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National broadcast Dec 28, 2012 at 9pmET, PBS American Masters" —
For anyone interested in contemporary dance and the vagaries of having an arts organization since the Seventies, Bob Hercules' doc is a must see" — Point of View Magazine Toronto
Whether a dance fan or not, this film will definitely convince you to part with your hard earned money for a chance to watch the dancers in performance" — CinemaEye Toronto
Now available on iTunes and Amazon" —
Sheds perspective on today's dance world through the lens of Joffrey's pioneering vision. A film not to be missed" — Seattle Dances
"Joffrey: Mavericks of American Dance" is an exhilarating piece of dance history" — Seattle Times
It's a story about American ballet, but also a story about daring people who gleefully threw themselves into the whirlwinds of controversy." — The Stranger (Seattle)
Scintillating with edgy, raw, passionate energy…The film reveals a legacy of gutsy change and innovation." — NOVU Newsweekly Indianapolis
A story that needs to be told" — Slant Magazine
An important piece of not only the company's history, but also of dance history…the heritage of dance deserves it." — New York Times
A bountiful feast for true dance lovers, as well as a thrillingly human story of artistic endeavor for everyone to savor." — David Noh,Film Journal International
A deeply archived and circumspect history of the Joffrey dance company…a perfect white swan …(with) marvelous footage of the early ballets" — Village Voice
A long-overdue tribute to Robert Joffrey and his vibrant company, the Joffrey Ballet." — The New Yorker
All the angst and elation is brilliantly captured in the film through the people who were there at the time." — Berkshire on Stage
Entertaining and enlightening and sure to please lovers of dance" — Detroit News
Ballet fans will want to get their hands on a copy of Joffrey: Mavericks of American Dance, a thrilling new documentary." — Huffington Post
A compelling tale well told, blessed with emotionally generous characters and infused with joy, suspense, tragedy and redemption." — Speaking of Dance
The story of the Joffrey Ballet – a thrilling, touching and turbulent account – must be seen." — Stage and Cinema
For dance fans, this is a movie well-worth watching" — Examiner.com
A marvelous celebration of dance" — GoPride.com
Hosannas and hallelujahs for the new documentary on the Joffrey Ballet." — Dance Magazine
In 1980, Robert Joffrey choreographed his final work for the company. Postcards is a ballet depicting vignettes of love, romance and Parisian life in the early 1900′s. The dancers wear cream-colored costumes by John David Ridge and the piece is set to music by French composer and pianist Erik Satie, a colourful figure in the early 20th century Parisian avant-garde movement.
Staff photographer Herbert Migdoll spoke about his contribution to the set of the ballet in an interview for the film. "He [Mr. Joffrey] was very aware of the beauty of Satie's music and the beauty of Paris. He wanted to create a work that incorporated the essence of Satie, and Bob's vision of what all that was about. He adored Satie."
"He had an artist create the front curtain, Joe Brainard, who was a very important painter at that time, in the '80s. And then he asked me to do the backdrop. He wanted it to have an arch. When he first came to me, he said, 'Herb, I want you to do the set for Postcards.' I thought about it and the next day I went to him and said, 'Bob, I can't think of anything. I have not done anything yet for the company in terms of a set.' I had dreamed of an idea before, but it's really up to a choreographer to present you with the opportunity, not for you to go and say, 'Have I got a set for you.'"
"I said, you know, I have awfully strong feelings about modern stuff, modernism and abstract stuff. I don't think I'm right for a Satie turn of the century or a 1920s ballet. But he said, 'No, I want the front curtain to depict what you're talking about. Brainard will do the collage painting for the front curtain. But when the curtain goes up, I want it to be Paris, the essence of Paris but expressed in a very modern vision, Paris today.'"
"So I went to Paris with him and his assistant, Mary Whitney, to go through materials a specialist on Satie had. I picked a lot of the pictures for Brainard to use to make his front curtain. And someone told me there was a wonderful ceiling at the Grand Palais, a wrought iron kind of ceiling like at Penn Station in its day, which is no longer there. When I got there, I thought, 'Oh, the ceiling is perfect.'"
"When we got back to New York, I showed Bob all the stuff. I also had photographs of the Eiffel Tower, just as I had details of the ceiling. And I showed him all the photographs that I took that I felt might work for backdrops. And he said, 'I don't like anything you've shown me. The only things I like in the series you did are the ceiling and the Eiffel Tower. Do you think you could do something with that?' I created an arch out of those details. But it was really Bob's visual sensibility that directed me towards the brilliant backdrop set. He was such a strong visual presence."
As a young dancer who had just joined the company at the time, Leslie Carothers-Aromaa remembered how it felt to be in the studio with Mr. Joffrey. "Depending on what era people were in, he was either in the studio a lot or not at all. But in 1980 when I first joined, he was very involved, not only teaching, but with this beautiful ballet he put together all to Erik Satie music, café songs. There was a character, a man who sort of represented Erik Satie, but a little bit represented Robert Joffrey as well."
"It was a fascinating process and also a labor of love. He found all of this music and it completely floored him. All of this unknown café music of Erik Satie. Being in the dance studio with him week after week, as a part of a new creation, I was only 18 at the time, it really was a great thrill. I look back now at how incredibly privileged I was because that was the last time that happened with him.
"He choreographed it without music first. I was part of a duet with Madelyn Berdes and he taught it to us as one two, one two, one two and then much later we got the music and put it together with that. It was something I had never seen done before, but it was a fascinating experience for me."
"We were in these 1920s looking costumes and there were pas de deuxs, multiple group dances and women's group dances. We had live singing as well, opera singers. It was brought back a couple of times in the years that followed, maybe even shortened at one point," said Carothers-Aromaa.
Postcards (17 dancers – 8 female, 9 male), Premiere: June 12, 1980, Opera House, Seattle, WA
Here is an excerpt from Postcards:
The production is so excited to see the new reality series on Joffrey alum Adam Sklute's Ballet West called Breaking Pointe. It is a 6 part series on the drama of being in a major ballet company produced by BBC Worldwide Productions and it is billed as being nothing like the dance competition shows currently on air. This show focuses on 10 dancers in the company and shares the experience of all the hard work, training, rehearsals, injuries and, yes, the competition each feels toward the others in the company. The show also follows the dancers home to give audiences a sense of them as people.
Though we interviewed Adam Sklute a few months ago, he couldn't mention the series at the time because it hadn't been publicly announced by the CW. He is also featured in the film and in an interview excerpt he talks about what he took from his direct contact with Robert Joffrey. Sklute was one of the last two dancers Joffrey chose for his company before his death.
"What Robert Joffrey did for me with my own work as a dancer and now as a director was really guide the way I look at the art form of ballet. I met Robert Joffrey late in his life and I did not have as close a contact with him as many other dancers and the artistic staff members, but I admired the man so much. I studied what he did and how he presented things."
"As a teacher now, I try and emulate his whole way of being. He was a marvelous teacher. Always patient, very challenging, very demanding, required absolute precision and perfection in everything that one did. But was always good humored about it. Always calm. I never saw him get angry at all. I mean it was an amazing thing. Robert Joffrey was an amazing politician, also. This is something that now being an artistic director myself, I see how much one has to be a politician."
"Robert Joffrey had an eye for detail like no one else. I was amazed that he could just see the tiniest little detail on the side of the stage and tell one of his staff members to fix it or fix it himself. He would do it. And again, that's how I've always tried to live my professional life. A very, very innovative man. Robert Joffrey really infused my whole way of looking at the art form of ballet."
Watch Adam Sklute in this clip and then check out Breaking Pointe tomorrow night on the CW.
Adam will also be participating in our Salt Lake City screening on June 19. Come to the screening and meet him in person.
There are many examples in the film of Robert Joffrey's passion for reconstructing old masterpieces and forgotten, but prolific ballet works. He felt a great responsibility to stay true to the work as much as possible, including going to the source of the original choreography or original cast to verify as many aspects of the Joffrey's performances and the set and costumes . In an archived interview, Joffrey said "When a ballet is given to you, it's like you are given a jewel and you have to protect it. You have to take good care of it and if you don't, it disintegrates right in front of you eyes. It's a tremendous responsibility to take care of someone's ballet. That's a very full time job."
He also remarked on how choreographers have a difficult time remembering their own work and how this can lead to dances being forgotten and difficult to recreate. "Often choreographers can remember other people's ballets, but their own thing is from the moment they created from, at that time in their life. Two years later, they are no longer at that point, and many things have happened to them, and they have lost perhaps that impulse which created the ballet. They are on to something new, a new idea. So it's difficult to go back and recreate something. You may have lighting notes, counts for the music, little diagrams to tell where the dancers stand on the stage. You have the sheets with the costumes and where the set was placed, who danced the part and there are so many things that make up all those notes. It's awfully complicated."
Though complicated, he was very committed to taking on this role, even from an early age. "When I wanted to form a company there were certain things that I felt were very important. One was to do ballets that were contemporary ballets. And certain ballets that were no longer performed by companies that I felt were very special to serve our tradition. Our tradition would not only be the standard Swan Lake, Nutcracker or Coppelia. There would be some of the modern classics like Green Table and Parade and Jerome Robbins' Moves — certain ballets that I felt were very special ballets that needed to be seen again."
