found themselves as artists. It was beautiful to watch that transformation. I romanticize it because I just came from there and it will be interesting to see how that changes over the years.
Barbara: It's an experience that continues to unfold for me, as a performer, as an artist and as a person. I think because it inoculated me so young.
(General laughter)
* * *
Here's what I've learned. Even though I write and direct plays, I believe that the final authority for the story, in performance, rests with the actor rather than the director or writer. The audience trusts them. If the actor believes, so will the audience. While I may create the narrative and the world of the play, the actor signifies the meaning of it. Working with actors who "dare to suck" in rehearsal is priceless. My role is to give them permission to follow their intuition without inhibition. It seems risky at first but if you stick with it, the universe starts sending them Intuition A-Game, and things start falling into place quickly. In performance, about three-quarters of the way through a show, actor and audience start feeling and breathing as one. As Kolleen once told me about clowning, "That shit will move mountains!"


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Saturday, April 21, 2012
© Copyright 2015 Newton Citizen
CONYERS -- After presenting Tennessee Williams' weighty "The Glass Menagerie" in March, the New Depot Players decided to give audiences a less serious, more playful theater experience.
Enter the zaniness of "'Til Beth Do Us Part," a comedy about a frazzled wife, an uninvolved husband and a domineering assistant who worms her way into their lives.
"When I read the show I thought, 'OK, it will be a light comedy and a nice little romp and something easy on the eye for the audience,'" said Director Cyndi Evans. "Coming off 'The Glass Menagerie' we really thought that was important. It would give our patrons a good mix of theater."
"'Til Beth Do Us Part," runs 8 p.m., April 26-28 and May 3-5, and 3 p.m., April 29 and May 6. Tickets are $20 for adults and $16 for senior and students. Tickets for preview night, 8 p.m. on April 25, are $10.
The play centers on Suzannah, a busy executive, and Gibby, a laid-back weatherman, in their 50s with grown children. Suzannah decides to concentrate on her career, and is getting no help from Gibby taking care of the home, so she hires an assistant, Beth.
"She completely revamps the home -- throws out the pillows, the golf trophies and turns it into an executive-type home," said Evans. "But she's also pushing Gibby further and further away, making the chasm between Suzannah and Gibby larger."
When Gibby has finally had enough of Beth weaseling her way into their lives, he calls on his friends, Margo and Hank, a divorced couple, to help him out. Further confusion arises when Celia Charmichael, Suzannah's boss, arrives to talk to her about a promotion.
Add a few more plot twists, disguises and secret identities and the storyline evolves into one you might see in a '70s sitcom, said Evans.
"People are popping in and out of places and doorbells are going off, and they're hiding in closets and jumping behind furniture," said Evans. "It's fun; the audience will enjoy it."
"'Til Beth Do Us Part" is written by Jessie Jones, Nicholas Hope and Jamie Wooten, a trio of comedic playwrights, whose work Evans has directed several times before including, "Dearly Beloved," "Dearly Departed," and "The Dixie Swim Club."
Evans said she hopes audiences who liked those productions (and even those who haven't seen them) will come on by and give "'Til Beth Do Us Part" a gander.
"They're a tried and true comedic trio," Evans said.
If You Go
• What: "'Til Beth Do Us Part"
• When: 8 p.m., April 26-28 and May 3-5, and 3 p.m., April 29 and May 6
• Where: Center Street Arts black box theater, 910 Center St.
• Cost: Tickets are $20 for adults and $16 for senior and students. Tickets for preview night, 8 p.m. on April 25, are $10. Tickets can be purchased at the door or online at www.thenewdepotpl...
More like this story
- New Depot Players present an American classic, "The Glass Menagerie" ( February 24, 2012 )
- NHS instructor, GPC freshman star in comedy ( March 23, 2010 )
- Conyers/Rockdale arts council intensifies fundraising efforts ( February 9, 2012 )
- Relay for Life team hosts dinner theater ( February 13, 2013 )
- New Depot Players presents Southern comedy 'Dearly Departed' ( April 18, 2014 )


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How is your horse housed? Is she boarded? If so, it is probably too late to avoid spreading it to other horses but extreme care must be taken now that the abscess has opened. She should be fed last and if possible only handled by one person who uses a foot bath and does not handle any other horses after her.
