text: Pope Francis has a special devotion to Our Lady Untier of Knots. As a Cardinal studying in Germany, he came across the Bavarian painting of "Holy Mary, Our Lady Undoer of Knots" and took a copy back to Argentina and promoted devotion to Mary under this title. Cardinal Bergoglio also had an image of Our Lady Undoer of Knots engraved into a chalice and presented it to then Pope Benedict XVI. The theology of Mary untying knots goes back to the second century and was understood as Mary untying the knot of sin and disobedience created by Eve. This is an artfully crafted holy water font that is perfect for home or parish. Features a colorful image on a gold ceramic font.


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BPL Community Profile
Matthew Zion (mzion) - BPL Forum Member
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All Forum Posts by Matthew Zion
Re: "another 2013 PCT gear list - lots of experience, zero long distance hiking experience"
I sort of skimmed the other posts so if I repeat some things forgive me. I thru hiked the PCT this summer in 81 days and my gear list is on my profile (still I believe). That said, I hike every y...
Re: "Does Such a Shoe Exist"
They may not be as stiff as you'd like but the higher model number Inov-8s have pretty beefy outsoles compared to their uppers. Check into the fit tho - they tend to run on the narrow side but...
Re: Sunshine on the AT
Best of luck to you both! Sunshine working on triple crown before 13?
Re: CT 2012
Nick, You can get away without an insulation layer if you spend most of your time moving. I hiked with just a wind shirt/pants combo (although, many mornings I left my down hood on hiking until t...
Re: Kook
Thanks guys - glad I wanted to email him before I purchased.
Kooka Bay
Do any of you guys have the contact information for Kooka Bay? His contact tab on his website is blank (for me at least). Thanks
Re: CT
Looks solid - I agree with the above suggestions. Except, I have to respectfully disagree that you need an Ursack or Opsacks - simply overkill.
Re: MYOG Trekking Poles
Bruce, Did you have to trim the poles at all to get them to fit into the tips? I F'd up my IT band running this winter and think I'd like to use some poles until I get strength back in ...
Re: 2012 PCT Gear List
Thanks for the tip. I just joined.
Re: 2012 PCT Gear List
Jace, My ancient mac doesn't like the Adobe needed for the website but your profile list looks solid -- considering the updates you've listed. Unfortunately, I'm starting a week bef...
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Canberra Theatre Centre is Canberra's premier performing arts venue, providing world class performing arts and entertainment to the people of Canberra and surrounding regions.
The Cultural Facilities Corporation administers Canberra Theatre Centre, with financial assistance from the ACT Government through the Minister for the Arts and Heritage.
Canberra Theatre Centre includes the 1,244 seat Canberra Theatre, The Playhouse seating 618 and The Courtyard Studio, an intimate rehearsal and performance space that seats up to 90 patrons. The Link connects the Canberra Theatre and The Playhouse and includes exhibition and function areas. The Centre also has a comprehensive technical workshop, backstage and dressing room areas, and is fully equipped with up-to-date lighting and audio facilities.
Located centrally in Civic Square, Canberra Theatre Centre is the focal point for performing arts in Canberra and is often considered the heart of the city. The Canberra Theatre Centre was opened in 1965 and The Playhouse was rebuilt and opened again in 1998 with a gala concert.
The Centre's Box Office is located adjacent to the Centre in Civic Square and provides ticketing services for performances at the Canberra Theatre Centre under the banner of Canberra Ticketing or for events at other venues around the Canberra region.
Annually, the Canberra Theatre Centre presents a Subscription Season featuring some of the best performing arts from Australia and overseas. Performances for families and children are presented as part of the annual Playtime season and a range of patron programs are managed for different audiences including Under 27, access services, the social capital program and more.
Canberra Theatre Centre provides the city with the finest performing arts and the most diverse selection of entertainment from around the country including theatre, drama, dance, cabaret, circus, comedy, all genres of music, musicals, puppetry and physical theatre. Through the use of The Courtyard Studio it also provides a performance space for many local theatre companies and performers.
Canberra Theatre Centre gratefully acknowledges the support of the sponsors and funding bodies.
"Enta Australasia supports our business by providing ongoing technical support, implementation advice and business solutions. What makes it easier is the team at Enta Australasia are friendly and approachable, and provide timely and effective customer service."
Bruce Carmichael - Canberra Theatre Centre


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Steakhouse Las Vegas, Nevada - Twin Creeks Steakhouse
At Twin Creeks Steakhouse inside Silverton Casino Hotel, we invite you to savor tender, expertly-prepared steaks and fresh seafood served in a modern atmosphere - only without the exorbitant prices on the Strip. With its Boutique Bourbon tasting flights, Epicurean Award-winning wine and food, Twin Creeks Steakhouse offers Las Vegas Strip quality dining at stripped down prices.
Happy Hour Specials -Join us Wednesday through Sunday for 50% Off Happy Hour. Wednesday - Saturday 5pm - 6pm and 9pm - 10pm; Sunday 4pm - 5pm and 8pm - 9pm (Small Plates, Select Cocktails, House Wine, Beer*). Enjoy our savory new small plates menu and select cocktails. Happy Hour specials are NOT valid on Holidays - including Valentine's Day.
* Does not include premium craft beers, Happy Hour valid in Twin Creeks Lounge only. Must be 21 years or older.
- Prime Rib Sundays - Queen Cut Prime Rib with your choice of soup or salad, any side for $29.99 per person.
"An amazing gem…smart and comfortable. The food is nothing short of sensational - brilliant in every respect."
- Robin Leach
Wednesday - Thursday : 5pm - 10pm
Friday and Saturday : 5pm - 11pm
Sunday: 4pm - 9pm
Monday and Tuesday : Closed
Friday and Saturday : 5pm - 11pm
Sunday: 4pm - 9pm
Monday and Tuesday : Closed