For ballet fans, his enthusiasm and willingness to take on this responsibility has allowed us to experience works that previously we only would have read about in books.
This is a question we often hear from the audience during our live events with Joffrey alumni? Are shows like Dancing with the Stars or So You Think You Can Dance helping spread interest in dance or cheapening the art form? It would be interesting to hear what Robert Joffrey would make of this situation. On the one hand, he believed dance should be accessible, something for everyone to enjoy. On the other, he insisted all dancers need a classical foundation with emphasis on strong technique. "Ballet as the center, but not the circumference of one's movement."
Joffrey alum Ann Marie DeAngelo shared her thoughts about this in an interview for the film. "Tap and ballet, they're complicated art forms and they're the most esoteric and sometimes really hard to be accessible. Now look at So You Think You Can Dance — it's sound bites of choreography. Do you know what I mean? I don't know if any of the choreographers that are on that show could choreograph a whole ballet, but people love it. It's great because it's now making dance much more accessible. Now, it's in the homes of everybody. Now, my little nephews know what choreography is."
Meg Gurin-Paul also spoke about how these shows now help bring popularity back to dance. "When I think of ballet today and I think of ballet in the late seventies and the early eighties, mid eighties, there was a lot more appreciation then. It does sort of follow a curve, you know, of civilization because ballet has been around for hundreds of years, and there are times when it really surged in popularity and then there were times when it wasn't attended quite so much. It would seem to be following a sort of trend. Now we see So You Think You Can Dance on television, and I see that as a positive thing because I'm always looking ahead to what is that going to influence and what is going to manifest itself, coming out of shows like that. It is also about how to take it to wider level of appreciation, make it accessible, but keep the credibility. And that's really important, how do you keep the credibility yet be so wildly popular?"
Regarding Mr. Joffrey's vision of educating audiences about dance, making it accessible and more popular, DeAngelo said, "He went out and saw performances. He was an artist that was out there looking, always going outside the box to gather and glean information to expand really." Joffrey alum Davis Robertson concurred. "It's not about us. It's about the art, it's about that next generation, and it's about seeing it, experiencing it, and continuing to make it happen. You couldn't have a conversation with Robert Joffrey without him talking about what dance performance he had seen the night before, what museum he had been to and he was out seeing everything from the experience uptown at Lincoln Center to downtown at The Kitchen. I think the best thing that could happen is, and if I could make any impact on the dance world it would be, we realize it's just about dance as an art, and everything comes together. That really is what [Joffrey's] vision was. Be intellectual. Be engaged. Be out there thinking about it, doing it, and passing it on the next generation, and it's a wonderful thing to be in the position to pass that on to another generation."
What do you think? Do these shows encourage appreciation and study of dance or are they eroding the art form?
Agnes De Mille described Gerald Arpino's Suite Saint Saëns as what she would imagine it felt like to stand in a flight of meteors. Commissioned by Mr. and Mrs. Alonzo W. Gates, the piece made its debut in April 1978. It was also performed in the 2003 Robert Altman film The Company.
Arpino spoke about the quality he was trying to capture in one of the his last interviews for the film. "Suite Saint-Saëns was just a delight. It was just pure movement in a wholesome, spiritual sense that the artist will surely captivate you just through their movement." With breakneck speed, precision jumps and quick gestures, the dancers fly across the stage and join together in interesting patterns only to break apart and disappear over and over again. It is a work of exuberance and energy that is the signature of an Arpino work and it includes 4 movements: Caprice Valse, Serenade, Minuet, and Pas Redouble with music by Camille Saint-Saens, arranged by Elliott Kaplan.
Adam Sklute remembers how tough, but rewarding was the experience of dancing in an Arpino piece. "Performing Gerald Arpino's ballets was always an exciting experience. And sometimes even a harrowing experience because he required so much speed. There was so much precision involved in the work. He wanted a very special way of moving, to use every ounce of your being when you danced. He wanted you to engage the torso in a way that classical dance doesn't necessarily always do, but he required classical precision at the same time. There was a sense of joy that would well up in you. Whether it was the excitement of Kettantanz or Suite Saint Saëns, I would just thrill when I'd hear the music start. I'd get so excited."
Premiere: April 19, 1978 at the City Center Theater, New York City. Here is an excerpt from the piece which is also a bonus clip from the film.
A reminder that the film will play some cities tonight that have been waiting to see it. The Landmark chain will show it in 8 markets.
Atlanta, GA-Midtown Arts Cinema
Boston, MA – Kendall Square Cinema
Houston, TX-River Oaks Cinema
Indianapolis, IN-Keystone Art Cinema
Washington, DC – Bethesda Row Cinema
Milwaukee, WI – Downer Theatre
Minneapolis, MN-Lagoon Cinema
Philadelphia, PA – Ritz East Cinema
Also, we have just released a video highlight of our sold out Chicago screenings to give a taste of what a night with the Joffrey documentary is like.
We have many more screenings scheduled in the US through June and we have just made an agreement in Canada which will bring the film to major cities there. Stay tuned for exact dates and locations.
As we have noted, Robert Joffrey had an eye not just for dance artistry, but for choreographic artistry as well. He saw the creative spark that wasn't necessarily apparent to everyone. One young choreographer Mr. Joffrey chose to work with was Laura Dean. Longtime Joffrey staff photographer Herbert Migdoll remembers when Joffrey first saw Dean in an interview transcript excerpt from the film.
"When he went to see Laura Dean, who was the epitome of the Judson period*, she had one other dancer, so there were two people in her company. Her performances were too short because you can only spin for so long, and all she did was spin. You would watch her spin until she fell down. And I thought that lady is really something else. I've got to go see this."
"Lo and behold Bob says to me, 'I'm going to see a concert with Laura Dean. Do you want to come?' And I said, 'Yeah, I'd love to go. I want to take pictures of her anyway.' They used to let me go to the balcony of that particular church on 10th Street and 3rd Avenue. So I went to the balcony and Bob was downstairs, and we both saw the performance. Laura had her company that night, not just herself, one other young woman. She would spin and then the other woman would spin into her spinning. They'd spin together, and then Laura would spin off. And then the other woman would spin until it was time for Laura to come back and spin with her, and then the young woman would spin off."
"Well, it was an evening of spinning for about an hour or so and it was kind of amazing. I love watching people spin, like a dervish kind of thing. As we were leaving the performance, I said, 'She's so interesting, isn't she? I mean, she just uses this one element. It's real minimal kind of perception of movement.' He said, 'It's so fascinating. I think I'm going to ask her to do a ballet. She could spin on pointe. She just has to learn how to go on pointe, that's all. I could teach her that.' I said, 'Oh Bob, leave her alone.' But he wouldn't. He went to her and she was excited about it."
"She wound up doing her first ballet called Night, which was a brilliant work. Her work doesn't translate well on film though. If you see some of the things on film, you will think they're not that special. But in person they're absolutely spectacular. She went on to make the most ballets for the company because both Robert Joffrey and Jerry Arpino adored her and her work and felt that she would do wonderful things."
"Her last work for us was Creative Force, which was everyone in red, dancing to salsa music. Before that was the Prince ballet for Billboards, Sometimes it Snows in April. I just love her work."
"The point here is that he [Joffrey] would take the opposite end of the ballet scale, the ultimate minimal dancer and see this person as a potential creator for his company. I think that opened the door for anyone who choreographs to feel that maybe I could do a ballet for an important company if I feel strongly enough about what I'm doing, whatever it is. It doesn't have to be pointe work. It can be anything."
*Judson Dance Theater was an informal group of dancers who performed at the Judson Memorial Church in Greenwich Village, New York City between 1962 and 1964. It grew out of a dance composition class taught by Robert Dunn, a musician who had studied with John Cage. The artists involved were avant garde experimentalists who rejected the confines of Modern dance practice and theory, inventing as they did the precepts of Postmodern dance. -source Wikipedia.
In several articles on the film, a point keeps being raised that the Joffrey Ballet's financial collapse in the late 1970s must have been caused by Robert Joffrey's poor business skills. The company had arisen out of the ashes of the Harkness Foundation break in the mid 1960s and things were seemingly going well during the early and mid 70s. So what happened?
I recently spoke with the former executive director of the company from 1978-1981, Henry Young, to see if he could shed some more light on what was happening in the arts world at the time. A full podcast interview is coming up in a few weeks with Mr. Young, but here is a short transcript where he speaks about the arts funding situation in the 1970s. The picture he paints of stretched Federal assets and the overdependence of American arts organizations for funding from those assets sounds quite familiar to the situation going on in our country right now where ballet companies are paring down or liquidating or aggressively stepping up their own fundraising efforts from private enterprise or generous individuals.
Remember, at the time, the Joffrey Ballet as well as many other ballet companies were receiving sizable grants from the Ford Foundation starting in 1963 when the Foundation gave $2 million to New York City Ballet and almost $4 million to their School of American Ballet. It was a Ford Foundation grant, secured by Alex Ewing, that allowed Robert Joffrey to restart his company again after the split with Harkness.
"The cause was a very rapid change in funding sources and levels of giving. In the first instance [of financial collapse], we know it was Rebecca Harkness. The second is far more subtle and, in a way, not really obvious."