Strangles is extremely contagious, especially once the abscesses open up. As far as how she got it, if there is a history of it on the farm any of the horses could be asymptomatic carriers.
For prevention, there is a vaccine but it isn't extremely effective. It does reduce the risk and vaccinated horses who come down with Strangles often have only a mild case of the disease. There are a lot of risks associated with the vaccine and so it should be a case by case decision whether or not to give it. I would DEFINITELY call your vet back and ask how he/she thinks you should manage your mare to avoid infecting any other horses (since your vet will be familiar with the layout of the barn, etc. they will be able to come up with a good quarantine plan).
Antibiotics are generally not given to treat Strangles unless the horse is extremely ill. Once the abscess closes over she should start feeling better but will be contagious for up to a month and will always have the possibility of becoming a carrier horse.
If the vet seriously considers it to be strangles, I am a bit puzzled as to why he hasn't come to take a look and to quarantine! Strangles can run a muck through a stable. It is generally just a nasty infection that spreads like wildfire...usually leaving your horse off work for quite some time. It rarely kills but if left unchecked, it can become dangerous. Do you board? If so you better tell your BO that your horse may have strangles. They need to be seperated!
My BO doesn't think its strangles. She doesn't have any other symptoms besides the lumps.


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A new firmware update is reportedly arriving on Sony Xperia TX (LT29i) units out there, with version 7.0.A.3.197 attached to it.
The update has been spotted only on Vietnamese units for the time being, and without a changelog to detail what novelties it brings along.
As XperiaBlog notes, it remains to be seen what changes Sony has in store for users with the new update when compared to firmware version 7.0.A.3.195 that the Xperia T (LT30p) runs under at the moment.
Most probably, this update was pushed out only with a series of bug fixes packed inside, along with some minor enhancements, this being the main reason for which Sony did consider it necessary to offer release notes for it.
Unfortunately, there is no info on whether the update will be released for units in other markets around the world as well, but stay tuned for more on this.


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Time: 3:15 p.m.
Place: Hulman Memorial Student Union 227
Present: Chairperson S. Lamb, Vice Chair V. Sheets, Secretary Sr. A. Anderson
V. Anderson, B. Evans, B. Frank, C. Hoffman, J. Hughes, S. Shure
Ex-Officio: Provost Maynard
Guests: L. Sperry
I. Administrative Report
Provost Maynard addressed:
1) visitors to the campus are working with the College of Nursing on a plan to help train nurses for India;
2) official enrollment data is now being analyzed; budget implications are being considered; there is an enrollment reduction in the Corrections Guards National Program training—lower new hires; retention rate is status quo; graduate enrollment has increased—signifies quality perception; loss of Hoosier enrollment—down 700—increases the institution's cost per FTE; no gain in transfer students. Admission standards will not be lowered—the goal to be an institution of choice for high achieving students will remain; marketing emphasis is still at the institution level;
3) an Enrollment Management Taskforce is being constructed to address enrollment management issues; letters are to be mailed tomorrow;
4) the first meeting of the full Taskforce on the First Year and eleven-member steering committee will occur next week; the taskforce will work with the Policy Center on the First-Year of College's Foundations of Excellence program; Bob Guell is the University's Liaison to the Policy Center.
II. Chair Report
Chairperson Lamb report:
"Much praise has been offered to the grounds keepers for the beauty of the campus, especially during the heart of the summer when conditions were miserable. They truly have kept this campus in remarkable shape.
I have heard that no longer will Lilly money be used to match individual contributions to a department, unless those funds are going to an endowment. My word is that the President's cabinet has decided that only if money goes to endowments, will Lilly money be used to match the gift. If monies are just going directly to a department for expenditures, it will not be matched. This word needs to get to the departments."
Provost Maynard clarified that the Lilly Endowment Matching Program will support two major categories of projects: 1) Support for the Student Recreation Center. The University has committed to raise 25% of the cost of the center thru private dollars. 2) Support for the University Endowment to primarily support student scholarships. Every academic unit in the University has the potential to leverage this to secure funds to support students in the unit.