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Broadway: the Golden Age
by Rick McKay, as told to Nancy Rosati
For the past five years, Rick McKay has devoted his life to a very personal project – his film, entitled Broadway: The Golden Age. Because theatrical performances exist only in the memories of those who were there, Rick set out to create a documentary on Broadway by talking to those who were intimately involved.
He interviewed over 100 people on four continents, and his cast list reads like a "Who's Who of the American Theatre" – Comden and Green, Stephen Sondheim, Kaye Ballard, Gwen Verdon, Betty Buckley, Carol Burnett, Kitty Carlisle Hart, Julie Harris, June Havoc, Al Hirschfeld, Jane Powell, Hal Prince, John Raitt, Elaine Stritch, Audra McDonald, Cherry Jones, and Douglas Sills to name just a few. Each gave his or her own perspective on the many facets of working on Broadway.
With over 250 hours of footage currently in the final editing phase, Rick is considering releasing the film to major international and domestic festivals. He also is shooting for an autumn theatrical debut in New York and Los Angeles, and eventually DVD and video.
Nancy recently met with Rick in his studio. He is so passionate about this project that it seemed best to have him tell the story in his own words.
Rick McKay
I grew up in a small town in Indiana. There wasn't much to do there, so I grew up watching old movies in my basement. I discovered that a lot of those old movie actors started in the theater. There was no theater in my town, not even a movie theater. I started going to the library and looking at the New York Times. I saw that some of the people I had seen in the movies were doing eight live shows a week, and I thought, "This is even better than those movies because it's live." I couldn't see any of it locally, so I started looking on TV. I would look for shows that had been plays that were made into movies. I would watch Marlon Brando, Kim Hunter, and Carol Burnett.
When I was a kid in the '60s, there were no VCRs, so you couldn't see a show on TV over and over again. You had to scour the TV section in the paper to catch one showing. I would plan to fake being sick on the days when there was a movie I wanted to see. I had to be covert because I was one of eight kids and my brother and I shared a room off the kitchen dining room.
In the early '80s I went to New York to be a singer. I was totally oblivious. In an interview I did for a local PBS show, they asked, "What are you going to do in New York?" and I said, "I'll take classes in the beginning. I'm going to Herbert Bergdorf's School" (I mixed up Bergdorf-Goodman with Berghoff). Then I said, "In the beginning, I'll probably have to do national tours." Little did I know that was the most difficult job to get.
I thought I could make money singing in supper clubs. When I got here, there was no such thing as a supper club. I thought since I had a "poor man's John Raitt-type" voice, I'd work, but when I got here, it was completely different. It was the beginning of the English era with Cats and Les Miz. All the singers were "rock tenors" and I was just the opposite – a romantic baritone. I remember at one audition they asked me to sing "an old Broadway-type song" so I sang "Stairway to Paradise." They handed me The Best of Andrew Lloyd Webber and said, "No, we meant a classic Broadway song of today." I thought, "I'm too young to be outdated," so I became a solo act.
I made a good living on cruise ships - I was a headliner. I started out opening for acts like Patty Andrews from The Andrews Sisters, and I went on to being a headliner with a ten piece band. It was not the real world. I always tell people that vaudeville didn't die, it's just lost at sea. You'd go to the midnight buffet and see the magician with his two dogs, and his assistant in fishnet stockings that were torn beneath the costume. Then there would be the husband and wife dance team. Can you imagine a dance team working today? So, I got in on the tail end of that era. Today, there aren't a lot of solo acts that make a living singing the American songbook.
She said that she saw the revival because Tyne Daly begged her to come. She said that every week on her day off, Tyne would take the kids from the cast somewhere. One day she told them to bring sunscreen and bathing suits. They thought they were going to the beach but she rented a bus and took them to June Havoc's farm in Connecticut. They couldn't believe it. The girl who played Baby June thought it was a fictional character! People don't know the heritage of these shows.
An idea is born
June Havoc's assistant, a talented playwright named Tana Sabillio, invited me to their Fourth of July party. She said, "There's a girl coming who's an artist. She's doing a mural of Broadway legends and it would be a great piece for City Arts." I said, "We're on hiatus." But then I started thinking about it and I asked when she was starting. The following week I decided to go shoot it, so that if we did a piece, I would have footage.
I went back six times and followed her painting a blank canvas forty feet long. It was a very interesting canvas for the Visitor's Center in Times Square. A couple of months later I edited it down to six raw minutes and showed it to the City Arts team but they weren't interested. I'm the kind of person that once I get involved with something, it's hard to quit. They said, "It's very interesting but it's not us. We want young and hip, but it's an interesting story," and they suggested I make it into a short film. Luckily, I had already taught myself to write, produce, shoot and edit.
I had a friend of mine from HBO look at it and she said, "It's not compelling. There's no real crisis in it. You ought to get some of the stars in the mural and talk to them about it. That would make it interesting." I went back and soon realized there was another story focusing just on them. WNET said they would help but they wanted me to target the younger audience. I didn't want to make the history of an era with only younger actors. I wanted to ask the people who actually lived it. I finally realized that so far I'd shot it and edited it, so I decided I could pull it off myself. I was just naďve enough. If I had known any more, I never would have made it. If I had known any less, I never could have made it – realistically.
Getting started
What we were doing was basically what Hal Prince did when he produced his first musical, Pajama Game. Edie Adams let him use her apartment and he'd bring Shirley MacLaine and John Raitt. They would pound out the songs on the piano and they raised all the money with a few cocktail parties. We weren't quite as successful, but we got people to give a tax-deductible donation of a thousand dollars and make it out to the name of the film, in exchange for a credit in the film.
I just kept doing anything I could. I turned down several producing jobs on TV because I knew that if I put the film away I would never finish it. I sold my piano. I did everything I could to get the money, but it was never depressing, it was empowering. Every time I did something like that, I realized that I was really in it for the long haul.
How it's done
It became a challenge to see who I could get to interview for the film. I could write a book about how I got those people. I have 250 hours of interviews now. I can't use all that. Movie theaters don't want to show a movie that starts in January and ends in July!
I've kept myself off camera. I originally was not going to even use my voice, but then changed my mind. The film is divided into chapters for manageability purposes. A lot of those start with my voice, asking, "What happened?" or "Am I naďve, or was there really this sense of community?" To that, they have said, "There really was." Rex Reed said that every night the bars were full of people who were passionate about what they had seen. Today you can't have bars full of those people. There can't be that many people who can afford to go. Most audiences are families from Jersey or businessmen or tourists. The average actor can't go every night to the theater and then discuss it at Sardi's afterwards. How could a struggling actor ever go to the theater once a week? That's $400 a month!
My natural curiosity led me to ask, "What happened? How did it change?" People were very opinionated. They said there were once writers all over the city, writing the new plays. They said that's unheard of now. Nobody writes a play now for Broadway specifically. A play may have its final destination as Broadway by chance or luck, but no one writes a play for Broadway. One reason for that, I think, is that producers who make a living on Broadway are not out there looking for writers, saying, "We need a new project. You're good. I'll pay to to write your next play." That's what David Merrick did with Jerry Herman. For Hello, Dolly!, he said, "I think this is a good project for Merman." He encouraged him to write it, but then Ethel Merman backed out and Carol Channing made history.
Getting the stars - Gwen Verdon
I never thought I'd get a chance to talk to Gwen Verdon. I didn't grow up watching Gwen Verdon; I'd seen Damn Yankees on TV, but she didn't reach outside of New York very much. She told me in her interview that in the '50s, she couldn't walk down the street in New York without being mobbed. But in later years, no one knew her, and I think that's because she didn't make movies. She started in movies, training Marilyn Monroe and Jane Russell in Gentlemen Prefer Blondes. She was the assistant to Jack Cole. When she did Damn Yankees, the first day Bob Fosse told the director that during the song, "just a little this-a and a little that-a" he should go in for a close-up. Of course Bob Fosse was already trying to direct movies, which he would later do. But, the director said, "There will be no close-ups of Miss Verdon. She's doesn't have the face for close-ups." He said it right in front of her. She was horrified. She said, "I never went back to film until I was playing everyone's grandmother. I didn't like the way I looked on film, and evidently they didn't either."
She was amazing because she showed up a half hour early. The interview took place in my empty apartment. I had rented the apartment, but hadn't moved in yet. I had nothing in there. I was racing like crazy to get ready and she showed up a half hour early. She said, "Don't worry. I'll play with the two cats." She sat with the cats in her lap and I thought, "This is the real thing. This is royalty," and she was.
She was so intelligent. She talked of how Bob Fosse taught her about characterization and acting. She told me how she learned how to stand on the stage and do nothing, but command all the attention; how less is more. She told me how a character is like an onion, and you have to peel it away little by little to see all the different layers. I became fascinated, because as an actor and a singer myself, I wanted to know what these people knew. I said, "What did he actually tell you that you could use?" She said things like, "He taught me that Lola in Damn Yankees was not a sexpot. She was the ugliest girl in Rhode Island, and that even though the devil had made her beautiful, inside she was still ugly. She was still a 12-year-old ugly girl. That made my characterization never overtly sexy - never threatening."
Alec Baldwin
I remember when Alec Baldwin came here to do his interview. I had decided to use some younger actors who were influenced by the theater. I hate to say that he plays my role, but he was someone of my same age group who grew up outside the city and fantasized about coming in. He ended up doing Streetcar Named Desire with Jessica Lange. People think of him as a movie star, but he started out in theater, and he has continued to come back to the stage. I saw him in a play in Sag Harbor last summer by a young playwright - and not a one-nighter - he did it for a month. He also helped start the play reading series at City Center. I have a feeling he'll be back on stage soon.
I could tell when he walked in the door of my small apartment that he was shocked - he had thought he was coming to a studio to make this movie, but now looked like he thought he was going to be kidnapped by some lunatic fan and tied up in his apartment. I never invite stars by saying, "I'm making a movie in my apartment – would you like to be in it?" (laughs) I tell them it's Second Act Productions and these are all the stars who are in it. One performer's agent told me his client only wanted to meet me because of what people had already said about her in their interviews, that she would only give me fifteen minutes and she needed $1,000 for hair and make-up. You can't say, "I'm alone making this film. This is a dream" because if you do, they're not going to appear in it. Then when they say they need hair and makeup, and it's going to cost $1000, you can't say that you'll have to sell equipment to pay for it. So, you say yes and you figure out how to get the money. Well, she did an hour and 20 minutes. She was wonderful and worth every penny.
Alec Baldwin talked about how actors he works with today will finish a movie and say, "I don't have anything after this." He'll say, "Why don't you do a play while you're waiting and learn something?" He said they would rather not act than do a play. They believe that they can earn $5,000 a week chasing a babe in a loincloth on a cable channel, and more people will see them in one episode than will ever see them in the theater. They never grew up fantasizing about the theater. They think it's a waste of time. He said they tune up their instrument between jobs by going to the gym, not appearing on the stage.
When Alec started, he was on a soap opera. Everyone on that soap was doing the job so that they could work in the theater at night. They were all stage people who were doing what they had to do to get there. Now it's completely different. Younger actors have argued with me when I've told them that a great actress like Cherry Jones said actors should do more stage, but by the same token, she has to do movies too, to afford to stay on stage. It's a funny thing. I do think it changed. There was a period, the '30s through the '60s, when the stage was the most exciting thing and film was looked down on by serious actors.
Several people who I interviewed are no longer with us. I certainly don't get a warning, like, "So and so will be departing on the 11th. If you want their interview, call now." Gwen was a real shock because she died in her sleep and she had been so vibrant. After our interview, I walked Gwen downstairs and she said, "I love this apartment. Maybe my daughter Nicole and I can get an apartment in this building and keep our places in the country." I introduced her to my landlord. He just said "hello" and clearly had no idea who she was. When I walked her out, I offered to get her a car but she said, "No, I'm going to run some errands." I will always remember her walking down the street by herself. She was so tall and slim. She had heels on and a blue suit, and she walked just like a dancer – fit as can be. I had the equivalent of royalty in my apartment.
Stephen Sondheim
Part of me has become so passionate about making sure these people are remembered – so people know "Gwen Verdon" isn't just a name in the air. When I talked Stephen Sondheim into doing this, he said, "You can't really make this film." I asked him why and he said, "You can't really get the history down just by asking people." I said, "What if we don't? Patricia Morison is telling what it was like on the road, out of town with Kiss Me, Kate." There is no out of town anymore. People don't go to Baltimore, Philadelphia, Boston and make that circuit. Maybe they go to one city, but they used to go to the same cities every time, and in every different city they would change and improve the show. It was a whole circuit. I said to Sondheim, "I've got some people who did out of town shows" and he said, "Yes, but do you have Alfred Drake?" Well, no, but if we don't do anything, no one will remember any of this happened at all.