"Discussions began at the Ford Foundation regarding social investing through a program that would become know as Program Related Investments. As part of the Tax Reform Act of 1969, a legal definition of PRI was established and the Ford Foundation Trustees moved to set aside an initial $10 million of Foundation assets for PRI's. In 1968, Foundation staff were presenting proposals to the Trustees not on the basis of past performance, but rather they made the case that the social needs revealed by the turbulent '60′s required extraordinary response. Basically, they wanted to spend at a rate faster than the [established] earn/spend formulas of the foundation grant making and PRI loans were a way to accomplish this. Initially, Trustees did not look on this idea favorably, but over time they were convinced it would allow the Foundation to stretch its assets."
"Clearly, the Foundation did not have nearly enough cash to meet all the demands on its agenda, so Program Related Investments were a way around this. Within two years, Ford was into many new areas from cattle feeding and steel joist manufacturing to public television stations for equipment set ups. But of course, some of the enterprises failed. There were amazing successes as well, probably the most prominent was the Harvard Community Health Plan launched with a five year loan of $600K."
"To my recollection, I think Ford had over $53 million in PRI's. Between 1968-70, 58 REIT [Real Estate Investment Trust] funds were formed. Most funds used a modest amount of shareholder equity (think Ford Foundation as a share holder) matched with a very large amount of borrowed funds and this was all going to short term loans for mostly office tower development. For the REIT world, assets ballooned from $1 billion in '68 to $20 billion in the early 70′s. But as the Office overbuild and economy for office space weakened in 1973, REIT's found that debt leverage worked both ways (SOUND FAMILIAR?), and non performing loans became stunning. As a result, share prices for REIT's collapsed in 1973 by 21.8% and another 29.3% in 1974. Ford was making PRI loans on the anticipated rates of return of 12% and reality was not possible with these kinds of share losses. The result was a directive to the Program Divisions making actual grants to cut and cut fast."
"So the NY City Center Joffrey's 3 year grant in 1973 was suddenly revised from $350,000 a year to $175,000, then to $0.00. At the time, the national small gift average for direct mail was $22. Not that anyone thought that was a suitable direction for fundraising, but to put a fine point on the difference of large scale and small scale fundraising it would have required 3,500 new donors at $100, JUST to offset the loss of that grant."
"Of course there were other things were going on too, but for Joffrey, BAM [Brooklyn Academy of Music], Pennsylvania Ballet, etc. this was their first experience of the bubble burst."
The recession that happened from 1973-75, an ambitious repertoire of larger scale productions such as Petrouchka and Parade, the turbulence from City Center management which resulted in a loss of backing in 1975 were all contributing factors to the financial instability of the company and much of it out of Robert Joffrey's control. Obviously, this complicated topic couldn't be deeply explored in the confines of a 82 minute film, but it is worth mentioning here. It wasn't so much that the grants were not replaced because of negligence. More likely they weren't replaced because grant funding had been severely cut.
Remember to check out our podcast with Mr. Young when it is live and check out all of our other interviews with Joffrey alumni under Media>Podcasts in the navigation bar at the top of this page.
Friday April 27 marks the opening night of our weeklong formal cinema run in New York City. We are extremely happy to be screening the film in the birthplace city of the Joffrey Ballet. The film will play the Cinema Village Theaters on the lower east side of the city.
It also marks the start of our week in Tucson, Arizona at The Loft Cinema.
The first weekend several prominent Joffrey alumni dancers will participate in post screening discussions about being in the company. They represent many different time periods as well so audience members can hear more in depth stories from the film.
In New York, we will have:
April 27 will feature Francesca Corkle and Denise Jackson. **moderated by George Dorris and Jack Anderson
April 28 will feature Margo Sappington.
April 29 will be moderated by Dance Magazine's Editor in Chief, Wendy Perron, who will be joined by Margo Sappington, Suzanne Hammons-Daone, Nicole Duffy Robertson and Davis Robertson.
In Tucson on April 27, we will have:
Jeffrey Graham Hughes, former Joffrey dancer and current Artistic Director of Tucson Regional Ballet,
Susan Magno, former Joffrey principal dancer
Jon Teeuwissen, former Joffrey Executive Director (2001-2008) and current Executive Director of Ballet Arizona
Below, please find more information on these alumni.
Francesca Corkle
Ms. Corkle was a member of the Joffrey Ballet Company from 1969 – 1978 and is known as one of the Joffrey's foremost "classical" ballerinas. She grew up and trained in Seattle, WA where Mr. Joffrey spotted her at a very young age. At 15, she left Seattle for New York and the Joffrey Ballet School where she spent 5 months in the apprentice program before becoming one of the youngest company members.
Known for her brilliant technique, speed and wit, Ms. Corkle won high acclaim for her roles in such classics by Joffrey Ballet co-founder Gerald Arpino as "Confetti," "Kettentantz" and "L'Air d'Esprit" and in John Cranko's "Pineapple Poll." In 1974, her first major dramatic role was choreographed for her by Robert Joffrey in "Remembrances." After the premiere, the NY Post described her as "feather-light and soft as she makes the most difficult lifts effortless." In 1978 Chicago critic Ann Barzel wrote that "She is a perfectionist in technique and superbly intelligent in matters of style." She has been a faculty member at the Joffrey Ballet School in New York for over 20 years.
Denise Jackson
Ms. Jackson was a member of the Joffrey Ballet from 1969-1986, when City Center declared her retirement day Denise Jackson Day in New York. She began at the Joffrey school at the age of 11 and spent the whole of her dance career with the company. She danced principal roles in many Arpino classics such as Kettentanz, Fanfarita,and Celebration and Robert Joffrey's Postcards and Pas des Deesses. She was partnered with Rudolph Nureyev for the Joffrey's salute to the works of Nijinsky in 1980.
Moderators: Jack Anderson is an American dance critic and author. Since 1978, he has been a contributor of dance reviews and other articles in The New York Times. He has also written for the magazines Dancing Times and Dance. George Dorris is co-editor of Dance Chronicle: Studies in Dance and the Related Arts and contributes regularly to Ballet Review, Dance Now, and Dancing Times.
Margo Sappington
Ms. Sappington was recruited by Robert Joffrey to join his company straight out of high school. She moved from Texas to New York in 1965 and enjoyed a prolific career first as a dancer and then as a choreographer for ballet and Broadway. She was nominated in 1975 for both a Tony Award as Best Choreographer and a Drama Desk Award for Outstanding Choreography for her work on the play Where's Charley?. She choreographed several ballets for the Joffrey including Weewis, Face Dancers and Mirage and has worked with ballet companies around the world including Beijing's Central Ballet of China, the first American choreographer to do so. In 2005 she received a Lifetime Achievement Award for choreography from the Joffrey Ballet.
Moderator Wendy Perron
Ms. Perron danced with the Trisha Brown Dance Company in the 1970s and has performed with many other NYC choreographers. Her own group, the Wendy Perron Dance Company, appeared at The Joyce, DTW, the Danspace Project, and the Lincoln Center Festival, as well as in cities throughout the U.S. She was one of eight choreographers profiled in the documentary film Retracing Steps: American Dance Since Postmodernism. She has taught dance at many colleges including Bennington and Princeton, and in contemporary dance centers in Europe and Russia. In addition to contributing articles to The New York Times, The Village Voice, Ballet Review, and of course, Dance Magazine, Wendy has written a brief memoir about her training and influences in Reinventing Dance in the 1960s: Everything Was Possible, edited by Sally Banes. She has served on the Bessies committee and has been an artistic advisor to Fall for Dance at NY City Center. She fondly remembers taking classes with Mr. Joffrey at American Ballet Center, the School of the Joffrey Ballet.
Suzanne Hammons-Daone
Ms. Hammons-Daone recounted her story of being a company member on this blog several months ago. She began with the Joffrey Ballet in 1959 after a short stint with the San Francisco Ballet and remembers the nurturing spirit of Mr. Joffrey in those early days of the company.
Nicole Duffy Robertson
Ms. Duffy Robertson was raised in San Juan, Puerto Rico, where she trained with Ana García and María Carrera at Ballets de San Juan, and spent summers at the School of American Ballet and Alvin Ailey School. After completing her freshman year at Princeton University, she took a leave of absence to train at the Joffrey Ballet School. She performed with Joffrey II and Dennis Wayne Dancers before joining the Joffrey Ballet from 1990 to 2000.
During her years with the Joffrey she danced the role of Clara in Robert Joffrey's The Nutcracker, the Little American Girl in Leonide Massine's Parade, the Willing and Able pas de deux in Gerald Arpino's Billboards, as well as works by Ashton, Balanchine, Cranko, Jooss, Limón, and Nijinska, among many others.
After finishing her dance career, she graduated summa cum laude with a degree in art history from Columbia University. She is currently on the faculty at the Joffrey Ballet School in New York City, where she teaches ballet and dance history.
