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MODERATOR: I thank everyone for coming today, especially David Henry Hwang. It's really a pleasure for us to have such a distinguished playwright here with us. You all have his bio, so I'm not going to belabor this introduction. We thought it would be nice to start with a clip from Chinglish.
(Video shown.)
MODERATOR: We always have to start off our briefings with private citizens by stating that, of course, they are speaking on their own behalf. His views are not the views, necessarily, of the U.S. Government. So I'm sure everyone understands that.
MR. HWANG: That's good to say. (Laughter.)
MODERATOR: But if you don't mind, I'd like to ask the first question. So many of your plays have dealt with the issue of cross-cultural communication, understanding and misunderstanding, and I was just wondering what in your background has promoted this theme over the years.
MR. HWANG: Yeah. I mean, I suppose it has to do just with being a child of immigrants and that my father's from Shanghai, and my mother is Fujianese Chinese from the Philippines. So they met in Los Angeles in the 1950s. They were both going to school at University of Southern California. So I grew up mostly in the '60s and '70s during a period when it was not so popular to think about issues of difference, issues of being an ethnic, being a minority. I think we were raised more to be just regular Americans. And as I've become an adult and I became a writer, I just found that these issues started appearing on the page. I started writing about things like immigration and assimilation and clash of cultures. So some part of me was evidently very interested in this. But my conscious mind didn't figure that out until I started exploring things through writing.
MODERATOR: Open it up to the floor.
QUESTION: I just want to ask: Do you sort of have a mission agenda? You're trying to correct people's stereotype image of Asian American? Or you just want to be entertaining?
MR. HWANG: I feel like the two aren't – are compatible. The two things, I don't think that they're contradictory. I feel that the primary thing that I want to do is to create the best plays that I can. If I create work which is, in this case, funny or meaningful in whatever way, if the work is good, then people will see it, people will pay attention, and then in the process – see, I don't feel like you can really correct stereotypes, because I feel like stereotypes are bad writing. Stereotypes are just characters that are one dimensional, two dimensional that don't seem like human beings. So I think the way to correct a stereotype is not to try to create something that's the opposite of the stereotype, but try and just write characters that seem as human as possible, and then that seems to me to battle stereotypical ideas.
QUESTION: This is a question related to what Alyson was asking at the beginning which is about your writing. You told me back in 1989 or so about – we were talking about which comes first (inaudible), the writing or your own identity, which comes first. And I think you mentioned about Sam Shepard being one of your mentors –
MR. HWANG: Yeah.
QUESTION: -- since the – your writing workshop back –
MR. HWANG: Yeah. Have you – you want me talk about that a little?
QUESTION: Right.
MR. HWANG: Well, Sam Shepard is a great American Pulitzer Prize-winning playwright. He's also an actor now, since become a movie star. And yeah. I took a playwriting workshop with him one of the summers when I was in college – the summer before my senior year in college. And it was Sam and another great American playwright, Maria Irene Fornes, who taught us to write more from our subconscious, and that's when I began to realize that I was interested in some of these East-West themes that I've ended up writing about. So yeah. I think for me the writing came first, and then the discovery of identity. My discovery of identity came through – as I was saying to Alyson's question – I discovered it on the page. And then because this started to appear on the page, then I started to read more and try to learn more and do research, but it was really – in the chicken and egg, I think the writing was – I don't know if that makes the writing the chicken or the egg, but the writing was the first thing.
QUESTION: So you still haven't changed since –
MR. HWANG: I mean, I'm still – yeah. Since – between '89 and now, I mean, I've ended up writing a lot of other sorts of projects that aren't particularly about East-West themes also, so I guess I've expanded in that respect, but still, I think the writing changes me. In a way, you can say that the artist creates the work. But it is also true that the work recreates the artist. So yes. That process has continued, because I'm still working.
QUESTION: You mean, the "keep on keeping on" aspect?
MR. HWANG: Yeah. Yeah.
QUESTION: And now, in this global [economic] crisis, all the governments are cutting off from humanities and education. What is your response as a writer to that?
MR. HWANG: Well, in the United States, I feel like the funding for the arts has been under attack since the 1980s. So this is not something that in this country has just started being an issue since 2008. If anything, because I feel we've had an administration since '08 that's more friendly to the arts than the previous Administration, things have gotten better. The funding for the National Endowments for the Arts has increased. But I can tell you that through the '80s and '90s and all the time when the arts were under attack in government, especially on the federal level, I think one has to make the case in a lot of different ways that, yes, there is kind of an inherent way in which culture binds a people together.
Culture defines a national identity, and that's important. But there are also lots of practical results from the arts that I think are important in terms of helping students to increase their scores, helping creativity in general. Especially now when we live in an age where the kids that are growing up now will evidently have more than one career over the course of their adult lives. And that requires a certain nimbleness and flexibility and creativity that an arts education can supply. So I feel that there's a lot of, kind of, practical reasons to support the arts and arts education even in a bad economy.