But then, Sondheim gave a great interview. He's wonderfully outspoken, which I appreciate, because when you edit, you don't want an entire film of everyone saying, "It was swell, it was great." He talked about how tickets cost $100 apiece now and people choose the hardest ticket to get, a year in advance, and they see one show that year. If they bring their two kids, it's $400. Add parking and dinner, it's $600. Then at the end of it, they stand up and scream because they have to feel that after they spent all this money they're a part of it. Arthur Laurents said they should scale the house. Charge $100 or $200 for the front rows, and the last seats would be $10 or $15.
The storyboard
I have a storyboard that outlines the sections of the film. It's two thirds a celebration of an era, and then, as a journalist, I can't ignore the present. The cast talk about struggling and the jobs they had to do, and how cheap the apartments were. Shirley MacLaine found that she could get a glass of water at the automat, find lemons and sugar by the tea, and make free lemonade because she couldn't afford to buy it.
The next section is about the camaraderie – how everyone met in the same diner to trade ideas – Martin Landau, Bea Arthur ... Carol Burnett tells how four of them pitched in $5 each to buy a $20 dress. They were responsible for reserving it if they needed it, and getting it cleaned. It was one dress that fit them all for auditions because they couldn't each afford a $20 dress. They talked about sneaking into shows.
Then we have a segment on nightlife and the bars they hung out in. I have a section on Marlon Brando, because people forget that he did five or six Broadway shows before he ever went to Hollywood. He changed theater and acting in America. Charles Durning said he looked like he walked off the street – he didn't look or act like the idea of an actor at the time. Angela Lansbury, Jerry Herman and Don Pippin talk about how producers didn't want her for Mame because they thought she was too old, and she wasn't well enough known. She wasn't even 40 but she had to fight for the job. It's an incredibly inspiring story.
Next we talk about what happened, how did things change? Actors started going to Hollywood more and they didn't come back. There was more money for writers in Hollywood so they weren't writing the plays. Corporations started producing with committees of 12 instead of the single visionary producers they had before.
Then we talk about how stars don't stay with a show for the long term. If it's a hit they're out in six months, unless they're generous and stay a year. It's considered unbelievable that Matthew Broderick and Nathan Lane stayed with The Producers a year. I'm not saying it's better or worse, but it is so different, which is fascinating to me.
Then we come to the technology phase – stages turning, chandeliers, lasers, helicopters, etc. and how theater changed in the '80s. They talk about the different direction it went. Why did shows start miking actors? Producers were trying to give audiences the sound they heard on TV. My theory is that television and film and records were once made for people who couldn't get to New York City to see the theater. You couldn't see something live so they found a way to artificially capture it, but you always knew you were seeing or hearing something that wasn't quite as good as the real thing. Why did they make cameras? They didn't take the first pictures because it would be more interesting to look at a photo. They did it to preserve the reality. So, they made movies to transfer live performance to film, but the real thing was still preferred. But I think, somewhere along the line, the theater started imitating movies, instead of movies imitating theater, which was too bad.
I realized that he's right – audiences started wanting to see theater do those things, so they started giving it to them. As someone said in the film, the word went out in the community that they had to hire two more people for Sunset Boulevard to yell "stop" when the staircase came on because it was too dangerous. Derek Jacobi said they lost three performances of Uncle Vanya because of technical set problems. But his observation was, "It's Chekhov! You don't need all this."
I think what happens in the theater is so magical, that when they start making it about special effects, you can see that movies always do it better ... and I love movies, I make movies, I go see almost every movie. I can't afford to see every play, but when I see a play, I don't want to see them doing what the movies do, because movies are going to do it better. It's real in a play, and a movie can never ever touch that. As Diana Rigg says in the film, "live theater is the closet thing we have to a miracle in this century."
Also, they don't build stage stars any more. It's cheaper that way. They used to put Ethel Merman, Julie Harris, Mary Martin above the title and get that star out there. Then they'd build a new project for him or her the next year. In the film, Cameron Mackintosh says that you have to pay the star, and when the star leaves, you need another star of equal caliber. He said it's much cheaper to make the show be the star. I think they then made the helicopter or the chandelier the star. With no stars to replace, it keeps the operating budget lower.
A lot of people said there's no reason to have out of town previews anymore because you went out of town for privacy and now the Internet prevents that.
"There is another section where they talk about the first play they saw and how it changed their life, whether Brando or Laurette Taylor or Gwen Verdon. In the end, everyone says that no matter what, the theater will never die. And then over the closing credits are some of my favorite outtakes. You see many of the stars breaking into song and laughing and having a great time.
The film's future
It's going to festivals this year, hopefully from the spring through the fall. If all goes as planned, we'll be in a theater in New York and L.A. in October for awards consideration. We're hoping for the Tribeca Film Festival in New York, as I feel that the film should debut in New York. If all goes well, it could have a wider theatrical release. It will also go to DVD and video.
By the way, I didn't get a single corporate or government grant. I've raised the money by sending out packages to real people, begging for $1,000. I sent packages to Broadway producers as well, but no donations came in from them at all. Al Tapper is producing and is a partner now. He was at one of the parties that Jamie deRoy hosted to raise money. He's a talented composer and lyricist, and he's very passionate about the theater. We are very lucky to have him on board!
People ask me, "Why aren't you covering any of the modern shows?" and I always tell them, "There's some kid sitting in the Midwest, downloading songs on the Internet from Les Miz and Phantom and other shows. He'll make his movie in 20 years." Most of the shows I'm covering weren't documented. There was no Lincoln Center filming them. I've had to fight to find home movie footage.
Another invaluable contributor has been Jane Klain, from the Museum of Television and Radio, who is the special research consultant for the film. I can, and have, worked alone – shooting, writing, lighting, editing, sound, music, color correction, titles, and research. But the money I brought in through Al and Jamie, and the rare footage that Jane found, has made a long, lonely journey a lot easier over the last few years. I am also lucky to have associate producers. Jack Coco came on board officially before even Jamie or Al, and Sandi Durell a few years later. Sandi introduced me to Anne Bernstein, who has most recently joined us and is a great champion of the film as well.
Final thoughts
One thing I love about this film is that once you get people to sit down for their interview and they find out that you're fairly intelligent and know what you're talking about, and you're talking about the time of their life they're most proud of, they stay. I've realized that for almost all of these people, this was the happiest time of their life. It didn't buy them the pool and the Bel Air mansion. It didn't get them worldwide acclaim, but they're proudest of it. Angela Lansbury said that after Mame she never did anything to compare with that again. For many years, she was a gypsy. She literally went from show to show to show, and that's the time that they remember so fondly.
Patricia Morison, the original Kate in Kiss Me, Kate, is almost 90. June Havoc's 90. There's something about these people who gave their lives to theater - they're so vital. Elizabeth Ashley impressed me with her passion. It's a business. For people who are making a lot of money in film or TV, it's not possible to have that same passion. Will and Grace may be exceptionally entertaining, but it's not the same kind of art form. Elizabeth said, "When you work in the theater, you have a responsibility. People are paying far too much money. They're sitting in a seat that's too small. They can't stretch out their legs, they can't smoke a cigarette, they can't get a drink, they can't go to the bathroom. You have an obligation to never ever bore them. You should excite them." It's interesting that in film or TV, your obligation is to make a profit. Your obligation isn't to inspire people in the same way.
Liz Ashley says at the end of the film, "I wish producers would remember the people who dedicate their lives to the theater. They don't need a movie star or a sitcom star." Hume Cronyn said when he started it was a great business because you could have three flops a season, and you'd learn from every one of them. Tommy Tune said you'd audition in one week for five different choreographers, like Jerome Robbins, Agnes deMille or Bob Fosse. If you didn't know the style of one of them, you took his class, because you had to learn. But now shows run 10 or 20 years and some people stay forever. Someone from Les Miz said that the companies that he worked with, some people go in as teenagers and they come out approaching middle age, but they've yet to speak a spoken line. They've only sung and they never learned to read dialogue. They go to another show and they have no craft. They used to go from show to show to show, which is why they were called gypsies. You couldn't do that today. If you get into a hit, you'd better stay.
There are only a handful of new shows opening every season, not 30 or 40. One of the producers told me there are whole families in Beauty and the Beast. They've met, married, and raised children. Something's kind of nice about that in a way, but do those performers get as well-rounded as they would if they did nine shows in that time?
Some of the younger performers I spoke with have a different perspective. I said to Daisy Eagan, "People talk about camaraderie back then, saying that everybody would gather at Walgreen's and they'd compare notes about different shows and jobs. Is there something like that today?" She said, "Really, it's enough. When you go out after work, you don't want to talk about it. At night, I don't want to be with actors. My boyfriend and I don't want to talk about the business."
Maybe I'm taking the romantic view of what people gave me, but they say they ate, drank, breathed and slept theater. I believe that they were passionate and it was their whole life to do it. Alan Cumming is great and he certainly appreciates it. He was wonderful about the difference in the theater and how frustrating it is to be miked. As an actor, he was trained to project. Jerry Orbach was adament: "Once it's miked, it's no longer live." All the people in the film talked about it. They never were miked. Julie Harris told me that she did 2,000-seat theaters without a mike. She said, "That's what I trained for." John Raitt said, "I like to think that I have my instrument and if there's a piano player, I can do what I do the same way someone did it 200 years ago, anywhere on the globe."
At that time, orchestrations were made so that strings played under the vocal parts. But Jerry Orbach said when Promises, Promises played, they miked the orchestra for the first time and they had pit singers. It was Burt Bacharach music and they were trying to simulate pop music records. They wanted a studio sound, but he said he still wouldn't wear a mike. And now they often use recorded sound. Sometimes they record a singer's top notes and pop them in when they're having a bad day. But Barbara Cook did "Glitter and Be Gay" eight times a week in Candide. When that show is done in opera, it's never done more than three times because they don't expect any soprano to do that. But a musical theater performer did it eight times a week because there was no choice. They simply rose to the challenge the way an Olympic athlete does.
Gwen Verdon said what happened was that the entire audience leaned forward and really, really listened. When I saw Beauty and the Beast recently, people around me had cell phones. They took calls and talked amongst themselves, and why shouldn't they, when it's so highly miked, that they're not as noticeable? When it wasn't miked, if one person whispered to another, it would irritate everybody because they were listening to the actors. Kim Hunter told me when Marlon Brando starred with her in Streetcar, he was told "no mumbling" because he had to fill the whole theater, and he immediately raised it up to the right level.
Something Alec Baldwin said really inspired me. At the end of his interview I said, "Is there anything you wished I asked you that I didn't?" (I've learned to say that because they might have something wonderful that you never get to.) He said, "All I want to say is that you're amazing and you should be commended because this is so important. No one ever asks why the theater is magical, or why it's different. I can tell you really want to know and you're creating something that's unbelievable." He had a very young assistant and on the way here she must have asked him, "What's a documentary?" so as he got up to leave, he said to her, "If you want to know what an important documentary is," he gestured around my small apartment and said, "Look around you." I gasped. When he walked in I had seen his eyes darting left and right, and it seemed like he was thinking, "What's the quickest route out of here?" But when he left he was completely different. I don't know if someone like Alec realizes that when they take the time to say something like that ... well, I fed off of that for months of struggling with the film, and believe me, it was a struggle.
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Pregnant brides have their own special charm and there is no reason in abandoning the idea of celebration and wearing an elegant wedding dress because of a rounded tummy. Mentioned below is a couple of tips on how to choose a wedding dress properly and enjoy one of the best days in your life.
Wedding dress must be comfortable and figure-flattering, plus it should reflect your personality and make you squeal with delight when you wear it. Remember, that your baby will have enough stress when relieving the exciting moments with you, so you should at least make him or her feel comfortable in your belly. Therefore, you should avoid squeezing your tummy by any means to make your pride, your future and your most beloved one feel comfortable.
Get rid of all the tiny details and accessories: frills, bows, buttons, and etc. – these tiny details typically make your attire look bulky. Consider the dresses with clear and simple shapes that accentuate and decorate your figure. If you have long, slender legs, it is probably worthy to show them; feel free to wear a short dress, but do your best to find a golden medium. Beautiful shoulders should never be hidden – a top dress with a wide skirt is highly likely to suit you perfectly.
Pompous, imperial style holds its leading position firmly, as it remains the most popular style among pregnant brides. Imperial maternity wedding dresses are tailored with the waist raised to the level of a chest, with long chic sleeves that make the attire look attractive and harmonic. With a large V- shaped neckline you will certainly look more slender.