Chair Lamb continued, "Dr. Susan Moncada states that she has been very pleased working with the folks from Principal Financial Group, who now administer our health insurance. She has felt like she is dealing with an organization that truly cares
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about the health of their customers. Susan further states that personnel within Staff Benefits have been very helpful.
Also hearing from faculty concerned about the VEBA trust—money invested to give some sound financial backing to our retirement benefits program. It is gathering interest. I am not quite sure if it comes out of individuals pay checks, or that it has been coming directly out of the University funds, before it ever gets to individuals pay checks.
A number of faculty are fearful that the VEBA funds are going to be used as a means to deal with the current budget shortfall.
Provost Maynard said that accounting principles, regulated by law, would prohibit use of the VEBA funds for any purpose other than the originally designated one.
Chair Lamb continued by distributing some data on freshmen enrollment. The following information is taken from the website: http://irt2.indstate.edu/home/stats/stats.htm#roll
(click on common data sets by year. However, year 2005 is informed guess work.)
Year Full-Time Part-Time
2005 2,916 3,078 (This line is guess work)
2004 3,116 3,284
2003 3,656 3,934
2002 3,923 4,259
2001 4,091 4,458
First, ignoring 2005 data, since 2001, the number of full time Freshmen have decreased by 975 or by 24%; and the number of total freshmen (full time and part time) have decreased by 1174 or by 26%.
Next, incorporating 2005 data, since 2001, the number of full time Freshmen has decreased by 1,175 students or by 29%; and the number of total freshmen (full time and part time) has decreased by 1,380 students or by 31%.
My 2005 data is not from an ISU website; it is from my understanding of newspaper accounts. I would appreciate corrections to that line of data.
One side-bar. It seems apparent that the marketing campaign has not yet yielded the success hoped for. And right now, chairs are being asked to report on those classes that have low enrollments, with some levels of criticism felt. I understand that the purpose is to make sure that adjuncts are not being extensively used when regular faculty could be used. But, it does seem a little ironic. It is similar (not identical) to not giving a tree sufficient water, and then criticizing the branches for not producing enough leaves. Something is amiss.
Regardless, the University as a whole needs to recognize that this is as close to an emergency as we have come. I do believe that at the next Faculty Senate meeting, we need to have a general discussion about the enrollment/budget picture. The institution is under tremendous strain.
Page 3
I intend to invite the Director of Admissions, Richard Toomey, to our next Executive Committee meeting in order to get his sense of the reasons given by students to choose other than ISU. He is on the front line. And he probably has a better sense of the obstacles than almost anyone else.
I intend to invite Vice President Gregg Floyd, to the Executive Committee meeting after that for him to translate the enrollment challenges into budget challenges.
Then, at our next Faculty Senate meeting, I would like both present to make a presentation and to field questions on the enrollment/budget picture.
At our last scheduled meeting with Provost Maynard, we discussed a number of personnel issues. We discussed the Executive Committee officers' compensation package, an issue first introduced for discussion by past Senate Chair, Harriet Hudson. No change in that package has occurred in 12 years. And we discussed the future role of the Compensation Committee.
III. Fifteen Minute Open Discussion
1) Concern that the change in admission standards will not raise retention.
2) Suggestion that program marketing might benefit enrollment.
3) Observation that the academic calendar and administrative calendar are out of sync.
4) An update on program prioritization is needed.
5) Concern that the expenses for two campus initiatives will impact enrollment—Recreation Center and Notebook Initiative.
6) Statement that the University has not finalized "what it wants to be".
7) Concern that the decision to eliminate the modem pool did not include faculty consultation—hope that instructional use could be subsidized.
8) Structural remodeling in the Library—who approved, who is funding, is the academic mission suffering for facility comforts?
IV. Approval of the Minutes
Minutes of the August 23, 2005 meeting were approved. (Evans, Hoffman 8-0-1)
V. Old Business
Faculty Dismissal Hearing Committee
William Clyburn was approved by consensus for service.
FAC Replacements
Approved, by consensus, Yasenka Peterson for service and Thomas Potter as alternate.