QUESTION: What do you think the artist has to do in the time of a crisis?
MR. HWANG: I think that the artist can address a crisis. But I also feel that a lot of times the art – there's a certain kind of art that you make in the middle of the crisis. And then there's a certain kind of art that you can make afterwards that reflects on it. And sometimes I think it's hard for an artist to really understand the full scope of a crisis as it's going on, which doesn't mean you don't try to address it, it just means that the art that you make afterwards might be better.
QUESTION: Which moment are you at right now?
MR. HWANG: Right now, with Chinglish and some of the things that projects I'm working on now, I seem to be very interested in the future of U.S.-China relations. I feel like that doesn't mean I know that much about it – (laughter) – and lots of times I work on things and write to learn, but I went through a period, especially early in my career, when I was very interested in what we now call multiculturalism. What's the place of minorities in different cultures in America? And at this point, I feel like I'm less interested in that, and I'm more interested in how do all these all these issues apply on an international level?
For instance, the notion that, on multiculturalism, we sort of came around to the idea that in America different groups of people, different communities, different cultures, see things differently. You can't just assume that everybody sees things the same. And so it's even more important, I think, to apply that to the world. And we are at a point when I think the U.S.-China story will be very important in this century, one way or another. And so I kind of try to address it the way I can by writing stories about it.
QUESTION: Where do you do your research?
MR. HWANG: Well, for instance, sometimes I don't know what I'm researching. Like this play [Chinglish], I just started – I mean, the first time I went to China was in '93, but that was sort of as a tourist and going to see where my father grew up and all that. But then I started going over more regularly in '05 about – and really only about once or twice a year – but I try to get over and see what's going on and read and learn more about China. And then, at a certain point, I started thinking it would be interesting – I was at a new art center and everything was really beautiful except that the signs were very Chinglishy – you know, the "deformed man's toilet" kind of sign for handicapped restrooms.
And so then I started to think, oh it might be interesting to write a play about doing business in China, but one that would deal with the issue of language, because we don't do that – Americans, we don't do that. We don't speak foreign languages – and when we Americans make movies or do plays about foreign countries, and Americans go to a foreign country – let's say, you're watching a movie and Harrison Ford goes to Brazil or something, and all the Brazilians speak English with a Brazilian accent, and it just doesn't capture the experience at all.
So I'd worked in opera – I'd written eight or nine opera libretti, and so I started getting used to seeing my words projected. So I started to wonder if you could do that in a play, and that led to Chinglish. So sometimes it's just – I just kind of – I started going to China in '05 just because I was interested and I wanted to try to learn. And then eventually it led to a play. So I don't necessarily always know where the research is leading.
QUESTION: Can you talk more about the movie production of the Chinglish. It's preproduction or it's like --
MR. HWANG: I'm still working on the script. I mean, we just announced there will be a movie version of Chinglish. We just announced it like a few weeks ago. And the director is Justin Lin who's a Taiwanese director originally – Taiwanese American – who made a couple of independent pictures that I love, early in his career, called Better Luck Tomorrow and Finishing the Game, and then became a big Hollywood director by directing the Fast and Furious movie with Vin Diesel and the cars.
And so Justin and I had been – we've known each other for a while – and we've been looking for something to do together.
And so back in December, he and Elaine Chin who runs his production company came out and saw the show and we began talking about it and then eventually it was great that there were other people who also wanted to try to make a movie of Chinglish, who wanted the rights to the movie, but I felt that it – Justin and I have known each other for a while, we've wanted to find a project to do together, and so I – because I trust that maybe this will go pretty well, because as a writer in movies you don't have any control. As a writer in theater you have a lot of control. They can't change your words; you have approval of who gets cast. In movies you don't. The director has most of the control. So I felt like it was really important to try to get into a situation with a director who I trust. And you never know what's going to happen – maybe at the end of the process I won't trust – we won't trust each other. (Laughter.) But hopefully we will.
QUESTION: So you don't like – so you like to have all the control.
MR. HWANG: I like to have all the control on some things. I feel like there are different – the different genres have – there's usually somebody who holds the primary artistic vision and the other artists support that.
So in a play, I hold the primary vision, and everybody else tries to make my vision come to life. But I work in other forms where I come in as the cross-person to try to help someone else realize their vision. So if I do an opera for instance, I feel like part of my job is to help the composer do his or her best job. And if the composer doesn't like a line or the composer wants something shorter, then I feel like I defer – that's because the composer's the primary artist. And in a film it's usually the director. So it kind of depends from genre to genre.