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Soldier's Girl
2003112 minutes
- Cast:
- Troy Garity, Lee Pace, Andre Braugher, Shawn Hatosy, Philip Eddolls, Dan Petronijevic, Mike Realba, Merwin Mondesir
- Director:
- Frank Pierson
This powerful drama tells the true story of a young soldier, Pfc. Barry Winchell (Troy Garity), who meets and falls for a beautiful transgendered nightclub performer (Lee Pace) while on a drunken outing with fellow soldiers. Winchell's relationship is frowned upon by the other soldiers -- and eventually leads to tragedy at the hands of his homophobic roommate. Garity and Pace both earned Independent Spirit nods for their performances.


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Govt of India Documentary on Jesus in Kashmir!
It has tonnes of evidence put together in a very constructive way.
Day by day we are moving towards uncovering the mask of the false dogma of Christianity.
An interview with the Director:
The documentary suggests DNA testing as further research to advance the theory that Jesus is buried in Kashmir. Perhaps it could be checked against DNA from the Shroud of Turin. If the two match the conclusion will be inescapable that both belong to Jesus, may peace be on him, and he did not die on the cross!
50 Comments
I hate india they suck peanuts lol jizzzzzzzzzzz
Dude, everyone knows Jesus is buried in Mexico.
We, need partnership here in South Central Mindanao PHILIPPINES, i am Marcelo Mongkil Polio victim and President of PRODUCTIVE DIFFERENTLY-ABLED ASSOCIATION, this is a differently People with Disability Organizations, It is a Non-Government Organization, Non-profit, Non-Stock, we form this association for Persons with Disabilities and B'laan Tribes Communities for God Ministry purposes, we don't have a church, we don't have any affiliated groups ,but we wanted to have a partners and we are looking for affiliation or to pioneering with us through church planting ,for having our permanent worship place because we wanted to promote the word of God to the Tribal Communities and Persons with Disability more people here are not yet knows and heard the Gospel they need more in order to better understanding and knows about Gods way and salvation…
any one who have concerns and kindhearted to be a missionaries who could be our partners for this ministries to a great burden and desire for preaching us about Gods Kingdom are very appreciated.
Please include us your every time in prayer regarding this concerns and vision for the great ministry. here in our place specially to the lost souls of Persons with Disabilities and B'laan Tribe community and if possible may i request to send us some reading materials, books, pamphlets and old & new Bible for Free of charge..
thanks very very much….
I have the honor to apply for Application and affiliation to your Church, being partnership for GOD's Ministry intended to the Persons with Disability and Less-Fortunate Tribal Community Members here in Glan Sarangani Provice Mindanao Philippines. to have a pioneering church outreach.
WHEREAS: The Person with Disability and Less-fortunate Family members of Tribal Community Should be needed the church organization affiliation and partners to our areas were in Glan Sarangani Province and nearby province, thru your Church, outreach Ministry as part of extension arms here in the Philippines, however our ministry are focus on the People with Disability and Less-Fortunate family members of B'laan Tribal People.
WHEREAS: The Church,, thru Tri-people Ministry concern and great desire is to advocate more Persons with Disability and Less-fortunate as a whole to disseminate highly information campaign regarding the word of GOD and also man's rights, benefits and privileges.
WHEREAS: The Church, shall ensure and spreading the good news of the gospel, that every Persons with Disability and Less-fortunate Family members of tribal People as legitimate member of GOD's kingdom and spiritual growth journey and whose rights and privileges are protected hereby the Constitution as contributing to their dignity as individual for freeing them to any neglected, discrimination, exploitation and abuses.
WHEREAS: The MINISTRY Goals and Objectives is to provide and Equip Persons with Disability and Less-Fortunate family members of Tribal Community in different areas of concern, Training Bible School, Seminars, Meetings, Conferences, crusades, inter fellowship, church planting, church pioneering, servant of GOD Trainee, livelihood Assistance, Educational Scholarship Program,child feeding program, relief goods, health medicine/ medical mission, counseling among the childrens, out of school youth, women's, mens, and also to monitor and evaluate every believers to be useful and being instrumentality to others to seek and save their soul and bring back to the glorious kingdom of GOD, with their participatory not only by way of christian life but also perform a role as humankind to the respective community and become more responsible productive societal christian citizens.
WHEREAS: The Board Members or representative, shall conduct a seminar or meeting for possible pioneering church and met with the Different Tribal Leaders and Persons with Disability. prior to opening a church outreach here in the Philippines specially in Glan, Sarangani Province Mindanao Philippines, to have a church by using the Name of your Organization and we shall Registered the Groups to the Securities and Exchange Commission for Legal Stability and recognition of the Philippine constitution Law, and stated as a Non-Government Organization, Non-Profit Institution, Non-stock, it is a Charitable service and purely GODs MINISTRY. One the requirements and I will Act on this requirements for the legality of the outreach here. Head and overseer the operation for the said Ministry in carrying the programs, services, plans, policies shall coordinate to the partners for report regularly.
WHEREAS: I am Marcelo P. Mongkil, Polio Victim a resident of Brgy. Cablalan Glan, Sarangani Province. President of the PRODUCTIVE DIFFERENTLY -ABLED Association. To humbly ask the great favor request to the Church, Board of Directors for the Pioneering outreach church for Person with Disability and Less-fortunate family members of Tribal People. Considering the important role of a Ministry of Church, shall be given priority by the body or sponsor partners for the implementation of programs and services to every PERSONS WITH DISABILITY and B'laan Tribal People.
In Christ Name.
Contact Person:
Cellphone No: +63-09068263978
Email add: email@example.com
Brgy. Cablalan, Glan, Sarangani Province
And I have the power to do that!
i am thankful to be Catholic
Shroud of Turin according to carbon dating does not point to the time of Christ Jesus
source:Calculus: Early Transcendentals (9th Ed) (Anton, Bivens & Davis) Pg No574 Chapter 8 / Mathematical Modeling with Differential Equations
Jesus didnt die on d cross….. He cm to Kashmir, India after crossfictn with hiz Mom and some flowrz and he die thr in age 120 yrs…… Itz provd
you people are crazy for
I am really disappointed in this false commentaries.If Jesus Christ did not die on the Cross, then who is to fulfil the prophecies made by prophet Isaiah about the Messiah? Again should I believe in prophet Mohammed? If Jesus Christ can not be the Messiah,then should I also believe in a mortal man who got married to four women and the first been older than him 15years? Or do you people now have some one to be presented to us again? I can't believe all this! Does Jesus Christ miracles believed and his resurrection not believe? If he was later found in India why not reported? How can you proof this through DNA test? I am totally shock that some people are able to tolerate this kind of cock stories. Mohammed got married to four women,engaged in a fight with many people and killed most of them(murderer),and yet people believe him than Jesus Christ. Is it not even ashamed to married some one who can be your mother? Please I know that all those still speaking against Jesus Christ are all antichrists. The Bible have I swallowed so hardly will I be deceive by antichrist. Jesus Christ made mention of all this in the Holy Bible before He was crucified so I greatly believe in Him. And what I will tell all my fellow believers is that keep hold to your faiths because the antichrist mentioned in the scripture are real..
Jesus will return before the day of judgement and Islam will be the only religion then. has not died, taken to the sky to come again and follow the path of Muhammad(pbuh) towards the Only Allah the most merciful.
You people must be crazy DNA my foot where on earth are you gona get Jesus DNA you gona use to match with his Tomb? Ara agbakwala unu
pls is ISLAM PEACE OR WAR?
In papua new guinea we have some kind of stories like this as well…which is true?
Prophet did not die on the cross.It was another person totally.If he died,how will he come back back before dome day happen.Think of the logic behind it.


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Server Side GUI Implementation
David Sham
Ranch Hand
Joined: Apr 19, 2005
Posts: 61
Apr 27, 2005 19:26:00
I'd like some opinions on what it takes to start and stop the server. Right now I've got a
I launch to prompt the user to choose a database file location and specify a port to use for the server. They can then click "ok" to start the server and the
disappears and the server is then running. Any and all updates/exceptions to the user from the server are then posted via System.out.println. This is the simple approach.
My other consideration was to change the
to a
and replace the OK and Cancel buttons with "Start", "Stop", and "Quit" buttons to start, stop, and quit the server. But then I would have to add a label to specify which database file is in use and also implement error controls for starting the server without a database file selected, quitting the server app without stopping the server first, and other things. The point is that the GUI frame initially meant for just launching the server would become another application in itself - which is not required by the assignment at all. I don't know if it is worth the effort, and it could introduce many other failure points or potential loss of points due to unforseen bugs during examination.
Any opinions on which way to implement the server-side launch? I'm leaning towards the more simple approach.
Wei-ju Wu
Ranch Hand
Joined: Feb 16, 2005
Posts: 147
Apr 27, 2005 21:25:00
I did my server pretty much like you did and not planning to change this. As the name says, it is a server (my System.out.println() are replaced by calls to the Logging API). Many real world servers do not offer GUI's (not even a configuration dialog), but are controlled via a separate port for administration. But that would definitely be out of scope :-)
"The UrlyBird catches the certificate. And he's gonna FlyByNight"