FAC Recommendation: Handbook Language Related to University Initiatives
Guest was invited to the table. (Hoffman, Evans 8-0-1)
Further discussion ensued regarding the dimensions of scholarship.
Approved as amended (A. Anderson, Shure 9-0-0):
Faculty appointments and annual reviews shall be founded on the disciplines and missions of the academic units and the University. The assignment of academic rank and the award of tenure shall be based on faculty achievements in the interrelated activities of teaching or librarianship; research, scholarship, or creativity; and service.
Faculty engaged in the challenging work involved in teaching and facilitating learning need to be active in the profession and provide instruction based on current scholarship as well as advising students where appropriate.
Faculty are expected to engage in research, scholarship or creativity that may include original work focused on discovery and integration;
Page 4
and/or scholarship focused on teaching and learning; and/or scholarship that applies methods and theories of their disciplines to address substantial problems. Each academic unit (normally the department) will be responsible for determining the relative importance of these research domains within the unit.
Service may consist of service to the University, to the discipline, or to the community. Community service, as defined here and elsewhere in these policies, refers to service in which the faculty member offers discipline-related expertise to an external agency, company, or non-profit organization.
FAC Recommendation: Handbook Language re: Faculty Enrollment in Courses at ISU
Motion to send back to the FAC with comments (Sheets, Hoffman 8-0-1):
Enrollment by faculty members in courses should not conflict with assigned duties in the University. A faculty member may not enroll in a
course in his/her own department. A faculty member who desires to take a graduate course at Indiana State University must first confer with the Dean of the College of Graduate Studies. Prior approval of the department chairperson, the appropriate academic dean, and the graduate professor scheduled to teach the course are required.
A member of the faculty above the rank of instructor may not work toward a degree at this University. Exceptions to this policy may be granted through petition of the Dean of the College of Graduate Studies and the Provost. If tenured, a faculty member must resign his/her position upon entering a program leading to an ISU graduate degree.
A faculty member may enroll for no more than twelve (12) semester hours of work during a regular academic year. If a faculty member holds a teaching assignment during a summer term, he/she may enroll in courses but the total activity, teaching and personal course enrollment, may not exceed six (6) hours in any summer term.
Faculty members enrolling in courses at Indiana State University are expected to follow normal enrollment and registration procedures.
V. Sheets summarized supportive comments for allowing faculty to take courses and C. Hoffman summarized objections to accompany the document upon its return to FAC.
Non-supportive comments:
"The Handbook prohibition on faculty enrollment in ISU degree programs should be retained
(perhaps even strengthened). The existing policy is desirable from a number of perspectives:
DEGREE-SEEKING FACULTY – One goal and hallmark of a true university is the availability and clash of a variety of backgrounds and perceptions. If faculty earn in-house degrees/certificates, they do not gain the necessary outside exposure and expertise and cannot, therefore, make it available to their colleagues and students. Their preparation will be restricted to emulation and propagation of points of view already available which, in the long run, serves neither the faculty member nor the institution.
FACULTY TEACHING COURSES in which other faculty are enrolled for credit will always be aware that they are grading a colleague and are responsible in some respect for that colleague's professional future. A personal relationship may already exist, especially within departments. All will try, of course, to be objective, but is that possible under the circumstances? No member of the faculty should be put in a position in which his/her judgment/objectivity/professionalism may reasonably be questioned.
Page 5
How will other students enrolled in the course react? All the explanation in the world will not remove the perception that the enrolled faculty member has an "edge." Such perception will work to the detriment of all. Even the perception of the possibility of favoritism harms all.
THE UNIVERSITY – An additional problem is one of perception outside ISU. The reputation of the institution will be compromised by "inbreeding." Even with safeguards and oversight to prevent abuse, the possibility and perception will remain. At a time when ISU is trying to market itself as a "first-choice" "research-intensive" "cutting-edge" school, the "inbreeding" will be especially troublesome, both among scholars and the public.
"Relaxing" the current prohibition will likely be tantamount to a blanket endorsement. It would be very difficult to approve one case and deny the next. All faculty members can reasonably claim career enhancement, financial hardship, access to courses, etc. Vague
language in the Handbook that suggests case-by-case decisions will not be adequate for denying any request.