QUESTION: How did you bring this particular play, Chinglish, to Broadway? Because nowadays with the horrible economy whatsoever, you need lot of investors, you have to convince them first of all.
MR. HWANG: Yeah --
QUESTION: But is it the sort of Tony Award thing?
MR. HWANG: Well, yeah, but I mean, it doesn't mean that everything I write goes to Broadway. I mean, I feel like it's kind of – especially with plays – I feel like I just write the play that I want to write, and then I see who wants to produce it. Most of the time, I don't expect the plays to go to Broadway because it is expensive. And there's a big risk and – but this happened to be a play where, I mean when I wrote it I had – I thought – what would I, in my dream, what would I like to happen? So my dream was like, okay, we would start it in Chicago because I like to do the play someplace else first, it would give me another chance to work on it. So we start in Chicago at the Goodman, and then we would bring it to New York and we would eventually come to Broadway. And so I sent it to the Goodman in Chicago, they decided they wanted to do it, and – I mean everybody who read the play just kind of decided they wanted to do it in like 24 hours. It was really quick.
So I don't know. I mean, I think there was the feeling that, oh, it's a comedy. China is a very – people are very interested in China. For whatever reason, people decided that – the producers who took the show to Broadway decided that they wanted to take a gamble on it.
QUESTION: So was it supposed to be shown in the Public Theater first?
MR. HWANG: It was originally going to be shown at the Public Theater. The original plan was to start at the Goodman, go to the public, and then go to Broadway. But the Broadway producers were so eager to take it to Broadway that we kind of skipped the Public Theater step.
QUESTION: And what did you think of the new formula of putting a Hollywood star?
MR. HWANG: Well, we tried to not to. We tried to go to Broadway without a movie star. And we didn't run through the whole season either. So I'm proud of the fact that we tried to do something that kind of bucked the trend, but it's hard when you don't have a movie star.
QUESTION: I want to know, what do you attribute your success? Because you be doing a thing in Chinese, but you have become success in Americana. Most of times, I mean, ethnic plays or stories do not resonate that much in Americana. What is it that you attribute this to?
MR. HWANG: I don't know. I mean, first of all, I would say that there are – it's necessarily true that just because a story features a minority or an ethnic group that – some of those do succeed. Even -- there's a lot of African American plays that succeed, there's --
QUESTION: African American plays are also not part of the mainstream. I mean, I know that there's Evita and so on and so forth, but that's not the point. What is Chinglish, for instance?
MR. HWANG: Well, I --
QUESTION: (Inaudible) Indian – I've seen some Indian plays, but they have no success of, like, Chinglish.
MR. HWANG: Yeah, it's really hard for me to know why it is that some things are commercial and some things aren't.
QUESTION: Yeah.
MR. HWANG: And that's why, like I said, I don't know when I write the play whether –
QUESTION: It will be --
MR. HWANG: Whether it's going to be commercial. And some of them just happen to be – get lucky. I remember when I finished the first act of this play, we read it in a room like this with the actors sitting around the table, and we used a sort of PowerPoint to simulate what the titles would be like just because I had no idea, like, well, can you really do a play where you have to read part of it? So it's always an experiment for me. But yes, I've had whatever – seven plays on Broadway – seven shows on Broadway now, and that's a lot for – most people don't – that doesn't happen to most people. And so what is it? Is it I'm good? I'm – I don't know. It's just –
QUESTION: Have you censored your shows in order to be more commercial?
MR. HWANG: No.
QUESTION: Let the show run as much as possible?
MR. HWANG: No. I really want the show to run as long as possible, and I try to do whatever I can to go to functions and talk to people and try to sell tickets. But in terms of the actual content of the play, I don't, especially if it's a play. I've worked on other things that are more commercial projects, like I wrote a couple Disney musicals that have been on Broadway. And I think in those projects, there is the sense that we do – we are trying to make something that's commercial. With the play, I feel like I'm trying to write the thing that I want to see, and if I'm lucky, someone takes it to Broadway, and if I'm lucky, people buy tickets. But that's not why I'm doing it.
QUESTION: So did you travel back to China recently (inaudible) in 2005? You travel there regularly.
MR. HWANG: Yeah. I have been traveling about once or twice a year. Although, I have to say I have not been this year. So I have to find an excuse to go this year.
QUESTION: Then usually how long you will stay there?
MR. HWANG: Just two or three weeks, not that long.
QUESTION: While you're there, you want to know the Chinese culture, right? So what do you –
MR. HWANG: So what I usually do is I have people who kind of set up an agenda for me to go and see shows, meet people, just kind of try to soak up as much of the environment as I can and talk and meet as many people as I can, and that's really all I can do. And then the rest of the year I try to read things. And so I don't feel like I know very much, but I know more than I used to.
QUESTION: Have you ever thought taking this Broadway Chinglish to China, or have you tried?