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Ed Villamizar
Ranch Hand
Joined: Sep 02, 2004
Posts: 47
May 02, 2005 09:02:00
My server GUI has three buttons (
), one text field (
), a couple of informational labels (
) about the status of the server and a server statistics section that keeps track of requests served.
The buttons are Start, Select File and Exit. I don't have a Stop button. To "serve" clients out of another data file you'd have to exit the application and select the new file.
The text field is to select the Port.
Once the server is started it cannot be stopped. The port field and start button are disabled and an informational field changes from a big red "DOWN" to a big green "SERVER UP".
The statistics section, which is totally optional, reports the number of requests served, total number of records returned, number of bookings made and a couple more that I don't remember right now.
MBA, PMP
SCJP, SCJD
ITIL Foundations Certified.
David Sham
Ranch Hand
Joined: Apr 19, 2005
Posts: 61
May 02, 2005 09:28:00
Wow, that sounds like quite a GUI implementation of your server. Sounds good. I have decided to go the simple route and just implement a
that pops up before starting the server. It contains a list of available database files to choose with the option to browse for additional database files. The port can be specified in a
. Database files can also be removed from the list via a "Remove" button I have. All database file locations are stored in a properties file along with the ports specified. But, the
disappears when the "OK" button is pressed with a database file selected. Then the server is started with update messages sent to System.out. The user must press Ctrl-c to stop the server.
I use a similar dialog for starting the standalone client and network client.
It's a more simple approach only using the GUI
for starting the server. All error messages are sent to System.out, with appropriate
dialogs showing up if server startup errors occur (like invalid database file chosen, etc.).
I did not want to go too in-depth or beyond the requirements as more things could go wrong during evaluation, and you get no extra credit anyway.
Ed Villamizar
Ranch Hand
Joined: Sep 02, 2004
Posts: 47
May 02, 2005 09:34:00
Yes, I gave them more than what was required but I also wanted to build-up some experience.
Ken Boyd
Ranch Hand
Joined: Dec 10, 2003
Posts: 329
May 02, 2005 11:46:00
Agree with David. Even Max book has done same thing. I am leaning towards simple approach.
[ May 02, 2005: Message edited by: Nehul Nalekar ]
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NASCAR Driver Capsules, May 16
Published On: May 16 2013 10:17:19 AM EDT
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Two neighbors told 9news Dr. Stephen Stein moved out of his South Denver House in the 1600 block of South Milwaukee St. Wednesday.
They say he moved out one day before news broke about a massive Colorado Health Department investigation into his re-use of contaminated needles at his oral surgery practice.
The department's allegations of wrongdoing reach as far back as 1999.
Stein and his ex-wife own the South Denver house and are trying to sell it. Records show they finalized their divorce in April of this year.
One neighbor, who did not want to be identified, said Stein lived in the house, by himself, for about a year. The neighbor said he drove a gray Range Rover and had two kids that would occasionally visit the house.
A promotional video on Stein's professional website shows he has two children.
"He hauled ass out of here on Wednesday," the neighbor said.
Neighbors said they did not see kids with him on his moving day.
Stein stopped practicing oral surgery in June of last year after an agreement with the Colorado Dental Board.
9Wants to Know has learned that Stein is being investigated by Denver Police for prescription fraud and potentially diverting prescription drugs. The investigation began in April.
Dr. Stein's realtor told 9News he has tried to call his client since Wednesday, but has not received a call back.
(KUSA-TV © 2012 Multimedia Holdings Corporation)


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Case Study | September 30, 2013
Flood Improvement And LID Modeling Using XP‐SWMMSource: XP Solutions
By Andrew Juan, Dr. Nick Fang, and Dr. Philip Bedient, Rice University
Rice University is located within the Harris Gully watershed, which covers a drainage area of approximately 5 square miles, consisting mostly of fully‐developed residential and light commercial land use. The area is also home to Hermann Park and Texas Medical Center, the largest medical center in the world. A number of severe storms have impacted the Harris Gully watershed, the most notable of which being Tropical Storm Allison in 2001. TS Allison caused severe flooding problems throughout the entire watershed, resulting in roughly $5 billion in damages. Inundation was especially severe at the downstream portions of Harris Gully, where Rice University and the Texas Medical Center are located.
First developed in 1971, the EPA's Storm Water Management Model (SWMM) has been widely used in urban areas for planning, analysis, and design related to stormwater runoff, combined sewers, sanitary sewers, and other drainage systems. XPSWMM, published by XP Solutions Inc., uses the EPA SWMM model as the primary runoff hydrograph simulator for runoff quantity and quality. The major advantage of XPSWMM over other software packages is its ability to combine a 1D river hydraulic model with a 2D rainfall‐runoff model to generate floodplain maps. In addition, XPSWMM is approved by FEMA for the hydrologic and hydraulic applications detailed in this study.
Image credit: "Flooding In FinchField, IA," © 2008 U.S. Geological Survey, used under an Attribution-NonCommercial-ShareAlike 2.0 Generic license: http://creativecommons.org/licenses/by-nc-sa/2.0/
XP Solutions
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Garland Lakeview Centennial's comeback, FM Marcus' fourth-quarter resilience sign of good coaching
Garland Lakeview Centennial could, and for all reasons probably should, have folded after a toxic first-half performance. It didn't.
Flower Mound Marcus could, and for all reasons probably should, have crumbled to bits after squandering a 20-point lead in less than eight minutes. It didn't.
A large part of the credit for both of those events not coming to fruition is the coaching of Garland Lakeview Centennial's Tony Mauldin and Flower Mound Marcus' Danny Henderson.
It's no shock to say that both coaches have done great jobs this season; both teams only had two losses coming in.
But it was a masterful job by both men to get high school kids — 16-, 17- and 18-year-olds — to settle down, figure out their strengths, and properly execute their game plans under the greatest pressure imaginable.
Mauldin got his team back to applying pressure and pace in the third quarter, resulting in a 22-2 period that gave them chance to hope for a state title.
Henderson soothed his team's frayed nerves between the third and fourth quarters. Marcus only had one fourth-quarter turnover, after just completely losing its ability to control the ball in the third — turning the ball over a whopping 12 times over that period.
Great job by both coaches to change their teams' mindsets, and give them a chance to win.


text:
Community highlights
Latest News
SPHS teacher Certificated Employee of the Month
Matthew Buck was recognized at last week's meeting of the Santa Paula Unified School District Board as the Certificated Employee of the Month. Buck is a teacher at Santa Paula High School. SPHS Principal Elizabeth Garcia said students and staff love Buck. He's taught at SPHS for four years. Garcia called him a "Hard worker." Pictured are (l-r): Superintendent Alfonso Gamino, Principal Elizabeth Garcia, Matthew Buck and Board President Michelle Kolbeck.
All tractors all the time at 3rd Annual
Vintage Tractor Fair at Ag Museum
It was all tractors all the time from 1/3 scale model hay baler to a classic John Deere with its distinctive yellow and green coloring at the 3rd Annual Vintage Tractor Fair at the Ventura County Agriculture Museum Monday.
Ojai Road apartment complex fire
knocked down in minutes by SPFD
An apartment fire was reported Sunday afternoon in the 700 block of Ojai Road, but was extinguished within 10 minutes.
Classified Employee of the Month
Peggy Rush was honored as the Classified Employee of the Month at last weeks board meeting of the Santa Paula Unified School District. Rush has worked for seven years as an attendance technician. Principal Elizabeth Garcia said of Rush, "She remains cool, calm and collected. She is excited to learn new things each and every day." Pictured are (l-r): SPUSD Superintendent Alfonso Gamino, Principal Elizabeth Garcia, Peggy Rush and Board President Michelle Kolbeck.
More news
City Council addresses stemming
rising crime, options to be studied
A ballot initiative to beef up policing, converting the fire department to largely volunteer to funnel funds to the SPPD and programs for youth while reclaiming the community were discussed by the City Council Tuesday as possible solutions to rising crime, a trend throughout Ventura County.
Childhood Cancer Awareness:
Sophia Andrade remembered at Cruise Nite
Cruise Nite had a special meaning to the family of Sophia Andrade Friday night where they were presented with a special proclamation noting Childhood Cancer Awareness Month.
Hydration station opens at SPHS
A new Hydration Station was unveiled at Santa Paula High School last week with a ribbon-cutting ceremony. Elizabeth Mitchell, a biology and environmental science teacher at Santa Paula High School introduced the latest Hydration Station at the school. She's the advisor for the Students Encouraging Social Political and Environmental Action (SESPEA). She said this station was made possible by a $4,000 Ocean Guardian School Grant from the National Oceanic and Atmospheric Administration (NOAA). This Hydration Station is located outside the library. The water is filtered and refrigerated. Pictured (l-r) Mireille Vargas (SESPEA Vice President), Maria Elana Terrazas (SESPEA President) and teacher Elizabeth Mitchell.
Crash, brandishing incident leads
to CHP arrest at gunpoint
At least three different law enforcement agencies are trying to sort out an incident involving a possibly stolen vehicle and stabbing in Santa Paula Saturday afternoon after a crash on Highway 126.
VFW 2043: Rededication of Vietnam
Veterans plaque set for Sept. 18
The spelling of his name is corrected and his status as a MIA added to the plaque created by the Mercer-Prieto VFW Post 2043 to honor those lost in war — and on Friday, September 18 there is no doubt Jimmy Ray Cavender will be there in spirit at the rededication ceremony he prompted.
Wendell Dowling: Artist remembered
for murals, Cruise Nite T-shirts
Wendell Dowling has died after a sudden illness but his works—particularly the two murals he created for the city's famed series of public artwork and the T-shirts he designed—will be a constant reminder of his devotion.
SPPD: Self-defense claimed in
Felkins Road stabbing incident
Santa Paula Police are investigating a stabbing that occurred Monday evening that the suspect told police was self-defense.
Limoneira announces EA1
'contribution agreement'
with the Lewis Group
Limoneira Co. is getting closer to developing East Area 1 according to a statement that noted the company has entered into a "Contribution Agreement as the initial step that will facilitate a joint venture with The Lewis Group of Companies," a leading residential real estate investment company, for the planned development.
Thousands 'Honor the Labor Force' at 11th Annual Labor Day Parade
There were hundreds of marchers and thousands of observers on hand to "Honor the Labor Force" at the 11th Annual Labor Day Parade where union groups, farm workers, clerks, kids, bands, school groups, floats, businesses, churches, horses and dancers jammed Main Street Monday.
A couple of million dollars gets Canniff
flowers, plaque and Chamber honor
Just goes to show you what a couple of million dollars will get you…and in Marleen Canniff's case it was flowers, a plaque and honors as the Chamber of Commerce Firefighter of the Quarter, probably the first civilian to be so honored.
Laughter is the best medicine:
Tacos and chuckles at Senior Center
Laughter is the best medicine, good for the heart and the soul — and the Santa Paula Senior Center will be offering up a tacos and chuckles at a special September 30 comedy show and luncheon event.
City Council: Former mayor offers
update on 2015 State of the Region
The City Council got an update on the State of the Region when a former mayor offered information contained in the wide-ranging report at the August 17 meeting.
SPSA: Van Dyke's watercolor on canvas
technique featured Sunday
Looking for ways to get rid of the mat and the glass has found success with noted artist Patty Van Dyke who will demonstrate watercolor on canvas at Sunday's Santa Paula Society of the Arts meeting and workshop.
SPHS offering career pathways for students
The Santa Paula Unified School District Board got an update on VC Innovates at Santa Paula High School.
Drought: Santa Paulans doing 'great
job' with water conservation
Santa Paula is doing a "great job" with conservation according to city officials.
FOOD Share Mobil Pantry visits
'Positive Place' for Kids
Free Farmers Market, cooking lessons, physical workout and fun facts about the importance of nutrition are among the programs resulting from separate partnerships between the Boys & Girls Clubs of Santa Clara Valley, Santa Paula Unified School District and FOOD Share.
Street closures surprise motorists
as Highway 150 Caltrans project starts
The overdue Highway 150 Caltrans slurry project started Monday and Wednesday saw the main thoroughfare shut down for work not the lane closures that were expected.
Beefing up SPPD, opposition to removing land from
SOI on Council agenda
Beefing up the Santa Paula Police Department and an upcoming threat to the city's sphere-of-influence (SOI) will likely dominate discussion at Tuesday's City Council meeting.
Bike & Build 2015 stops in Santa Paula
The Bike & Build team pedaled their way through Ventura County last weekend. Bike & Build is a non-profit organization raising money to help build affordable housing for those who are less fortunate. The Bike & Build team began their journey in Portland, Maine on June 30. These young adults pedaled their way through many states; Ohio, Missouri, Oklahoma, Texas, Arizona and finally California. Unfortunately, the team encountered a tragedy while riding through Oklahoma. Two cyclists were struck by a moving vehicle, which left one rider hospitalized and the other rider lost his life. Despite how difficult this trial was, the team continued to press-on towards their goal. The Santa Paula Church of Christ hosted these cyclists on Sunday evening. Together the church members provided hospitality to these exhausted and overheated riders, which included food, drinks, snacks, and a cool place to shower and sleep. The cyclists left early Monday morning to finish their journey which ended in Santa Barbara. The Maine to Santa Barbara Bike & Build team has raised $187.656.
Murals hit: SPPD investigating graffiti
spree, out-of-towners suspected
Santa Paulans were outraged to see that two city murals were defaced over the weekend, part of a spree of graffiti crime police believe was done by out-of-town taggers and/or gang members.
Cruise Nite again hosting Ready
Santa Paula Emergency Preparedness
Friday's Cruise Nite will kick off a weekend of fun when visitors will be cruisin' to the Cruise Knights band and enjoy the annual Ready Santa Paula Emergency Preparedness event where you'll learn all about being ready for any emergency!