All of the above argue against relaxing the existing policy. For the little to be gained, we cannot afford the risks."
Supportive comments:
"The Handbook prohibition on faculty enrollment in ISU degree programs should be relaxed. Although it is important that our policies avoid the appearance of nepotism and cronyism, a blanket prohibition on faculty enrollment in ISU degree programs seems unduly restrictive. Many of the concerns people hold about faculty taking courses at ISU are (or could be) dealt with in other ways, and there are instances in which both a faculty member and the institution may benefit from enabling faculty to enroll in ISU programs.
First, faculty members may find that their research goals are enhanced by a second degree. For instance, faculty working in an interdisciplinary area of research may find that their ability to seek and sustain external funding to carry out specific projects may be improved by formalized training in a substantive area outside of their original degree area.
Second, faculty may find that their expanded credentials give them validity to teach new courses or supplement their current courses. Someone in psychology, for instance, might like to complete an MBA program that would improve ability to teach about issues relating to running a professional practice, impacts of changes in insurance procedures on practice, or even marketing issues for professionals.
Third, faculty in many accredited programs need to engage in Continuing Education in order to retain licensure, and it is unfortunate that our faculty must go elsewhere (and pay) for these opportunities.
Fourth, the University may benefit from enabling faculty to get "cross-trained" in a second area, particularly if that is an area in which we've had difficulty recruiting or retaining good faculty; such cross-training of our own people would enable such faculty to step-in when another faculty member leaves the institution or goes on sabbatical.
Page 6
Finally, the university may also benefit by its ability to "cherry-pick" some of its most promising graduate students by hiring them before they've completed their doctoral work.
Rebuttal of Opposing-viewpoint:
than completely restricting faculty from taking each other's classes (e.g., restricting faculty from courses in their own department; requiring external oversight, etc). Similarly, the issue of "other students" perceiving things as unfair could be dealt with by honestly sharing information about mechanisms for oversight.
Executive Committee members were polled on their sentiments for the document. L. Sperry was asked to convey these feelings back to this year's FAC.
VI. Handbook Issues
Chair Lamb distributed an updated list of material/documents intended for the University Handbook. Current status of all the material is still being explored.
VII. AAC Charge
Approved (Evans, A. Anderson 8-0-1).
"EMG has done a follow up on the ISU Branding Campaign. Review that study, and comment on both the quality of the study, as well as provide comment on the effectiveness of the existing branding efforts."
VIII. Executive Session
Moved into executive session. (Hoffman, Anderson 8-0-1)
Moved out of executive session. (Sheets, Hoffman 8-0-1)
The meeting adjourned at 5:55p.m.


text:
Why Hafiz Is the Balls.
"Now is the time for you to know that everything you do is sacred."
I was young and not very smart when I was introduced to Hafiz. Much has changed, at least along the "young" lines. My friend Jenny told me that Hafiz was an enlightened being who came to earth and shared divine wisdom. And she would know as well as anyone, I figured, because she had a divine ass. So I checked him out. To my shock, he was entirely understandable. He broke down barriers between me and God that I did not know existed. Just by reading his poems, I grew closer to God. He says stuff like:
"The moon cannot hold a grudge."
And I feel layers of protective New York cynicism melt down into the inky, swirling love force of his pen. I liked Hafiz. I liked that he was easy to read and brought me comfort. Turns out it wasn't by accident. He wanted to challenge people's suppositions about the divine force, smash through the walls we build for no reason, and in doing so, provide truckloads of comfort.
The Only Sin I know
If someone sits with me
And we talk about the Beloved,
If I cannot give his heart comfort,
If I cannot make him feel better
About himself and this world
Then, Hafiz,
Quickly run to the temple and pray-
For you have just committed
The only sin I know.
Hafiz was a teenager, the story tells, and fell in love with a genuine beauty, way out of his league. He was smitten, and wrote verses to her for years. Nada. So he undertook a 40-day ritual at a gravesite, spending all the night hours there, where according to legend, you would get your wish on day 40 if you were 100 percent about the process.
"The words you speak become the house you live in."