MR. HWANG: Well, that's an interesting question. I would love to take the show to China. Of course, the play that I'm best known for is M. Butterfly, which can't be done in China and was just, a few years ago really, there was a – they tried to do a production in Shanghai in English. So it was just for expats. And like five performances in a hundred-seat theater, and that got shut down after three performances. So M. Butterfly can't be done in China. Chinglish I think maybe can, but it kind of just depends, because you never exactly know which way the winds are blowing and who's going to – yes.
QUESTION: (Inaudible) plays (inaudible) in the communication and culture exchange, but I saw in the play that misunderstanding language can be very funny and very cute and even making people fall in love in this play. What do you think this kind of misunderstanding in language? I mean, should people always conquer that or this can be there?
MR. HWANG: I think there's always going to be misunderstandings. Even if we speak the same language, there's misunderstandings, especially when it comes to love. Once you fall in love with somebody or you're trying to have a romance, probably you're misunderstanding each other on some level. So none of us speaks any language perfectly. And I think the play is really – is about all the different ways that we misunderstand each other from not speaking the same language, which is the most superficial level, then to having some basic different assumptions about things like love and marriage. So I don't know that – I don't think the play is trying to say that we should work to – or we can – overcome misunderstandings, because I think there will always be. But I think it's important to be aware that you can't just assume that the other person, when you're – whether you're in business or in an interview or in love or whatever, you can't just assume that the other person knows what it is that you're trying to say.
QUESTION: So is there –
QUESTION: Go ahead.
QUESTION: You are very interested in the China and the U.S. relationship, and now – maybe if there is a next play, what do you want to write about? It's about the (inaudible) of the two countries or –
MR. HWANG: I don't know. I don't know yet. I mean, I'm not writing it, so – I mean, the next thing I'm working on – the next play is about Bruce Lee. So it's more historical – recent history. But I do think I want to do something else about contemporary relationships between the U.S. and China, but I don't have a story yet. If I had a story, I'd be writing it.
You – oh, I'm sorry. In the back and then you. Sorry.
QUESTION: Okay. I'm sorry. I just wanted to follow up on my, like, movie production question about –
MR. HWANG: Okay.
QUESTION: (Inaudible) about like the – different market in China and the U.S. I'm saying in terms of market barrier movies, like, less difficult than plays. So also there is an ongoing trend about U.S.-China cooperation like production things, like a lot of Hollywood studios, they set up their own production film – production studio in China, producing China scene-related content just for the Chinese market, maybe a little bit over (inaudible) market. I just want to know your – in coming a future movie is Chinglish. What is the production – what are the funding? How are you going to finance it? What type of audience on the movie scale; it will be like small scale like another small, like, Asian – Chinese American (inaudible) movie like stay this kind of small scale independent movie, or it's like more bigger like studio-backed movie?
MR. HWANG: Yeah. I don't actually know. I don't think we're at that point to know yet. I think it will be some sort of independent movie just because generally these days it seems to me that American movie studios essentially make sort of temple movies. They make movies that tend to be comic book movies these days or romantic comedies. Those seem to be the basic businesses that the American studios – movie studios are in, which has changed a lot, by the way, over the last 20, 25 years. And I think that this is kind of a romantic comedy, but ultimately not. So my guess is that – and this is totally a guess, because we haven't really talked about this. We're just kind of working on the artistic end of it. My guess is that it will be some sort of independent movie, but a relatively – not a particularly low budget, sort of a mid-range movie.
Yeah, sir.
QUESTION: My question is about your work habits and styles. When you're writing, do you tend to finish the project you're on? Or are you working on multiple projects at the same –
MR. HWANG: I tend to work on multiple projects simply because it takes so long for any one project to come to fruition. Musicals take about five years to – if you're assuming they don't fall apart at some point, if you do actually make it to Broadway, that's about a five-year process. A play is three years maybe. A movie, who knows? And so as a result, if you're fortunate enough to continue to have a career, the – you end up with a lot of projects in different stages of development – something that's just an idea, it doesn't have a first daft; something that has a first draft but needs some more rewrites; something that's in preproduction; something that's – and so as a result, I end up working on – I've usually got five or six things going at the same time, and it's kind of like juggling.
QUESTION: Do your arms get tired sometimes?
QUESTION: And how do you organize yourself?
MR. HWANG: Sometimes, but I've gotten used to it. Over the years, my arms have gotten stronger. (Laughter.)
QUESTION: Are you (inaudible) in (inaudible) Chinglish in London or –
MR. HWANG: We are working in a London production, and –
QUESTION: London (inaudible)?
MR. HWANG: Yeah. I mean, I'm not – it's not anything that I can announce yet, but I think we will get a London production.
QUESTION: Very soon?
MR. HWANG: I can't say.