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Hellzapoppin (musical)
Original Broadway window card
|Sammy Fain
Charles Tobias
|Sammy Fain
Charles Tobias
|Harold "Chic" Johnson
John "Ole" Olsen
|1938 Broadway
1941 Film
Hellzapoppin is a musical revue written by the comedy team of Olsen and Johnson, consisting of John "Ole" Olsen and Harold "Chic" Johnson, with music and lyrics by Sammy Fain and Charles Tobias. The revue was a hit, running for over three years, and was at the time the longest-running Broadway musical, with 1,404 performances,[1] making it one of only three plays to run more than 500 performances in the 1930s.
After opening at the Shubert Theatre in Boston on September 10, 1938, Hellzapoppin opened on Broadway at the original 46th Street Theatre on September 22, 1938, transferred to the Winter Garden Theatre on November 26, 1938, and finally moved to the Majestic Theatre on November 25, 1941, closing on December 17, 1941, after a total of 1,404 performances.
Olsen and Johnson led a large cast of entertainers:[2] the comedy team of Barto and Mann (Dewey Barto and George Mann); Charles Whithers; celebrity impersonators, the Radio Rogues; Hal Sherman; Walter Nilsson; singing group The Charioteers; identical-twin dancers Bettymae and Beverly Crane; stage magician Theo Hardeen (better known as Houdini's younger brother); the Hawaiian music of Ray Kinney and the Aloha Maids; Bergh and Moore; J. C. Olsen; Reed, Dean and Reed (Bonnie Reed, Syd Dean, and Mel Reed); Roberta and Ray; The Starlings; Dorothy Thomas; Shirley Wayne; Cyrel Roodney and June Winters; Billy Adams; and Whitey's Steppers (also known as Whitey's Lindy Hoppers). Olsen and Johnson were succeeded by Jay C. Flippen and Happy Felton in June 1940.[3]
On the Road
In late 1940 and during 1941, while Hellzapoppin was still playing at the Winter Garden Theatre and later the Majestic Theatre, a second edition of Hellzapoppin with Billy House and Eddie Garr toured the country.[4] The cast included Grace & Nokko, The Oxford Boys, Sterner Sisters, Ben Dova, Paul Gordon, Billy Potter and Bobby Jarvis.
Following the close of Hellzapoppin at the Majestic Theatre on December 18, 1941, many in the Broadway cast went on the road during 1942 with Jay C. Flippen and Happy Felton. This road edition of Hellzapoppin included Barto and Mann, Charles Withers, the Radio Rogues, Harry Reso, Walter Nilsson, The Charioteers, Lyda Sue, Theo Hardeen, June Winters, Bonnie Reed, Shirley Wayne, Ruth Faber, Stephanie Olsen, Bergh and Moore, Dippy Diers, Bobby Barry, Billy Adams, and Sid Dean.[5][6] The road shows continued in the same style of sight gags, risqué humor, and audience involvement.[7]
In late 1942, A "New 1943 Hellzapoppin" revue with Jackie Gleason and Lew Parker was staged at the Nixon Theatre, Pittsburgh, Pennsylvania;[8][9] the Hanna Theatre, Cleveland, Ohio;[10] and the Erlanger Theatre, Chicago, Illinois.[11] The cast included many of the original and road show performers (Barto and Mann, the Radio Rogues, Charles Withers, Theo Hardeen, Harry Reso, Stephen Olsen, Bergh and Moore, Dippy Diers and Billy Adams) and several newcomers to the show (the Biltmorettes, the Commandos, the Kim Loo Sisters, Mary McNamee, and Jean Baker).[9]
In 1949 Olsen and Johnson went back on the road with "Hellzapoppin of 1949." The all new cast featured Harrison & Fisher, Shirley, Sharon & Wanda, Nirska, Jose Duval, Gloria LeRoy, Frank Cook, 6 Mighty Atoms, Shannon Dean, Helen Magna, Andy Ratouscheff, Hank Whitehouse, John Howes, Billy Kay, Maurice Millard, Frank Hardy, J.C. Olsen, June Johnson, and Marty May.[12]
The Movie
A film based on the stage musical was made by Universal Pictures and released in 1941. Except for Olsen and Johnson, no one from any of the stage productions appeared in the movie.
Broadway revival
In 1976, there was an attempt to revive the show with a cast that included Jerry Lewis and Lynn Redgrave, but it closed on the road before reaching Broadway.[13]
The television show Rowan and Martin's Laugh-In (1968-1973) was an attempt to replicate the fast-paced, anything-can-happen atmosphere for a new generation.[citation needed]
A comedy hodgepodge full of sight gags and slapstick, the show was continually rewritten throughout its run to remain topical; its opening scene was Hitler speaking in a Yiddish accent. A circus atmosphere prevailed, with dwarfs, clowns, trained pigeons and audience participation adding to the merriment.[1] The sketches were a "smorgasbord of explode-the-fourth-wall nuttiness:...comedy songs; skits abandoned partway through; cameos by audience stooges; an absurdist raffle; and in a trademark stunt, a man who wandered through the theater hawking an ever-larger potted tree."[14]
As an actress walked the aisles yelling, "Oscar!", another loudly said that she was just going to use the bathroom. When this started to overwhelm, an actor started loudly selling tickets to another Broadway show, I Married an Angel.[7]
The songs were decidedly less important to the show's success than was its comedy. Lyrics and music by Sammy Fain and Charles Tobias (unless otherwise noted).
- Act 1
- "Blow a Balloon Up to the Moon"
- "Fuddle-Dee-Duddle"
- "A Bedtime Story"
- "Strolling Thru the Park"
- "Abe Lincoln" (Music and Lyrics By Earl Robinson and Alfred Hayes)
- "Shaganola"
- "It's Time To Say Aloha"
- Act 2
- "Harem on the Loose"
- "Ol' Man Mose'" (Music and Lyrics By Louis Armstrong and Zilner T. Randolph)
- "When You Look in Your Looking Glass" (Lyrics By Sam M. Lewis, Music By Paul Mann and Stephen Weiss)
- "When McGregor Sings Off Key"
- "Boomps-a-Daisy (I Like a Bustle that Bends)"
- "We Won't Let It Happen Here"
Songs featured during the run also include work by Don George, Teddy Hall, Annette Mills, Gonzalo Curiel, and Oscar Hammerstein II.
- ^ a b Kenrick, John. Hellzapoppin - History of The Musical Stage 1930s: Part III - Revues musicals101.com, accessed August 6, 2009
- ^ "Hellzapoppin Souvenir Program". Bayles/Yeager Online Archives of the Performing Arts. 1940. Retrieved 24 October 2010.
- ^ Green, Stanley. Encyclopedia of the Musical Theatre. Da Capo Press, New York. Retrieved 10 September 2012.
- ^ "Biography for Eddie Garr". Internet Movie Database. Retrieved October 23, 2010.
- ^ "Handbill for Hellzapoppin". Forrest Theatre, Philadelphia, PA. 25 December 1941.
- ^ "Hellzapoppin Souvenir Program". Olsen and Johnson. 1941.
- ^ a b Hinckley, David." 'Hellzapoppin,' 1938", nydailynews.com, September 1, 2005. Accessed August 6, 2012.
- ^ [1], Pittsburgh Post Gazette, September 23, 1942. Accessed August 7, 1942.
- ^ a b [2], Billboard, October 10, 1942. Accessed August 7, 1942.
- ^ [3] "New 1943 Hellzapoppin" Program. Accessed August 7, 2012.
- ^ [4]Billboard, October 17, 1942. Accessed August 7, 2012.
- ^ Quin. (1949-01-12). "Unit Review: Hellzapoppin of 1949, Kansas City". Variety.
- ^ Hellzapoppin 1976 revival, closed on the road before reaching Broadway, at BroadwayWorld.com
- ^ Wren, Celia.'Hellzapoppin' in Arlington: Well, That's Show Business", washingtonpost.com, July 19, 2007
External links
- Hellzapoppin at the Internet Broadway Database
- Hellzapoppin' Illustrated article on the Collecting Books and Magazines website
- Sonny Watson Dance History Pages -- HELLZAPOPPIN, The Play
- Hellzapoppin study guide, synopsis, background, americancentury.org, 2007