Davis Robertson
Mr. Robertson was a principal dancer with the Joffrey Ballet from 1991-2003 having trained at the Joffrey Ballet School and at School of American Ballet. During his tenure with the Joffrey, his principal roles included the Cavalier in Robert Joffrey's The Nutcracker, George Balanchine's Prodigal Son, Petruchio in John Cranko's Taming of the Shrew, and Death in Kurt Jooss' The Green Table. His portrayal of the Faun in the Joffrey's reconstruction of Vaslav Nijinsky's L'Après-Midi D'un Faune prompted the Chicago Sun-Times dance critic to write, "Robertson gives the finest performance I've seen, including that of Rudolf Nureyev for whom the Joffrey re-created this masterpiece in 1979." Today, he is the Artistic Director of the Joffrey Ballet School Performance Company.
Jeffrey Graham Hughes
After seeing the Joffrey Ballet at Stanford University at the age of 13, Mr. Hughes decided that he wanted to dance in the Joffrey Ballet. Mr. Joffrey gave Hughes permission to take company class over the next few summers when they were in the San Francisco Bay Area. In 1970 after the Joffrey Ballet Summer Workshop, Mr. Joffrey invited Hughes to join Joffrey II and he joined the main company in 1973. Over a twenty-two year professional career, he also danced principal roles with London Festival Ballet, Cleveland / San Jose Ballet, Oakland , Sacramento and Atlanta Ballet. Today, he is the Artistic Director of Tucson Regional Ballet.
Susan Magno
Former Joffrey Ballet principal dancer who joined the company in 1964 just after the Harkness break up.
Jon Teeuwissen
Tickets for the screenings are on sale. Please check the Cinema Village website to purchase for New York City and The Loft Cinema to purchase for Tucson.
In interviews for the film in the final months of his life, Mr. Arpino talked about the choreographers who most inspired him. As has often been said, Mr. Arpino enjoyed collaborating with and gained some inspiration for his choreography from the dance artists he worked with, but he also enjoyed work the company performed that did not originate with him.
Kurt Jooss
"I think The Green Table is one of the masterpieces of choreography. Mr. Jooss was a very fine artist in the sense that he devoted his energy to this particular piece that made a statement about nations at war and to do it choreographically was important because dance relates to all people. Making a statement against war and showing how the diplomats around the table can decide on the destiny of a nation. [It is] a very important piece of art in the sense that it truly covered an area that most ballets don't which was the importance to stave off and to prevent war from happening. I think The Green Table was an exceptional piece of artistry."
Antony Tudor
"His approach to the art itself from a very dramatic place and influenced by the political aspect of our lives. That was also very important to me [as an artist]." (the Joffrey has performed Tudor's Lilac Garden, Dark Elegies, Soiree Musicale and Offenbach in the Underworld).
George Balanchine
"I loved Mr. Balanchine for his abstraction. I've always loved abstraction and he took dance and put it in a realm of just pure dance without any influences of what's happening in our society. It was pure dance and music. The music and movement are pure abstraction that have no influence on the conditions of our way of life. It's pure abstract form and design and that's quite beautiful when it happens. The human form being represented through movement. He truly was a man who represented dance in its pure form and I've always loved that." (Balanchine was an early supporter of the Joffrey Ballet, especially in the aftermath of their break with the Harkness Foundation when he allowed the company to perform his works without royalties due. The Joffrey Ballet has performed Square Dance, Pas de Dix, Allegro Brilliante, Donizetti Variations, Scotch Symphony, Pas de Trois, Tchaikovsky Pas de deux, Tarantella, Cotillon, and Stravinsky Violin Concerto).
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Become a part of Joffrey: Mavericks of American Dance, the first film to chronicle the legendary Joffrey Ballet from its humble beginnings touring the country in a borrowed station wagon to becoming one of the world's most exciting and prominent ballet companies.


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Data Recognition Corporation (DRC) welcomes Alaska educators to eDIRECT!
This Web site enables you to quickly and easily access links to Program Information for the State of Alaska.
To access program content, authorized district and school personnel need to log onto the secure site with their email address and password. To log on, press the Log On link in the upper right of this page.

subset: commoncrawl


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Get the Look for Just $6! Add a minimum of $25 worth of product to your shopping bag. Add the Marsala Eye Kit(SKU #51555) to your shopping bag, creating a minimum bag value of $46. Enter coupon code MARSALA at checkout to receive the Marsala Eye Kit for $6. One per order at promo price. Offer ends 11:59 PM PST 10/12/2015.
|Limited Time Only-Grab Halloween Looks For Only $5 and Get a Fall Smoky Eye Kit for Just $6!
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Get the Look for Just $6! Add a minimum of $25 worth of product to your shopping bag. Add the Marsala Eye Kit(SKU #51555) to your shopping bag, creating a minimum bag value of $46. Enter coupon code MARSALA at checkout to receive the Marsala Eye Kit for $6. One per order at promo price. Offer ends 11:59 PM PST 10/12/2015.
Aging Like A Movie StarAging Like A Movie Star
Ever notice how well celebs have been aging recently? This slow-aging trend isn't due to genetics but rather how well celebs take care of themselves. Since they are constantly in the spotlight, celebs need to look their best through the years, and many will do anything to age as slowly as possibly. A few of my celeb clients over 45 recently came to me for the best ways to look young and stay young looking, and this is the advice I gave them: Hyaluronic Acid.
Although neither of these methods last longer than a year, they are excellent ways to help plump up sallow looking areas and provide an instant, natural looking youthfulness, without any downtime. Injectible fillers are a safe alternative to more invasive plastic surgery, and are inexpensive enough for a semi-annual splurge. They are also great for a number of applications around the face. If you are considering injectible fillers, keep in mind that the key areas that will make you look most youthful are:
Your Eye Area
To fill in sunken areas under the eye, and sagging areas above the eye, I recommend an injection of hyalurionic acid. These injections will fill-in and lift sunken areas where skin typically tends to get thin and sags, thus giving you the appearance of looking younger and well-rested. I always recommend using a thick orbital-eye moisturizer over the entire area to help minimize wrinkles and smooth skin out even more as well.
Your Mouth and Chin:
Many of my clients love to laugh (who doesn't, right?) but are concerned with accentuating their laugh lines. For laugh-lines or marionette lines, I recommend a hyalurionic injection. For lip-lines on the top lip, I also recommend a hyalurionic acid injection. For chin sagging, I recommend either Juvederm or Restylane injections to help firm the area. A thick eye cream can also be used in the laugh and marionette lines to help smooth out the creases.
Your Face and Neck:
To help diminish forehead lines and those nasty "11 lines," I recommend Hyaluronic or Juvederm injections. For cheeks that are too sunken in, I recommend Hyaluronic injections over the bone and in the hollows to make cheeks appear fuller and younger. For a sagging neck, I recommend Hyaluronic acid and Thermage injections.
Your Skin:
For overall skin health, I recommend regular treatments with a good esthetician or a few trips to a good laser facility. Both of these methods can even out skin tone and texture, reduce pores and redness, and help your skin maintain naturally high collagen and resiliency.
For over a decade, Scott-Vincent Borba has been a renowned innovator in the beauty category and has worked on such esteemed brands such as Hard Candy Cosmetics, Johnson & Johnson®, P&G/Wella-Sebastian, Shiseido/Joico, and Dr. Murad.
Scott-Vincent has been a high-fashion model, TV personality and became a licensed aesthetician to further his credentials and experiences. He founded BORBA, and continues to use his creative thinking to push the envelopes of skin care as we know it.
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I Recently Attended a MUAH PartyI Recently Attended a MUAH Party
I recently attended a MUAH party at bloggy friend of mines home. What is a MUAH party you asked?MUAH stands for Make Up At Home. It is a party that e.l.f. Cosmetics and SheSpeaks have been running with bloggers so that their friends can learn more about e.l.f. products as well as educate themselves about proper makeup techniques.
I already LOVE e.l.f. products. I was sold on my first try with some lip gloss I had received. But I learned a TON at this party, and had a lot of fun too.
What did I learn? Did you know that PINK is NOT the color for me for my lips? I couldn't believe it! For years I have been wearing the same color pink lipstick and NO ONE told me it was the WRONG color for me. Thank goodness for my friends who are not afraid to tell me the truth. But now I am wondering what else I am doing wrong?! At the MUAH party, I tried (hesitantly tried) a brownish cocoa color lipstick. I am very pale and I thought to myself, this is gonna look horrible, like I ate a Hershey bar and it melted all over my mouth. But It was great! It really made my lips pop! Also, I learned that I shouldn't be afraid to "explore" more when it comes to my make-up. There was a bright dazzling green creamy eye shadow there that I loved, but I would never think to even try or buy it. At the suggestion of my friend Kim (@craftymamaof4), I tried this green creamy eyeshadow and low and behold, IT ROCKED! I was so pleased and everyone was giving me compliments on how much it too made my eyes pop!
By the end of the night, I was a makeup warrior. Trying all kinds of new things. Now I love e.l.f.make- up even more and will definitely be doing some more "exploring" with colors.
The only downfall to the whole party was after we were all dolled up with makeup we had no where to go show it off!! Although, it DID make me feel good when I came home and my daughter said, "Mommy, you look like a beautiful princess" and my hubby said, "you have make up on". Well, At least he noticed! lol
Want to expose your friends to e.l.f cosmetics? Try hosting a MUAH party? Simply sign up at Shespeaks.com and make them aware of your desire to host a party.