QUESTION: Are you going to have to rewrite it into proper English?
MR. HWANG: Right. (Laughter.) No. Because it's an American character, so –
QUESTION: How many –
QUESTION: Yeah. It's always the same. I mean –
QUESTION: How many hours do you work a day?
MR. HWANG: I guess it depends how you define work. I mean, I usually – I mean, I have an office in my home, and I just go down and start writing. I think about nine or so, and then I write till about one or so, and then the afternoons are about meetings and emails and events and just things that are career-related, but not actually writing.
QUESTION: Do you usually get stuck on a line or a character or –
MR. HWANG: Usually, I don't get stuck. Or if I do get stuck, I mean, that's another advantage of working on more than one thing. If I get stuck, I can go work on something else, and hopefully I'm unstuck over there. Then I can come back to this and feel better about it.
QUESTION: What do you think about this year's Tony Award? You tweeted so graciously, giving blessing to all these nominees, but at the same time, for example, this week's Wall Street Journal reported in the past 65 years, only three women have won Tony Awards for this play, and it's not fair to the minority as this article stated. So what are your thoughts?
MR. HWANG: I'm just – are you – is the question about the Tony Awards in general, this year's Tony Awards, women and minorities as represented in the Tonys? I'm not quite –
QUESTION: As a previous winner yourself.
MR. HWANG: So wait. Which question are you – just anything about the –
QUESTION: No. I want to know anything about it, your thoughts on it.
MR. HWANG: Okay. First of all, this year, it's been an incredibly busy year on Broadway. There are – particularly for plays. There are more new American plays this season on Broadway than there have been any season since the 1982-83 season. So that's what, 30 years? So, I mean where it comes to Chinglish, sure. I mean I would have loved to have been nominated this year, but I also knew that it was a very tough year because there are four slots and there are about 20 shows. And I think it's harder when you're not – well, I know that it's harder when you're not open. Because having been a Tony nominator myself, I know that there is a tendency to want to support the shows that are open and help them to keep running. So I thought we had a shot, but I thought we had a less than a 50/50 shot.
Where it comes to the Tonys in general, the idea that, for instance, there've only been three women who have won the Best Play Tony Award, which I guess – I'm trying to think which ones that would be. But anyway, it is really reflective of a larger issue. It's not about the Tony Awards; it's about not having enough female playwrights on Broadway, period. And we recently did – there's an organization called APAAC, which is the Asian Pacific American Actors Coalition, I guess. And every ten years or so, as in the Miss Saigon case, this issue comes up about casting and casting of minorities and how difficult it is for minorities to get work on Broadway. And so now this applies to women, minorities, people – the creative teams like the playwrights and the actors as well. And this group, APAC, did basically kind of a town meeting with the theatrical industry. And this time, instead of being confrontational, necessarily, they went and gathered a lot of statistics. And they found out that just minority casting in general is much smaller. It's something like 15 percent or something – I don't have the exact numbers on me.
PARTICIPANT: It was in the news.
MR. HWANG: Yeah. You can look it up on the web. And the number of Asians cast – Asian Americans has actually decreased over the past four or five years. So what's the problem with that? Well, I mean, there is a basic kind of employment issue about do people get the chance to audition. And also, it's – I think the – everyone in Broadway industry would agree it's not good for the industry. I mean, you have a field which basically caters to middle – upper middle- to middle-class white people and older. And that's not – any product you would go, that's not a good recipe for having a healthy, sustainable future. So I think everybody in the industry agrees that things need to change, but it's very slow and there's impediments, I think, along every piece of the chain to having more full participation by women and by minorities and by younger people in the field.
QUESTION: Why –
MR. HWANG: I don't qualify as younger person anymore.
QUESTION: Why do you think there is this tendency – is it – I don't think it's just people in Broadway (inaudible). I mean, they're not that discriminating.
MR. HWANG: Yeah, I mean, I don't think people are trying to be discriminatory.
QUESTION: No. So –
MR. HWANG: I think it's just – I think it's a --
QUESTION: (Inaudible) is there not enough roles? They're not enough plays which also seem to –
MR. HWANG: I think it's a failure of imagination. I was using – the APAAC thing – I was using the example of Jeremy Lin; this was before he injured his knee. But you know the basketball player. So – and that nobody – and so that the organizations, the Golden State Warriors or the organizations that dropped Jeremy Lin or that didn't play Jeremy Lin didn't help themselves. They just, for some reason, didn't think that he was going to be a very good player. And – so I feel like when you – discrimination doesn't only hurt the individuals being discriminated against, it also hurts the institution doing the discriminating because they're not taking full advantage of the talents that are available.