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The first OSMA agreement was introduced on 1 April 2010. With the introduction of the second OSMA on 1 April 2013, public sector organisations in Scotland who are members can benefit from access to improved services and a wider selection of Ordnance Survey digital map products.
More information
Get help on licensing under the OSMA agreement and see examples of licensing forms and guidance for specific scenarios and usage of digital map products.
You can also access some initial guidance on what the Member Licence allows on our public sector licensing guide page.
One Scotland Mapping Agreement (OSMA)
The OSMA agreement document contains the full terms of the agreement between Scottish Government and Ordnance Survey concerning the provision of mapping data to the public sector in Scotland.
OSMA Member Licence
This document sets out the terms of what you can and cannot do with the data you can get access and licence through the OSMA. If you wish to become an OSMA member, please check that you meet the eligibility criteria and read the licence before submitting your member licence application online.
Initial guidance about the OSMA Member Licence
For what purpose can OSMA products be used?
The OSMA Member Licence is a non-commercial licence that allows members to use Ordnance Survey digital map products for a specific purpose. This purpose is known as their 'core business'. For public sector organisations, this typically means the provision of their public sector services.
Under this definition, OSMA members are entitled to use data provided through the agreement for any purposes they consider they have to undertake to meet their public service delivery obligations. For example, this includes:
- Creating and monitoring policy
- Operational management of government
- Delivering government business and public services
- Making information available to the public
- Performing any other function required by statute
- Passing /sharing derived information and/or data to third parties (see below)
Can I share data with third parties?
Yes - As mentioned above, under certain circumstances, providing the appropriate licences are in place, Ordnance Survey data can be shared with third parties.
The next sections below outline how you can do this.
Please note that the OSMA member Licence does not apply to OS OpenData products, which have their own licence terms (which permit unlimited reuse and sharing of OS OpenData products)
1) Sharing data with your contractors
Where you have a formal agreement with a third party to provide you with services, the OSMA Member Licence allows you share your data with your contractors.
You should note that the extent of use enabled by that licence also applies to the Contractor. You need to make this clear to them by either issuing them with one of the Standard Form Contractor Licences provided by us or incorporating all of the relevant clauses from that Standard Form Contractor Licence into your own bespoke version.
Contractor Licences
OSMA Contractor Licence (form field)
The 'form field' version of the Standard Form Ordnance Survey licence is intended for use where you want to use 'inked' signatures. Please note: this version only allows you to complete information within the relevant fields of the document for saving, but the rest of the document cannot be altered. You will then need to print it out in order to add the inked signatures. The use of electronic signatures is not possible with this version.
OSMA Contractor Licence (read only)
This is a 'template' document for use if you are using an electronic records management system and or using electronic signatures as it provides all the required terms and conditions for you to meet your obligations under the Member Licence. Although you cannot use this version directly, you are able to copy all the text into a new document. This can either be 'as is' or incorporated into your own documentation. Please note that, in doing so, you must ensure that all of the relevant member licence obligations (the terms and conditions) are maintained in your version of the Licence.
2) Sharing with other OSMA members
No additional licences are required as all members have the same entitlements and ability to access the OSMA Licenced datasets
3) Sharing data with Public Sector Mapping Agreement (PSMA) members
It is not necessary to use any additional licences where you are sharing data with PSMA members for the same product/s that their licence allows. Note PSMA members are licensed for GB coverage.
Where you require other products/s or coverage beyond the 'Scotland + 2km buffer, available under your licence, to support a jointly undertaken statutory 'cross border project', then you can ask the relevant PSMA member to supply you with the core data you require under the Joint Initiative terms of the Member Licence.
4) Sharing data with infrastructure bodies
Note: An Infrastructure body is an organisation in the gas, electricity, water, rail and telecommunication sectors, as well as transport and airport operators.
It is not necessary to use any additional licences when sharing data with these bodies, provided that they are licensed for the same data and the same geographic area. This is because Public Sector Members and this wider group of customers now have common terms that permit the exchange of derived data between entities.
An additional licence will still be needed in other circumstances, such as when the area involved is greater that they have confirmed that they are licenced for.
5) Sharing data with others - under End User Licences (EULs)
The latest update to the OSMA has seen the streamlining of the EULs, with just two now covering your requirements:
- Public Sector (Scotland) End User Licence – INSPIRE
- Public Sector (Scotland) End User Licence
These two revised licences replace the existing EULs and remove much of the management overhead of the existing licences.
These licences permit you to pass data and or derived data to anyone who is supporting you in the delivery of your core business. You do not have to have additional formal arrangements in place with these bodies, so this end user licence helps individuals, voluntary and community groups or other similar bodies who require mapping to deliver and/or support your public task to deliver your core business.
This EUL allows OSMA members to release data in order to meet their INSPIRE obligations, including through the provision of Web Mapping Services (WMS) and Web Feature Services (WFS). This licence is drafted on the basis of click or deemed acceptance and does not require the PSMA member to retain details of the end user. The licence:
- permits the recipient use of the data for any for personal, non-commercial use, and
- places the responsibility for the appropriate use of the data on to the End User rather than the OSMA member.
Public Sector (Scotland) End User Licence - INSPIRE
Public Sector (Scotland )End User Licence - INSPIRE (read-only)
The 'read-only' version is the Standard Form Ordnance Survey licence that allows you to save as a file for you to incorporate as 'read-me' file when supplying data.
Public Sector (Scotland) End User Licence - INSPIRE (web page)
The 'web page' version enables you to use directly via a 'hyperlink' or to copy the text, which can then be pasted and saved into a new document/web page that you have created.
Public Sector (Scotland) End User Licence
This version of the EUL is for use by OSMA members in all other (non-INSPIRE) circumstances.
This licence is also drafted on the basis of click acceptance however, in addition, the OSMA member will need to retain records of those downloading and or being supplied with the data.
A single form of this End User Licence can be used for all products and purposes that the OSMA member are making the data available for and allows the recipient use of data to respond to, or interact with, the OSMA member to either deliver or support the delivery of the member's Core Business. This should significantly reduce the amount of administration that the GLO will have to do.
Where you wish to use a Public Sector (Scotland) End User Licence in a non-electronic environment, where a 'click to accept' method is not appropriate and notwithstanding the words of paragraph 7.3 of Appendix 1, Scottish Government and Ordnance Survey have agreed that this EUL can be entered into in hard copy form, see 'form field' version below.
End User Licence (read only)
The 'read-only' version is the Standard Form Ordnance Survey licence that allows you to save as a file for you to incorporate as 'read-me' file when supplying data.
End User Licence (web page)
The 'web page' version enables you to use directly via a 'hyperlink' or to copy the text, which can then be pasted and saved into a new document/web page that you have created.
End User Licence (form field)
The 'form-field' version enables you to use in an environment where 'click to accept' the licence is not appropriate.
OS OpenData
The terms covering these products are included in your OSMA licence. Note that the update arrangements for the products remain unaltered from your previous collective agreement.
Royal Mail terms
OSMA Royal Mail terms (stand-alone Appendix 3)
These are the Royal Mail terms which were updated with the new OSMA Member Licence of April 2013. Where addressing data is being supplied to Contractors, these Royal Mail terms also apply to them and must be passed on in full to them by the member.
Standard Ordnance Survey copyright acknowledgement
You will find it in the public sector licensing guidance.
Tell me more about what 'Core Business' means?
The core business of a public sector organisation is the provision of public sector services.
Within the OSMA, core business terms have replaced Business Use clauses used in previous agreements. Under this definition, OSMA members are entitled to use data provided through the agreement for any purposes they consider they have to undertake to meet their public service delivery obligations. For example, this includes:
- Creating and monitoring policy
- Operational management of government
- Delivering government business and public services
- Making information available to the public
- Performing any other function required by statute and passing derived information and/or data to any other member of the OSMA
Where can I find more information?
Please see our support page for further resources and how to contact our OSMA Helpdesk


text: Thinkstock [ Study: Being Stressed Out Can Cause Weight Gain By Daryl Nelson January 19, 2012 | TheCheckup.com Stress can contribute to obesity, and obesity can contribute to stress. Researchers have recently developed answers to explain why this is. Read More|Comment Category: News Tags: stress, weight Send to a friend! Share on Facebook Share on Twitter Pin it! Reddit This! Share on Tumblr!


text:
From: The Afternoon Show
Baked beans, Michelin style!
From: Four Live
A simple but delicious dinner dish
A delicious bread.
Ed says: "Beans and corn bread had a fight, cos beans and corn bread were out on a Friday night."
From: Catherine's Family Kitchen
Your new favourite bread?
Sick of burgers and chicken - try some salmon on the BBQ, it's delish!
The perfect accompaniment for your barbecue dishes
Rozanne Stevens shares this BBQ recipe that uses Clonakilty Blackpudding - go on, give it a try!
The Dublin restaurant celebrates the gorgeous local lobster, and this recipe is a winner!
One of the most popular recipes on my food blog is my burger recipe where I added in a few tablespoons of Ballymaloe Relish into the mix. Any good quality tomato relish will do but I find 'Nash19' or 'Ballymaloe Country Relish' to be the best.