Thanks e.l.f.
Beth Davis, blogger of theplussizemommy.com, is a 34 year old Christian mommy of 4. She has been married to her husband for 13 years. She was also a Foster mommy to two adorable boys for a year. After a rewarding Child Care career working with Pre-K children, Beth decided to become a Stay at Home Mom (SAHM) to raise her 4 children.
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Holidays are Sneaking Up FastHolidays are Sneaking Up Fast
Prior to Halloween I was at Target and they had Christmas stuff, yes Christmas stuff! It's hard to believe that the holidays will be here before we know it. Another thing Target recently started carrying is e.l.f. cosmetics! This value brand is at the same low price points as online without having to pay shipping! I am all about getting quality products at super low prices!
Do you ever find yourself in a pinch for a quick gift for the dance teacher, piano teacher, mailwoman, grab bag, and so on? Why not give them e.l.f. from Target! Stock up on neutral shades of lip gloss, nail polish, eye shadow and mascara, buy a 12 pack of small gift bags for $1.99 and you can have a great gift for under $5! Some of my picks are the Brightening Eye Color in Nouveau Neutrals, Hypershine Gloss in Honey and Coral Nail Polish . I can't wait to put my bags together for everyone on my list, who doesn't love some pampering with new make-up. I am also hoping to introduce e.l.f. to some people who may not know about them yet, I'm sure once I do they will love it as much as I do.
Have you tried e.l.f.? What are your favorite shades?
Kim Janecko
Kim Janecko, aka Crafty Mama of 4, is the creator of www.craftymamaof4.com. She is very active on Twitter and a member of Wal-mart's More than Elevenmoms community. Kim works closely with Momfluence, Buzz Cooperative, and Party Planning Professor. An avid couponer, crafter, techy, photographer, shopper, and reader, Kim is a Stay at Home mom who is very involved in her kids activities and interests.
RECENT COMMENT "target started carrying e.l.f?!! thats so cool, i've been looking for somewhere close by that sells ..."
New Makeup Collections!New Makeup Collections!
Check out the video for our new Medium and Large Makeup Palettes!
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An easy clock plan to build yet has a high perceived value. Shown in solid oak, the clock measures 11"W x 15
Wood not include. Please purchase locally.
Kit Includes:
1. Woodworking Clock Plan
2. Clock Dial MD-7500-A
3. Seiko Clock Motor DC-375
4. Clock Hands Hour and Munute
Please note clock dial shown in picture is no longer aviable.


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Kimora Lee Simmons gets reality show on Style
Kimora Lee Simmons, wife of Russell Simmons and CEO of the Baby Phat clothing line, is getting her own reality series on the Style Network. The series, which has the working title Kimora, will premiere sometime this summer.
Kimora started out as a fashion model in her early teens, later married Russell Simmons, and in 2004 was co-host of Life and Style on UPN. She has also appeared in the films Rebound and Beauty Shop, and was a judge on America's Next Top Model.
The new series will follow Kimora through her daily routine of raising her family and running her business, and, as this press release states, will "open a lot of women's eyes to the possibilities life has to offer," especially if you happen to be a teenage model who catches the eye of a multi-millionaire almost two decades older than you. It's the kind of success story that can only be obtained through sheer tenacity and borderline pedophilia. It's almost Disneyesque, this modern fairy tale.


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Marine Animals Elephant Seal Indian Beach Trinidad HiRes
Comments: Northern Elephant seal 'Mirounga angustirostris' (Juvenile) has hauled out while going through a molt that may last several weeks. The Bulls may reach 5,000lbs when fully grown.
Keywords: california gray whale,harbor seals,marine mammals,northern california wildlife,northern elephant seal,sealions,seals,stellar sealions california sealions
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Just Diagnosed
The diagnosis of alopecia areata from a dermatologist usually follows weeks or months of shock, fear and confusion. The gradual hair loss associated with the disease can be discovered in many ways; unusual amounts of hair on a pillow, clumps of hair clogging the shower drain, a bald patch felt when putting hair up, or a comment made by a hair dresser.
Though there are no two cases of alopecia areata exactly the same, the discovery of the hairloss and the diagnosis of the disease can cause very similar feelings in all patients. It is important to recognize that the majority of individuals with alopecia areata do have patchy alopecia areata, hair loss which presents in patches and experiences regrowth without treatment. However, NAAF understand the concern associated with all types of hair loss, and has programs designed to meet the needs of all alopecia areata patients.
Alopecia areata is a common disease that results in the loss of hair on the scalp and elsewhere. It usually starts with one or more small, round, smooth patches. It occurs in males and females of all ages, but onset most often occurs in childhood. Over four million people in the United States are affected by alopecia areata.
In alopecia areata, the affected hair follicles become very small, drastically slow down production, and grow no hair visible above the skin's surface for months or years. The scalp is the most commonly affected area, but the beard or any hair-bearing site can be affected alone or together with the scalp.
There are three types of alopecia areata; alopecia areata, alopecia totalis and alopecia universalis.
Alopecia areata, the most common variation of the autoimmune disease, presents itself as round, smooth patches of various sizes.
In all forms of alopecia areata, the hair follicles remain alive and are ready to resume normal hair production whenever they receive the appropriate signal. In all cases, hair re-growth may occur even without treatment and even after many years.
Alopecia areata occurs in males and females of all ages and races; however, onset most often begins in childhood and can be psychologically devastating. Although not life-threatening, alopecia areata is most certainly life-altering, and its sudden onset, recurrent episodes, and unpredictable course have a profound psychological impact on the lives of those disrupted by this disease. But there is hope. In all cases, hair re-growth may occur even without treatment and even after many years.
After an alopecia areata diagnosis, it is important to realize that you are not alone. NAAF has developed many programs aimed at connecting individuals who have alopecia areata in common. Whether you would like to talk with another parent on the telephone, or you would prefer to have your family attend a local support group, NAAF can help. It will do you no good to keep your questions and your feelings bottled inside; there is somebody who will understand, and may even have a bit of valuable advice.
Treatment options are best discussed with the Dermatologist who made the diagnosis. However, there is general information that NAAF can provide, based primarily on your type of alopecia areata. This information is only useful as a resource; your doctor should be your primary source of all medical information.
If you are unable to find a dermatologist in your area who treats patients with alopecia areata, please contact info [at] naaf.org or 415.472.3780. NAAF has a list of dermatologists across the country who treat alopecia areata patients.
Many people with Alopecia Areata are trying to convince insurance carriers to cover the cost of a prosthesis even when the law does not require it. Information from people who have succeed in obtaining insurance payments for hair prostheses or medical treatments has been compiled in NAAF's Insurance Packet. NAAF will provide this packet upon request.
Here, in brief, are the steps we suggest you follow to convince an insurance carrier to cover the cost of hair prostheses or medical treatment:
- Check your benefits and covered expenses. Copy any page that specifically states that prosthetic devices (or treatments) are covered for alopecia areata or other types of hair loss.
- Complete the claim form.
- Obtain a doctor's letter or prescription stating the need for a hair prosthesis or treatment.
- Obtain the "Quality of Life Investigation of Patients with Alopecia Areata" from NAAF, and include it with your claim. This report by NAAF grant recipients Drs. Wilma Bergland and Berna Remzi contains an outline that indicates the negative impact of hair loss from alopecia areata.
- Obtain receipt that says 'hair prosthesis" and have the person who provides you with the prosthesis sign your insurance form.
- Take pictures of yourself without a wig or corrective eye makeup(pictures can also be used to emphasize why treatment is needed).
- Enclose a NAAF brochure describing alopecia areata.
- Provide a detailed personal account of the emotional effects of your alopecia areata (and discuss the costs of frequent hair prosthesis purchases).
- Ask your employer for a letter stating the importance of your general appearance, including your hair.
Prepare for Denial of Your Claim
- Speak with your plan administrator.
- Obtain a list of your rights as the Insured.
- Obtain a copy of your full contract.
- Know your contract. Pay particular attention to exclusions for prosthetics (wigs may be excluded as cosmetic). If your policy does not spell out exclusions under prosthetics, this may help you win your claim. If your claim is denied as 'not a covered benefit,' write an appeal.
- As for a review by a medical review board
- Attach a copy of your original claim and all supporting materials. Explain the difference between a wig and a prosthesis. Explain the functions of body hair: it protects the scalp from the sun; protects eyes from dust particles; regulates body temperature; filters particles from the nose and protects the skin.
- If you are undergoing treatment, explain again how this is NOT cosmetic treatment.
- Ask for a written reply (insurance companies resist writing anything that may be considered 'bad faith' in future court cases).
- Send your appeal to a claims supervisor or manager. If you don't, the person who initially reviewed your claim may reject it again.
Consider Small Claims Court
- Keep all correspondence in preparation for this possibility.
- Do not reply on your memory.
- Insist on written confirmation from your carrier for all conversations. Make sure this includes date, time and full name and title of the person with whom you spoke.
- You should follow up all conversations with your own confirmation letter, which you should supply to the insurance carrier. Make sure to document the date, time, and full name and title of the person with whom you spoke.