But why does this happen? Well, I think where it comes to plays that are about different sorts of groups, plays that have Asian characters or plays that have Latino characters or whatever. I think it's risky enough for a Broadway producer to think about producing any new American play, which is why generally – except for this season, for some reason – generally it's – you have very few new American plays on Broadway. That's risky, and then on top of that, they go, "Oh, my gosh." And this is not only a new American play, but it's a new American play about a Mexican family and we haven't had a lot of those on Broadway that have had success. So it feels that much riskier.
And then where it comes to just kind of what's called blind casting – so you do a play that's not about any particular ethnic group, but then do you allow all sorts of people to audition, as long as the race isn't specified. So you're just doing a play about contemporary – a group of 30 something people in New York City. So theoretically, they could be of any race. But a lot of times, they only – they end up only auditioning white people – white actors. And then that decreases the amount of diversity on Broadway.
So I think there's a number of different factors that go into it. Yeah.
QUESTION: (Inaudible) of imagination, I want to know when you're growing up, have your parents encouraged you to be an artist? Because most Asian American family or parents encourage them to be a doctor, lawyer, or banker. It's like –
MR. HWANG: Yeah, I was not raised – I didn't have tiger mom. (Laughter.) My grandmother used to go, "Why is everybody so concerned about getting A's? What's so wrong – bad about getting a B?" So I – it was a very strange Chinese family. And then my mother was also a pianist. So – that said, and my father was a business man and I don't – they certainly didn't expect me – I'm first generation American. I'm the oldest son in my generation. They didn't expect me to become an artist. And so I remember – I told this – did I tell this story the other night at China Institute? Who was at China Institute? Yeah, I think I did. I told the story about my dad, yeah.
So I wrote my first play, FOB, to be done in my dormitory. And my father read it, and he'd never read a play before. We didn't grow up going to the theater. And he saw some swear words, and he was like, "Oh, I send you to this fancy school and you write this junk." (Laughter.) And then then he told my mom, "Okay, we're going to go up and see it, the production in my dorm. And if it's good we'll encourage him, and if it's bad, we'll tell him to stop." And fortunately, after he saw the show, he was in tears. He was very moved. And I think it was because I was – it was sort of an immigrant story and I was using some of the things that were from his experience. Then so after that, he was supportive. And then things happened – I was very lucky, and things happened for me quite early. In terms of getting that play onto New York about a year later. But I have to give my parents a lot of credit, that it wasn't something that they wanted me to do really, but they were open. And then afterwards, my father – after I started to have a career, he was very proud and he always carried my newspaper clippings around until he passed away about five years ago.
QUESTION: I have a question. I think the economics and the cultures go together. So – like for example, in '80s or '90s, you will have a lot of portrayal of Japanese and German in American movies. So now, like you have a lot of Chinese elements. So when you think back, do you think this is about the right timing because people actually pay a lot of attention to Chinese business, Chinese culture from an American perspective. If you go back 10 years or 5 years, will you think this is more risky to do this show like Chinglish?
MR. HWANG: Well, I mean, yes. I think that the time is more right because everybody's – America is invested in China. Not necessarily financially, but –
QUESTION: (Off-mike.)
MR. HWANG: Yeah, right. (Laughter.) But China matters to America in a way that it didn't 20 or 30 years ago. Twenty or 30 years ago – I mean when I was growing up, China was either the enemy, because it was red China, or if people were interested in China it was because there was sort of an exotic appeal to it. But it was not necessary to know about China, where as now it is. Which is why you have so many young people of any race who are studying Mandarin and – China's important now.
That said, I mean Chinglish ran three or four months on Broadway and M. Butterfly, 20 years ago, ran two years on Broadway. So it's – you can't necessarily track it that – it's not necessarily a one-to-one correspondence, which is why you can't predict in the theater or in film really what's going to be a success.
QUESTION: So – Chinese the – I mean, China now own, like, $15.3 trillion of American (inaudible).
MR. HWANG: Yeah, that's what I mean. That's why it's important to know about China and – in a practical sense, in a way that wasn't. But that doesn't necessarily – so I think it was a better time for Chinglish, but on the other hand, we didn't have a movie star and we didn't run as long as we would have liked to, so it's hard to know.
QUESTION: Talking about the age of the theatergoers, I don't know if in your meetings with Broadway people, do you talk about how to attract younger audiences?
MR. HWANG: Oh, I think everybody is really concerned about trying to attract younger audiences. I mean, part of the problem with Broadway and younger audiences is just the cost of tickets. If you have to spend $200 to go to the theater, it's unlikely that people who are in their 20s are going to be able to afford that. Now there are a lot of ways to get cheaper tickets. It's kind of like airline tickets. You can always find a cheaper way to get a ticket. But you have to sort of already be going to Broadway and be savvy enough to be able to know those things.