Day 40 comes, boom, the archangel Gabriel appears, and our poet gets moonstruck. Asked for whatever his heart desired, and smitten by the beauty of the angel, he forgot all about the girl, and asked only to know God. He was told to go see a local wise man, Muhammad Attar, and did so. For the following 40 years, Hafiz studied at his feet. Enlightenment happened overnight. Well, one night 39 years and 364 days. So what is the poet's message?
Hafiz informs us in no uncertain that sometimes, you do well to stand up to the fact that life is awesome.
"I wish I could show you when you are lonely or in darkness the astonishing light of your own being."
His actions for discovering the awesomeness all around and in you are two.
1. Make friends with prayer and meditation by spending time with them.
2. Seek out the company of people who are sources of love, and assimilate.
That's the plan, folks. And here's the deal, just read his writing. These poems have a liberating, transformative effect. I cannot spend 20 minutes with "The Gift" without feeling a strong, uplifting influence, and I bet neither can you. The translation is important: get anything Ladinsky did. Take my word for it.
All your worry
Has proved such an
Find a better
Hafiz loves you, with head-over-heels, holy-shit-she's-better-than-brown-rice, whoa look-out-I've-lost-all-my-marbles strength love. Feeling this repeatedly through his words, I've embraced Hafiz as my teacher. He keeps telling me that I'm perfect, and to keep on keeping on. It is a most welcome message.
"Fear is the cheapest room in the house.
I would like to see you living
In better conditions."
What's not to love? Try him out: he is seriously the balls.
Hafiz poems and excerpts are from Daniel Ladinsky's Penguin publications The Gift, Poems by Hafiz © copyright 1999, and I Heard God Laughing, Poems of Hope and Joy © copyright 1996 & 2006. Reprinted by permission of the author.
Editor: Brianna Bemel
Incorrect source, offensive, or found a typo? Email us (please put title in subject bar of email so we'll be able to fix). Or do you want to write for Elephant?
{Waylon H. Lewis C Enterprises 2015: Use Rights in perpetuity. Ownership remains with author.}
11 Responses to "Why Hafiz Is the Balls."
Posting to Elephant Yoga on Facebook and Twitter.
Tanya Lee Markul, Yoga Editor
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Thank you, Tanya!
Love it Another favorite of mine, Hafiz….
Just posted to "Featured Today" on the Elephant Spirituality Homepage.
Braja Sorensen
Lost & Found in India
Editor, Elephant Spirituality
Please go and "Like" Elephant Spirituality on Facebook
Thanks, Braja! Love this guy.
I read Hafiz two years ago. He made a lasting impression. There is something very comforting and calming in his poetic enthusiasm for God. My favorite quote is the one you posted about worrying being unlucrative -simple truth. I should read Hafiz's gift once a year.
[…] […]
[…] ~ Hafiz […]
Absolutely beautiful. Thank you — so much– for sharing.
[…] side? Learn to say thank you without a but attached to it. It may be empty ritual at first, but, as a wise soul once said, the words you speak become the house you live in. In the end, it might be the easiest–and […]
[…] […]
I understand I'm late to the party and that you may have found out for yourself by now, but I feel the urge to remind the author to check attribution of his quotes more rigorously. Although the books quoted do in fact exist, neither of them include poems by Hafiz. The books' author, Daniel Ladinsky, has published his own poem "with divination from Hafiz". You are mistaken to believe you have read Hafiz.


text:
Cigarette Smoking—United States, 1965–2008
January 14, 2011 / Vol. 60 / No. 01 / pp. 109–13, Supplements
- Intro
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MMWR Introduction
Cigarette smoking remains the leading cause of preventable morbidity and mortality in the United States. Despite overall declines in cigarette smoking, disparities in smoking and other tobacco use still persist among certain racial/ethnic minority and socioeconomic groups. To highlight racial/ethnic and socioeconomic disparities in current cigarette smoking among youths and adults, CDC analyzed aggregated data from the National Survey on Drug Use and Health for 2006—2008 and data files from the National Health Interview Survey for 1965—2008. The findings in this report indicate that although progress has been achieved in reducing disparities in cigarette use among certain racial/ethnic groups, less progress has been made in reducing disparities in cigarette use among persons of low socioeconomic status.
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