Contact Your State Insurance Commissioner
- You may file a claim against your insurance company through your state Insurance Commissioner's office.
Work with your State Legislature to Secure Mandated Coverage
If you or someone you know has been diagnosed specifically with alopecia areata, you may request information from NAAF here.
We will send you a basic information packet that contains:
- A letter of introduction
- A list of NAAF support groups and telephone support contacts
- Brochure - What You Should Know About Alopecia Areata and the National Alopecia Areata Foundation
- Brochure - Helping You Cope with Alopecia Areata
If you specify that the person with alopecia areata is under 18, we will send the basic information packet plus:
- Brochure - A Parents Guide - Parents Talking to Parents about Alopecia Areata
- Brochure - Alopecia Areata: From a Child's Point-of-View (written and illustrated by children for children)
- NAAF newsletter excerpts on raising a child with alopecia areata and promoting self-esteem
- Information on becoming part of the NAAF Children's Network
- Two stories from the NAAF newsletter written for young children (if the person is age 13 or under)
Let NAAF Help YOU Help Your Patients with Alopecia Areata!
- Increase patient satisfaction and create better outcomes through support from THE worldwide organization for alopecia areata.
- Order our family of educational materials designed to answer questions to people of all ages with alopecia areata.
- Receive our quarterly newsletter to stay up to date on the latest medical, research, awareness and support activities concerning alopecia areata. The newsletter is great reading for your waiting room.
- Allow NAAF to refer patients to you.
Receive a FREE Medical Professional's Toolkit in the mail, that will include:
- Sample brochure - What You Should Know About Alopecia Areata and the National Alopecia Areata Foundation
- Sample brochure - Helping You Cope with Alopecia Areata
- Sample brochure - A Parents Guide - Parents Talking to Parents about Alopecia Areata
- Sample brochure - Alopecia Areata: From a Child's Point-of-View (written and illustrated by children for children)
- Medical professionals' order form for additional patient educational brochures for your office
- Application form to become part of the ALOPECIA AREATA MEDICAL PROFESSIONAL DIRECTORY
- Current NAAF quarterly newsletter
Fill out this form today and we will send you a kit.


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DeWitt Tennessee Williams wrote "A Streetcar Named Desire" 66 years ago, but the play continues to transfix audiences with its unapologetic depiction of a family wracked by secrets and rocked by strife.
Set in a lower-class New Orleans flat in the summer of 1947, "Streetcar" pits the "king of the castle," Stanley Kowalski, against his visiting sister-in-law from Mississippi, Blanche DuBois.
In the CNY Playhouse production now on stage at Shoppingtown Mall in Dewitt, director Patricia Elise Catchouny wisely cast two of Syracuse's best performers – Jodie Baum and Jordan Glaski – in the lead roles.
Jodie Baum, who has starred in such demanding shows as "Sweeney Todd" and "Lizzie Borden Took an Axe," said that Blanche was the most difficult role she ever played. No wonder Baum found this character a challenge. Blanche remains one of the most complex individuals ever created on stage. While most playwrights – even those as accomplished as William Saroyan and Eugene O'Neill – often fail to fully develop their female characters, Williams managed to plumb the depths of Blanche DuBois.
Williams apparently based Blanche on his emotionally disturbed sister, Rose, who was eventually institutionalized. Like the schizophrenic Rose, Blanche lives in two worlds, one rosily idealized and one frighteningly real.
Baum readily admits that, physically, she's not as "delicate" as previous Blanches such as Jessica Tandy or Vivien Leigh. Nevertheless, Baum creates an incandescent character, hateful and bitter one moment, pitiful and pathetic the next. Her Blanche may be big, but she withers under Stanley's torrential litany of dark secrets revealed, and in the end she wilts like a flower in the fall.
At first glance Stanley appears one-dimensional – crude, rude, loud and demanding – but Glaski masterfully demonstrates that Stanley's macho bluster masks an endearing vulnerability. His love for Stella, for instance, is evident in the tender way he touches her and the way he fondly recalls their courtship. On the other hand, his disdain for Blanche comes across in dialogue as direct as a hurricane's thunderclap.
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XFINITY On Demand: Katie Chang Steals the Show in 'The Bling Ring'
Actress Katie Chang, who plays "Bling Ring" leader Rebecca in Sofia Coppola's new movie, explains why you should watch it now with XFINITY On Demand.
Actress Katie Chang, who plays "Bling Ring" leader Rebecca in Sofia Coppola's new movie, explains why you should watch it now with XFINITY On Demand.
David Letterman made fun of Paris Hilton's ever-changing lineup of boyfriends when she turned up on the "Letterman" show with this year's "love of her life." Watch …
While making the talk-show rounds promoting the new season of "Mad Men" (which premieres Sunday night at 8/7c on AMC), series star Jon Hamm did not waiver on his recent comments about Kim Kardashian in which he called the reality star a bleeping idiot.
At least three celebs have come out recently with statements deriding the Kardashians that hold them up for comparison against higher-toned forms of popular entertainment.
After all the goings on that surrounded Kim Kardashian after she ended her marriage to Kris Humphries after only 72 days, she might have had her "come to Jesus" moment,… More
Post parties after the Golden Globe Awards, less raucous than in previous years, flowed instead of crackled, conjuring up the understated 1920s glamor of black-and-white French-directed silent film and Globe comedy or musical winner "The Artist."
ASPEN, Colo. — Police say Charlie Sheen's ex-wife, Brooke Mueller, has been arrested in Aspen on suspicion of third-degree assault and cocaine possession with intent to distribute. Authorities say officers… More
Welcome to the real world, Paris Hilton. "The World According to Paris" won't be back for a second season, according to Vulture. Oxygen is not expected to renew the mostly… More
LOS ANGELES (Reuters) – Seems like former "Golden Girls" actress Betty White really does have the Midas touch. White, 89, is both the most popular and most trusted celebrity with… More
Paris Hilton may be passe, but don't tell her that. Hilton appeared on "Good Morning America" Wednesday for a sit down at her Los Angeles home to discuss her career,… More
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about Todd FlowerdayA Roman Catholic lay person, married (since 1996), with one adopted child (since 2001). I serve a parish in music ministry.
about John Donaghy
John is a lay missionary since 2007 with a parish in western Honduras. Before that he served in campus ministry and social justice ministry in Iowa. His ministry blog is http://hermanojuancito.blogspot.com
He also blogs reflections on the lectionary and saints/heroes/events of the date at http://walktheway.wordpress.com
He'll be a long-term contributor here analyzing the Latin American bishops' document from their 2007 Aparecida Conference.
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Daily Archives: 22 November 2012
Sing With Thanksgiving
A portion (7-11) of Psalm 147 for Thanksgiving Day: Sing to the Lord with thanksgiving; make melody to our God on the lyre. He covers the heavens with clouds, prepares rain for the earth, makes grass grow on the hills. … Continue reading
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Built of Living Stones 178-179: The Role of the Apostolic See and the Diocesan Church
Parish communities do not operate in local isolation. It is essential to gain the consent of the local bishop, and to involve him in what the BLS calls a "discernment process." People who work for the bishop or who serve … Continue reading
Posted in Built of Living Stones, USCCB documents Leave a comment


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Monday, April 07, 2008
April 4, 2008
The Lady Bisons lost to Stetson on Friday, April 4th by a score of 7-0.
Galbarini/Purushotham (SU) def. Kara Jackson/Claire Landry (LU) 8-2
Atkinson/Canady (SU) def. Olivia Ellis/Caitlin Khouri (LU) 8-1
Gorham/Leonenko (SU) def. Raphaela Jann/Mariana Rangel (LU) 8-2
Gulbarini (SU) def. Jann (LU) 6-0, 6-0
Atkinson (SU) def. Jackson (LU) 6-2, 6-2
Purushatham (SU) def. Khouri (LU) 6-0, 6-3
Jones (SU) def. Landry (LU) 6-1, 6-1
Leonereko (SU) def. Ellis (LU) 6-2, 6-1
Gorham (SU) def. Kuertz (LU) 6-2, 6-1
"All the girls have had good matches this year, but we've had a hard time putting it together as a team. If they bring their best game to the matches we have left, we will get a win," said Coach Kristin Lusk.
Their weekend series included a match against Florida Gulf Coast on Saturday, April 5th.
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After a whirlwind year – ripe with radio rants, "goddesses," a cross country live stage show and highly publicized disputes with his former CBS bosses – Charlie Sheen says his seemingly dizzying life has begun to slow down.
"It's a lot calmer. It's a lot mellower," Charlie, 46, told NBC's Matt Lauer in a new interview set to air on the "Today" show on Friday, when asked about his current "emotional state." "I don't really know what happened… I said some stuff and then it caught such traction globally and instantly that I couldn't really put out the fire. I had to keep fueling it."
Though the actor said the turbulent times were "pretty exciting," he admitted he'd amend one key Sheen-ism if given the chance.
"The tiger blood," the former "Two and a Half Men" star told Matt, when asked what he would have done differently. "It was so silly and people took it so seriously and I figured, alright, I'll continue to give the people what they want, you know?"
Additionally, Charlie — who said he is currently "absolutely" sober — told Matt he's shifted the focus in his life, and has made his children with ex-wives Denise Richards and Brooke Mueller his main priority.