So I think it's hard, and that's one of the things that I think Broadway has been very successful at over the past 20 years is attracting families. So there's a big emphasis on family shows, and certainly Lion King is the best example of a show that has been huge for families – but that's parents taking their kids, which hopefully translates into those kids getting older and then wanting to go on their own. But – yeah, and I think that the – it's why – I mean, a show like American Idiot; American Idiot is not a baby boomer show. American Idiot – what, the album came out in ninety – what, '96 or something? So it's kind of a Gen-X show, and it did pretty well.
So there's attempts – if you look at the range of a Broadway season, there are always shows that are attempting to bring in new audiences. So this – just now, it closed, but there was the basketball show, Magic/Bird, which is – because the thing that they always say is that the audiences that you can't get in, that won't buy tickets, are kind of basically straight men. Straight men don't want to go to the theater. So you do a basketball show, or you do – (laughter) – or Book of Mormon has been good and appealing to straight guys. And so everybody's – so there are all these different groups that you're trying to appeal to, and I think Chinglish we did a better job of appealing to. We had certainly a larger percentage of Asians and Asian Americans in our audience in those Broadway shows.
And if you went to see a show like Stick Fly, which was the Lydia Diamond play about an African American family – it was on Broadway earlier that season – those audiences, I think, were about 60 percent African American. So there's attempts to try to broaden the pool. How successful they are is another question.
QUESTION: So why do you think the straight men (inaudible)? (Laughter.)
MR. HWANG: I think those of us who work in the theater and if we happen to be straight, it's – we don't understand it, but then again, it's easy for –you're a bit strange if you're a straight guy who works in the theater. You're – it's always like it's a little unusual.
QUESTION: It's the gay domain only, or no?
MR. HWANG: I'm sorry.
QUESTION: It's only a domain for the gays?
MR. HWANG: No, no, it's not. I mean, the – I think we're – (laughter) – I think this conversation is going off in a direction that I don't want it to go in, but I mean the – I mean, it's sort of a joke, but essentially, most of the people who buy tickets are women. And so women will take their husbands and things, but how do you get the husbands to want to go? That's the question.
QUESTION: They don't go to ballet either. They don't like the ballet.
QUESTION: Oh, God, that's true.
QUESTION: I like ballet.
QUESTION: (Inaudible) wives and girlfriends.
MR. HWANG: Well, yeah, and that --
QUESTION: By the way, we do end up paying for the tickets. (Laughter.)
MODERATOR: Well, we're getting to the end of the hour and the conversation seems to be degenerating a little bit. (Laughter.) Is there a last question or --
QUESTION: There is a theater in downtown LA in Little Tokyo named after you. Can you tell me – us a story behind it?
MR. HWANG: Sure.
QUESTION: East West Players?
MR. HWANG: Yeah, it's just – okay. East West Players is the oldest Asian American theater in the country. It's was founded in 1965 and it's in Los Angeles. And they were started in a church basement, then they were in a little theater, and then they moved into a larger theater in the late '90s. I think it was around '96. And that theater is called the David Henry Hwang Theater.
And honestly, it was just that my dad donated some money and he wanted to name it after me and – (laughter) – the theater was fine with it because they were like, "Oh, good, – he's a playwright." And I think it's a little over the top that there's a theater that's named after me.
QUESTION: (Inaudible.)
MR. HWANG: But it's nice that my dad made the donation, so --
QUESTION: After the crisis --
MR. HWANG: That's really what – yes.
QUESTION: -- the rules of the theater game have changed? Like now, you try to put a movie star or something like that?
MR. HWANG: I don't know that that's the result of – I think that was really happening even before the financial crisis. If anything, Broadway, as a field, I don't think has been affected that much by the recession, because this is a recession that, in general, has hit middle and lower income people harder than affluent people. And Broadway is a luxury item, and a lot of luxury items have not suffered during this recession, and Broadway is one of them.
QUESTION: That's true. That's true. They --
QUESTION: So you said that you usually – to learn new things? And I want to know if you're really reading books or do you research online? What kind of --
MR. HWANG: I mean, I try to do – I grew up with books, so I still read books. And I try to – yes, of course I look at things online and I try to talk to people and --
QUESTION: Do you have --
MR. HWANG: Do I have?
QUESTION: Favorite websites?
MR. HWANG: Huff Post is good and – I don't know, I don't feel like I have regular websites that I check in on. I think a lot of it's when people tell me to look at a particular book or something. I feel like I have a couple people who are specifically my – the people that I am trying to learn more about – learn more from about China. So they're always giving me books and movies and things that – just trying to – but my education's very scattered, it's very just whatever.
QUESTION: Do you use Facebook or Twitter?
MR. HWANG: I do, yeah. I have a – I'm David – I have a David Henry Hwang handle on Twitter, so if you want to follow me on Twitter.