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What is Flocking?
Flocking is a simple way to reduce the internal reflections in your Holga. The inside of your Holga is incredibly shiny plastic. This shine increases the risk of light leaks and lowers your overall contrast. In order to rectify this, you can spray the inside of your Holga with flat (or matte) black paint.
Is there any need to flock?
With older Holga 120S models, they were built so poorly that you had to flock the interior and tape up your camera in order to get a usable image. These days, Holgas are built much better so I wouldn't suggest flocking as it will reduce the potential for light leaks. However, if you are converting a Holga to a pinhole camera, then flocking is worth considering as it should improve the contrast of your images.
What do I need?
- Krylon Ultra Flat spray paint - (or any similar matte black model spray)
- Masking tape
- Old newspaper
- Well ventilated area, or spray booth
- Some spare bits of foam
- Glue
How do I do it?
Luckily, this is one of the easiest modifications you can do to your Holga.
- Take the back off and apply masking tape round the edges of your Holga
- Now tape over the square hole just behind the shutter, and over the red window on the back of the Holga
- Lay out some old newspaper and place your Holga on top
- Remove the foam in the film chambers
- Spray light coats of paint evenly over the Holga and back. It's better to do 2 or 3 light coats rather than 1 heavy coat. Let the paint dry for an hour or so between each coat
- Leave to dry, then inspect it to see if it needs another coat
- If finished, glue new foam in place using hot glue gun
If you use the 6x6 mask then this modification is even easier. All you need to do is tape up the edges of your mask and spray. Don't forget to spray the back panel of the Holga (tape over the red window first).


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JACKSONVILLE, Fla. -- Petty Officer First Class Yolanda Coakley is almost at a loss for words because it's a big day for her military family.
A Hope to Dream program founded by Ashley Furniture Home Store in 2010 provided beds for her six children.
Coakley was nominated by coworkers she volunteers with at the USO.
As the beds were unloaded and assembled they also brought along a big helping hand: Jags defensive end Abry Jones.
Giving a good night's rest to a woman and her family who have given so much to their community and country.
First Coast News


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Become a Member
By Aaron Sharpe • Apr 13, 2012
WNKU relies on Member Support for its largest single source of revenue. Member Support is what keeps WNKU fiercely creative, commercial-free,independent of corporate interests, and ON THE AIR!
As a contributing member, WNKU is your station. Members make this unique service available not only for themselves, but for the good of the entire community.
Become a patron of great music. Become a Member of WNKU today.
Thank you.


text:
Readership: Graduate students and linguists interested in unaccusativity; researchers in
acquisition (L1 and L2).
Edited by Artemis Alexiadou, University of Potsdam, Elena Anagnostopoulou, University of Crete, and Martin Everaert, Utrecht Institute of Linguistics
"...a very valuable volume on the topic of unaccusativity. The editors have introduced expertly the volume, the phenomenon, and its analyses." - Werner Abraham Language
Series editors' preface
Artemis Alexiadou, Elena Anagnostopoulou and Martin Everaert: Introduction
1: Gennaro Chierchia: A Semantics for unaccusatives and its syntactic consequences
2: Angeliek van Hout: Unaccusativity as telicity checking
3: Hans Bennis: Unergative adjectives and psych-verbs
4: Artemis Alexiadou and Elena Anagnostopoulou: Voice morphology in the causative-inchoative alternation: evidence for a non unified structural analysis of unaccusatives
5: David Embick: Unaccusative syntax and verbal alternations
6: Tanya Reinhart and Tal Siloni: Against an unaccusative analysis of reflexives
7: Markus Steinbach: Unaccusatives and anticausatives in German
8: Maaike Schoorlemmer: Syntactic unaccusativity in Russian
9: Antonella Sorace: Gradience at the lexicon-syntax interface: evidence from auxiliary selection
10: Tonjes Veenstra: Unaccusativity in Saramaccan: the syntax of resultatives
11: Hagit Borer: The grammar machine
12: Janet Randall, Angeliek van Hout, Juergen Weissenborn and Harald Baayen: Acquiring unaccusativity: a cross-linguistic look


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Swami Kriyananda
(J. Donald Walters)
On Sunday, April 21, 2013 Swami Kriyananda, the founder of Ananda and The Expanding Light Retreat, left his body, to soar freely in the Divine Light, as he had been wishing for a long time. His passing was peaceful, and now he is with his beloved Guru, Paramhansa Yogananda, whom he has served with devotion all his life.
Swamiji passed away in Assisi, Italy at the Ananda community. His passing has been memorialized in Ananda communities around the world. He will be missed by countless thousands, and yet we feel his spirit and love with us always.
During Swamiji's final weeks he had begun to withdraw from outward activities and enter more deeply within. He was preparing to embark on a period of seclusion in India after completing an anticipated visit to the United States. His Easter message to the community this year expresses his wish to return to his home in God:
". . . Nothing in this world attracts me any more. . . . I want only to merge in God. The only lingering thought is that I would like to bring all of you with me! . . . I want only your freedom in God."
Swami Kriyananda (J. Donald Walters) was an internationally known author, lecturer, and composer. Widely recognized as one of the world's foremost authorities on meditation and yoga, he has taught these principles and techniques to hundreds of thousands of students around the world.
In 1948, at the age of twenty-two, he became a disciple of Paramhansa Yogananda. Yogananda saw in Swami Kriyananda the strong desire to help others. In part for this reason, Yogananda personally trained him to guide other disciples. This training, and Kriyananda's own natural skill, would allow him to help many souls. At Yogananda's request, Kriyananda has devoted his life to lecturing and writing, helping others to experience the living presence of God within.
Inspired by Yogananda's dream of establishing spiritual communities, he founded in 1968 the first of what are now eight Ananda communities worldwide. They provide a supportive environment of "simple living and high thinking" where over 1,000 full-time residents live, work, and worship together.
Swami Kriyananda created The Expanding Light to provide a place where the public could come to share in the love, peace, and wisdom Ananda has to offer.
An advocate of simple living and high thinking, his books and teachings focus on spiritualizing nearly every field of human endeavor include business life, leadership, education, the arts, community, and science. He has written over 130 books, including extensive commentaries on the Bible and the Bhagavad Gita, both based on the teachings of Paramhansa Yogananda. Through Crystal Clarity Publishers, his works have sold over 3 million copies worldwide and been translated into over 25 languages.
Excerpts from Swami Kriyananda's books
"The larger an ocean wave, the more it obscures – for a person riding it – the ocean's underlying calmness. The larger the wave, moreover, the deeper its offsetting trough. The more people distance themselves from their soul-center within by seeking fulfillment in outer excitement and sense-stimulation, the more their emotional highs are followed, necessarily, by emotional lows of sorrow and depression. The greater a victory, the greater also, sooner or later, the defeat. The greater the fame, the greater the opposition from others. The greater the success, the greater – perhaps in some other area of life – the degree of failure." – From The Hindu Way of Awakening - Crystal Clarity Publishers


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Photo by Ellen Silverman
In a typical New Orleans home, a pitcher of coffee can almost always be found in the fridge, whether left over from the morning or brewed specifically to make iced coffee later in the day. This coffee and chicory cupped cake is made with a stiff, eggless cake batter that gets topped with a cocoa crumble and then covered with coffee. Baked in actual coffee cups, the cake soufflés up and makes its own built-in lava sauce on the bottom. It's fantastic eaten within an hour or two of baking while the cake is still warm, soft, and molten.
YIELD: Serves 6
- 2 cups plus 2 tablespoons sugar
- 1/4 cup light brown sugar
- 1/2 cup Dutch-processed cocoa powder
- 3 tablespoons unsalted butter, at room temperature
- 1 1/4 cups heavy cream
- 1 teaspoon vanilla extract
- 2 1/2 cups all-purpose flour
- 1 tablespoon instant espresso powder
- 2 teaspoons baking powder
- 1/2 teaspoon salt
- 1 cup brewed New Orleansstyle chicory coffee
Heat the oven to 350°F. Spray the insides of 6 large oven-safe coffee cups or six 6-ounce ramekins with nonstick cooking spray and place on a rimmed baking sheet.
To make the cocoa sprinkle, whisk 1/4 cup of the sugar, the light brown sugar, and 2 tablespoons of the cocoa powder in a small bowl until most of the brown sugar lumps are broken up, and set aside.
Using a stand mixer (or in a large bowl if using a hand mixer), blend the butter and remaining sugar together on medium speed until the sugar looks like wet sand, about 2 minutes. Reduce the speed to low and add the cream and vanilla, mixing until well blended, using a rubber spatula to scrape the sides of the bowl as necessary.
Whisk the flour, the remaining cocoa powder, espresso powder, baking powder, and salt together in a large bowl and then add it to the butter mixture. Mix on low speed until a stiff dough comes together, then increase the speed to medium and beat for 15 seconds.
Divide the batter between the coffee cups, filling each one about half full, using the back of a spoon to press the batter into the cup. Top each with 2 tablespoons of the reserved cocoa sprinkle and then pour 21/2 tablespoons of coffee over the cocoa. Bake until the cakes soufflé up and the top of each cake is crusty and dry on top with no visible wet spots, about 55 to 60 minutes. Cool for at least 20 minutes before serving.
Make ahead:
This cake is best eaten warm within a few hours of baking. If you have some left over the next day, you can heat it up in the microwave before serving to get its gooey quality back.
Tip: You'll have a little of the cocoa sprinkle left over after making the cakes. Use it to top a scoop of ice cream or stir it into iced coffee (with condensed milk if you really want to go all out). If you don't have oven-safe coffee cups, you can make this cake in a 9-inch-square baking dish and serve it casserole style, scooped into dessert bowls (it may need an extra 5 to 10 minutes in the oven).
Reprinted with permission from DamGoodSweet: Desserts to Satisfy Your Sweet Tooth, New Orleans Style by David Guas and Raquel Pelzel, ©November 2009 Taunton Press
my notes
Nutritional Info
- Calories740
- Carbohydrates126 g (42%)
- Fat26 g (39%)
- Protein8 g (16%)
- Saturated Fat16 g (79%)
- Sodium341 mg (14%)
- Polyunsaturated Fat1 g
- Fiber4 g (14%)
- Monounsaturated Fat7 g
- Cholesterol83 mg (28%)


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Wednesday, 27 December
66. Theorizing the Humanities Dissertation
7:00–8:15 p.m., 203-A, Convention Center
A special session
Presiding: Karen M. Cardozo, Amherst Coll.
Speakers: Karen M. Cardozo
David Damrosch, Columbia Univ.
Megan E. Moore, Munich, Germany
William Germano, Cooper Union
For copies of abstracts, write to email@example.com after 15 Dec.
Program Archive