"I'm seeing my kids a lot more, mending fences with Denise and Brooke, just trying to move forward and prioritize what matters," he told Matt. "You know, just really get back in touch with some more reality… It's what I call the moments inside the moments. I think that's where the life is, you know, it's in those quiet moments. "
Adding, "It's not the giant TV deal or the big party or the award or whatever, it's the memory of your child's smile at the end of the day that sort of brings that one lonesome tear."
Catch the full interview with Charlie – Friday on the "Today" show on NBC.
Copyright 2015 by NBC Universal, Inc. All rights reserved.
This material may not be published, broadcast, rewritten or redistributed.


text: PRD Software gets a visit from the Microsoft Regional MSDN Director HelpMaster Blogs HelpMaster Administrator email response managmentHelpMaster Oct 30 2007 Last week PRD Software had an unexpected, although very welcome visit from the Australian Microsoft MSDN regional director Adam Cogan, founder of www.ssw.com.au. I had caught up with Adam at the recent SQL Server code camp in Wagga the previous weekend, so it was a great surprise to hear that he was in Canberra and headed my way. Adam was doing some consulting here in Canberra, so whilst in town he made good on his promise to visit PRD Software. For those who don't know Adam, or who have never heard him speak at Microsoft events all around the world, you should know that he has a keen eye for user interface design. He's so passionate about it that he has written the rules on it! After a quick tour of the office premises here at PRD Software, Adam quickly found himself seated at one of the developers workstations, doing an impromptu code-review of HelpMaster Pro, and trying out the emailing capabilities of HelpMaster Pro and it's integration with the Email Manager. One of the first things he tried was to see how the new HelpMaster Pro Email Manager could automatically handle an error report that had an embedded screen-shot attachment. He promptly created the following email... ... and sent it away for processing. As expected, the HelpMaster Pro Email Manager picked it up in seconds and logged a new helpdesk job for him, complete with the embedded email attachment. HelpMaster Pro makes an excellent development team bug tracker. But Adam wasn't finished just yet. He gave us quite a few tips on user interface design, and made some very good suggestions on our use of source control, coding standards and a few settings in Visual Studio 2005 that we didn't even know existed. Most interesting to us were certain user-interface elements of HelpMaster Pro that didn't agree with him. In particular.. Too many toolbar buttons. His comment was that it makes the product look overly complex and intimidating for first-time users. Too many colours on the toolbars and screens. "You've got a kaleidoscope of colours here...." were his exact words. Non-standard use of some screen behaviour - in particular the way the Welcome screen expands out to the right when you click on customize. As usual, we've taken all suggestions on board and will be reviewing some of our design practices. With these observations in mind, I would like to ask the HelpMaster Pro blog-reading community what they think. Do you agree, do you disagree, or has something else about the new HelpMaster Pro v8 version offended your sense of style, performance or useability? If it has, we need to know so that we can do something about it. Please let me know you thoughts, no matter how trivial, or profound, and I'll be sure to review your suggestions with the development team. I look forward to your comments. Thanks Adam. Thanks world-wide HelpMaster Pro users. Best regards, Rod <p> </p>


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Man drowns in apartment complex pool
A man died in an apparent drowning Wednesday evening at a pool at Pine Meadows Apartment Complex, 2500 Nonesuch Road.
According to police, a man in his 20s was found at the bottom of the pool in the deep end. Emergency responders were called at 5:36 p.m.
He was pulled out of the pool and CPR was performed on him before the man was transported to Abilene Regional Medical Center, where he was pronounced dead.
The identity of the man is not yet known, and an autopsy was ordered by a Taylor County justice of the peace.
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October 4, 2015
LINCOLN, Neb. (AP) -- The ACLU of Nebraska has named a state senator from Lincoln as its executive director.
Sen. Danielle Conrad will join the group in November. She is leaving the Legislature in January due to term limits.
Conrad worked as a policy counsel for the group Nebraska Appleseed before serving as a lawmaker. She also served as executive director of the Lincoln Parks Foundation, and led this year's campaign to place a proposed minimum wage increase on the November ballot.
In the Legislature, Conrad served on the budget-writing Appropriations Committee and worked on legislation related to workplace fairness, reproductive freedom and immigration.
ACLU President Leslie Seymore says Conrad has been as a strong advocate for basic civil rights and liberties.
Conrad earned her law degree from the University of Nebraska-Lincoln.
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Internal oil leak
I am looking for an oil leak that might be on the inside of the engine. What is the likely hood that oil could leak past the injector orings? Over the few tanks of fuel the milage has gone down, and I am loosing oil some ware. I have not been able to find it any ware and this is why I am think this way. I have washed the engine down and it is clean, but still can not find any leaks but it is not in the crankcase. Is there any way for certain that I can do the determine of it is the injector o rings. If anyone has any ideas please let me know. This problem is blowing my mind away. The truck is running great I have no power loss or anything like that. If someone feel like that the engine is going bad please let me know. I have 190,000 miles on the truck, and like I said it is running like a top. I just need some help with this thanks Nick
Internal oil leak
Hmmmm.... How much oil are we talking here, 15 quarts or just a quart or two. Need more info to help you out buddy.
Year, Engine, Truck info. How do you know your not burning the oil as in the engine does have 190,000 miles on it maybe just using a quart or two of oil now. I can't really help you out with out more info. But here is somethings to check.
Air Cooler tubes for blow by, Engine coolant possible leak in the oil cooler and the oil is leaking into the coolant, Exhaust possible oil is being dumped out the exhaust, it is possible that the injector O-rings are leaking oil too and the engine is burning the oil.
Give us some more info about the truck and we can help you out some more.
Like how much oil is being used or is mising compared to the mileage driven since oil was replaced. Engine type, year and model of truck. Then we can find a better idea of where this oil is going.
may be o-rings ,what ive run into is the oil is actually going thru injector ,wil ru fine but loses oil ,will probably have to remove all injectors and have them tested , there is a rotunda tool that can be used to pressurize injetors with shop air and is oil runs out of spil spouts ,oil is going thru injectors, need more info on tools let me know , only people i know that have them are the dealers around here
Hey guys thanks for the start of the help. I have a 96 F-250 4X4 crew cab 5 spd. I just changed the oil and I have 300 miles on this chnage and i am down one quart. It is funny because it looses oil sometimes and not other times. It will go fine with no loss like a oil change then the next change it will loose a qart every 300 miles. I have other times ware it goes 2000 miles with no loss, but then will loose 3 or more quarts in the 1000 miles of that oil change. Like i sated before the truck runs like a top. My fuel millage is down some not alot but noticable. I am going to try to put the oil leak die in the engine to see may be the leak is external and i have not found it yet. Thanks for the help. Nick
Internal oil leak
Sounds to me more like depending on how you drive it. Your burning oil not leaking it. If you are doing stop and go city driving alot then your getting less oil loss. If your haulin down the highway then your getting more oil loss. I think your just buring the oil. But that is what I think.
I just want to add something that might be important. I removed the clip that controls the EBPV. I noticed the oil leak when I removed the connection to the engine. I am wondering if it could be the problem. Let me know what you think. Thanks again for your help with the problem. I just thought about this today. I am going to run it by the Ford dealer to see what they say to see if this fits the problem.
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text: Clip of the Week An audio highlight from this week's local programming. Montana Festival Of The Book Celebrates The Written Word By Josh Burnham • Oct 9, 2014 In our Clip of the Week, Kim Anderson, Associate Director of Humanities Montana, talks about what makes the Montana Festival of the Book so special: community. The festival is happening October 9 - 11 in Missoula, and includes a poetry slam, a special edition of the wildly popular storytelling event "Tell Us Something," a 15th anniversary gala event, and a roster of best-selling authors, including James Lee Burke, Pete Fromm, Walter Kirn, Gwen Florio, and many others. Poet Brings Life To Missoula Airport's Stuffed Bear By Josh Burnham • Oct 2, 2014 PD "In this city dedicated to the bear, I haven't seen a bear yet. Except in the airport lounge, where one such specimen is stuffed. Do you know the story?" In our Clip of the Week, Poet Eduardo Chirinos, a professor at the University of Montana-Missoula, writes about bears - real, symbolic, and stuffed. Listen to the entire episode of "Reflections West" featuring Eduardo Chrinos and Linds Sanders. Or hear more on your radio every Tuesday 8:30 p.m. and Wednesday 3:55 p.m. Freedom Is A 3,100 Mile Solo Hike By Josh Burnham • Sep 25, 2014 Clay Scott "I can't imagine a better existence," says Kayla Murchison. She's nearing the end of a 3,100 mile solo hike on the Continental Divide Trail. After 4 1/2 months walking from Mexico to Canada, she's "hard as nails", and "ready to take on anything." In our Clip of the Week Kayla talks about the simplicity, freedom and beauty of life on the trail. What Can We Learn From Wildlife? By Josh Burnham • Sep 18, 2014 Hunter J. Causey Humans like to believe we're on the top of the pyramid when it comes to intelligence. Wildlife biologist Douglas Chadwick isn't so sure. In our Clip of the Week, Chadwick talks about his experience working with big-brained animals, and explains two great reasons for studying wildlife. 'Okay to think your own thoughts...' By Josh Burnham • Sep 11, 2014 "Okay to take pictures. Okay to sit on turtle. Okay to let your dog out. Okay to think your own thoughts (crackpot though they might well be)." These words greet all who visit the domain of 95-year-old Montana artist Bill Ohrmann. Music Starts In The Forest For This Montana Composer By Josh Burnham • Sep 4, 2014 In our clip of the week, Eric Funk, a Bozeman composer, jazz musician and host of the MontanaPBS television series, "11th and Grant" talks about his creative process. Eric says most of his compositions start not in front of a piano, but off the beaten path in the solitude of Montana's forests. Her Kisses Made Him Fireproof, But Will Jaybird Survive The Explosion? By Chérie Newman • Aug 28, 2014 Tom Zavitz painting When ten-year-old Carlita Milkey bewitches nine-year-old Jaybird, he decides to win her love by giving her her heart's desire: the biggest, most expensive package of fireworks available at Mr. Oltrogee's fireworks stand. But he doesn't have $19.95. So, he decides to stage an elaborate robbery. In this short clip from The Church of Pancakes Jaybird and his friends meet to finalize the plan. Sixteen Years Old And A Veteran Of The Cotton Club By Josh Burnham • Aug 21, 2014 At 16 years-old, Solomon Hicks is already a veteran of Harlem's famed Cotton Club. Since age 13, this musical prodigy has been the lead guitarist with the "Cotton Club All Stars." Solomon excels in Jazz, Blues, Classical, Gospel, R&B, Funk and classic Rock. In the 10 years he's been playing music, Solomon has put together an impressive resume. In our Clip of the Week, Solomon Hicks explains how hard work and practice helped him win over skeptics who didn't think a youngster like him could hang with more experienced musicians. NPR Film Critic: 'We're Not In A Great Position In American Filmmaking' By Josh Burnham • Aug 14, 2014 Kenneth Turan is a film critic for NPR and the LA Times. He's the author of Not To Be Missed: Fifty-Four Favorites From A Lifetime of Film. In our Clip of the Week Turan explains why Hollywood movies seem to be losing some of their luster as they target ever larger audiences. The Golden Girl Of Soul: 93 Year Old Mother Opens For 71 Year Old Son By Josh Burnham • Aug 7, 2014 Christopher Allen If there were an award for best-dressed performer at the 2014 Montana Folk Festival, it would have to go to Soul and R&B legend Swamp Dogg. Swamp Dogg is still on the road at age 71 with his long time opening act, his 93 year old mother, the elegant and charming Ms. Vera Lee. Get a taste of their family style in our Clip Of The Week. Productivity Tip From A Farmer-Mother: Mud By Josh Burnham • Jul 31, 2014 As a busy mother, farmer and journalist, Courtney Lowery Cowgill knows a few things about hard work and multi-tasking. In our Clip of the Week, she shares a tip that helps her squeeze a little more productivity out of her day: mud. Listen to the entire program about Women Farmers, or find more "In Other Words" online, via podcast or on the air Tuesdays at 10:30 p.m. Finding Peace Between People And Elephants By Josh Burnham • Jul 24, 2014 David Western Dr. Jonah Western, chairman of the African Conservation Centre, Nairobi, Kenya Western is a scientist studying conflict and co-existence between wildlife and humans. In community-based conservation, Western has discovered a model that could be useful not just in Kenya, but in Montana. In our Clip of the Week he explains how two different elephant encounters heavily influenced his view of wildlife and wildlife-human conflict. What's Really in 100% Orange Juice? By Josh Burnham • Jul 16, 2014 Civileats.com, Gardenblackwash Does the term "100% pure orange juice" accurately describe an orange-flavored, chemically-altered, long-shelf-life product? "The Food Guys" explain why 100% pure may not mean what you think it means. Hear the entire Orange Juice episode or listen to "The Food Guys" online, via podcast, or on the air on Sundays at 11:20 a.m. Clip Of The Week: Like Asking For A Date By Josh Burnham • Jul 10, 2014 IMG Artists Grammy Award-winning violinist Hilary Hahn commissioned 26 composers from around the world to write short-form works, suitable for use by violinists as performance encores for her latest recording "In 27 Pieces". In our Clip Of The Week, Hilary tells John Floridis that cold-calling composers was like asking for a date. Clip Of The Week: A Child's Experience With Segregation By Josh Burnham • Jul 3, 2014 Dr. Les Purce is the president of The Evergreen State College. The family photos on his wall are an American account of slavery, Indians, westward migration, hard luck and hard work. In our Clip of the Week, Dr. Purce recounts a childhood experience with segregation. Listen to the entire interview with Dr. Purce, or hear more episodes of Home Ground Radio online, via podcast or on the air on Tuesdays at 1:00 p.m. Clip of the Week: Crafting a Life in Montana By Josh Burnham • Jun 26, 2014 Clay Scott Master canoe builder Greg Morley loves building canoes and exploring the Montana wilderness surrounding his home. He talks about the intersection of place and purpose in this week's Clip of the Week. Clip of the Week: Conflict Between Trappers and Blackfeet By Josh Burnham • Jun 19, 2014 In 1810, John Jacob Astor sent out two advance parties to settle the wild, unclaimed western coast of North America. More than half of his men died violent deaths. The others survived starvation, madness, and greed to shape the destiny of a continent. Listen as Peter Stark describes how the killing of a Blackfoot man by the Lewis and Clark expedition came back to haunt later fur trappers. Clip of the Week: Pramila Jayapal on immigrating to the U.S. at sixteen By Beth Anne Austein • Jun 12, 2014 Pramila Jayapal Pramila Jayapal is a fellow at the University of Washington law school and the Center for Community Change, and a Washington state senate candidate. She ran an immigrant advocacy organization for 11 years, and was a White House "Champion of Change" in 2013. When Jayapal came to the United States from India at age sixteen, her family could afford just one international phone call with her each year. Listen below as she talks about the call that dropped a bombshell on her father.


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Organic cotton ribbed chunky knit cardigan in pebble tone featuring dinosaur spikes attached along the back and hood in yellow.
Long sleeves and front zip fastening.
This item is made from certified organic cotton.
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Machine wash at 30°
The Stella McCartney fit can be quite small so we advise you to choose a size up if you want room to grow.


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Big K.R.I.T. 'Boobie Miles' Video: Rapper Aims to Movitate in Black-and-White Clip
Big K.R.I.T. delivers the visuals for his new track 'Boobie Miles,' which appears on his recently released '4Eva N a Day' mixtape.
The Mississippi-born rapper, who's signed to Def Jam and will release his debut LP, 'Live From the Underground,' on the label, tapped director Va$htie to film the black-and-white clip, which centers on three men striving to achieve their goals while playing various sports. The track is titled after Houston high school football player James "Boobie" Miles, who was the inspiration for the book and movie 'Friday Night Lights.'
In the clip, a soccer player, basketball player and bike rider are driven to complete their respective wins, whether it be towards the soccer goal, basketball hoop or landing a fresh turn. All while they're attempting their feats, K.R.I.T. is recording in the studio and laying down lyrics, working equally as hard.
K.R.I.T.'s '4Eva N a Day' mixtape debuted March 5.
Watch Big K.R.I.T.'s 'Boobie Miles' Video


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Dear Ubuntu 9.04 users, the time has come to say goodbye to the Jaunty Jackalope release of the popular Ubuntu operating system. One month from today, on October 23rd, it reaches end of life.
Almost 18 months ago, on the 23rd of April, 2009, Canonical was proud to announce the release of Ubuntu 9.04, dubbed Jaunty Jackalope, which introduced features such as GNOME 2.26.1, Linux kernel 126.96.36.199, LZMA compression, automatic keyboard detection, Computer Janitor app, Brasero, PulseAudio, and of course, the wonderful system notifications powered by notify-osd!
Starting with October 23rd, 2010, Canonical will stop "feeding" the Ubuntu 9.04 (Jaunty Jackalope) operating system with security or critical fixes, and software updates!
Therefore, we strongly recommend upgrading your Ubuntu 9.04 machine(s) to the current version (Ubuntu 10.04.1 LTS). Or wait two more weeks for the brand-new and amazing Ubuntu 10.10 (Maverick Meerkat), due for release on October 10th, 2010.
"The supported upgrade path from Ubuntu 9.04 is via Ubuntu 9.10. Instructions and caveats for the upgrade may be found at https://help.ubuntu.com/community/KarmicUpgrades. Note that upgrades to version 10.04 LTS and beyond are only supported in multiple steps, via an upgrade first to 9.10, then to 10.04 LTS." - said Robbie Williamson in yesterday's announcement.
What is Ubuntu? Ubuntu is an open-source piece of software, 100% FREE to download and use. Users are free to customize or alter the included software in order to meet their needs.
Since its launch in October 2004, Ubuntu has become one of the most highly regarded Linux distributions with millions of users in homes, businesses, schools and governments around the globe.
The current release is Ubuntu 10.04.1 LTS (Lucid Lynx) and the next one, expected at the beginning of October, will be Ubuntu 10.10 (Maverick Meerkat).