QUESTION: What do you read? Which are your favorite writers or --
MR. HWANG: Oh, gosh, that's – there are so many. I mean, maybe it's easier for me to talk about favorite playwrights because at least then I can limit it. I mean, when I was starting out, I think the people who I was most interested in are people – are playwrights who wrote – who could write about ideas. So I was interested in Bertolt Brecht and Shaw and Stoppard and Sam Shepard, who doesn't really fit in that category. But – and then at a certain point, I started feeling like, oh, I can write that kind of play, but I'm not so good at these plays that are really about details of character.
And so then I started to read more Chekhov and Brian Friel and people who I feel are – it's a more kind of delicate kind of playwriting and not so much – the ideas aren't as much in the forefront, and the character becomes – and nowadays, I feel there are a lot of great – so many good American playwrights. And who do I love? I love – last season, I loved Kris Diaz's play, the – what is it called? It's the wrestling play. It has a very long title.
But there's a – and there's a group called the Lark Play Development Center in – right now, they're on 43rd street. And it's a place where a lot of us are playwrights develop our stuff. So when I said that the first reading we did of Chinglish was around the table with PowerPoint, we did it at this place called The Lark. And there are a bunch of us who are mid-career writers who work there and there are a lot of younger writers. And it gives us an opportunity, I think, to have a community, and a lot of those writers, I love. And I just think we're in actually a very good period for American playwriting. It's just Broadway is hard.
QUESTION: What do you think of the fact that, as a Chinese American playwright, not only 3 percent of the books in the U.S. market are translation from other languages into English?
MR. HWANG: Yeah, well, that's really terrible. And it's particularly bad for me because I can only read things that are in translation. So that again limits what I can know. So that's why – when I do something like Chinglish and then people who are Chinese nationals or people who have lived or worked in China feel like it's accurate, then I feel like very – I'm very moved by that. So like, I actually don't know anything. So it's like really nice if you think that this is accurate.
And yeah, it's terrible. And it's the same reason even, I guess, that I had the impulse to do a bilingual play in the first place because we're so – Americans, we're so myopic. And we don't – I'm trying to put together a – I don't know that I can announce this in public, because – well, but – anyway, let's put it this way. I'm trying to bring more plays and playwrights from greater China to the United States because I feel like these writers who are incredibly important in the rest of the world. And Americans don't even know them, but I can't say who yet. (Laughter.) But even Gao Xingjian, I mean, he has the Nobel Prize and he can't get produced in America. So it's terrible.
MODERATOR: So my whole "last question" thing didn't work the first time, but we are at five minutes after four and I know that you have places you have to be. But we really, really appreciate your coming to the FPC. Thank you so much.
# # #


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Dom Cassisi, Paul Stewart and Jack Hombsch should be ready to play for Port Adelaide in finals
- From: The Advertiser
- August 26, 2013
FINALS-BOUND Port Adelaide expects to be fit and firing in September.
In some good news on the injury front as it prepares for its first finals campaign since 2007, the Power has been boosted by the possibility of former captain Dom Cassisi, Paul Stewart and Jack Hombsch all being available to play in the next two weeks.
The trio face fitness tests for Saturday's final home-and-away match against Carlton at AAMI Stadium on Saturday when Port will wear its famous black-and-white prison bar jumper.
Power must prove real finals deal
Chat LIVE today with Michelangelo Rucci from 12.30pm
Two key players hurt in last Saturday's heavy defeat to Fremantle - midfielders Chad Wingard (calf) and Brad Ebert (corked buttock) - are not considered to be in doubt to confront the Blues.
Key forward John Butcher, who has missed the Power's past two matches, will have a fitness test on his sore hip.
Veteran Kane Cornes says Port is delighted to be back in the finals after not playing in September for the past five years.
"It's a great reward for all our effort and the achievement should not be underestimated," said Cornes, who played in the Power's last premiership side in 2004.
"From where we were last year and what we've been able to do this year I'm just so proud of all the players and everyone involved with the footy club.
"It's just a phenomenal effort and it's just so exciting to still be in the season at this time if the year because the past five years have been a struggle.
"We certainly won't be taking it for granted.
"We've got a big game against Carlton this week and then we look forward to it."
Originally published as Port ready to welcome back stars
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subset: commoncrawl


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srikrishnan Saysyes we are listening and u've started off well. i for once havent even started prep seriously. jus solvin a few cat problems for couple of hours a day and started 10 pages in ALL ABOUT WORDS. Also mugged 2 wordlists in Barrons. Thats all i've done.
is anyone listening?????????????:whatthat: :whatthat: :whatthat:
nice thread... :)
hi to all.. i m aditi in 2nd sem of MA eco frm delhi...plan to take cat this yr ...
with 7 months to go, how to go 'bout quants....(can someone help me on that)....
no work ex,but would be doin my summers at ficci/adb.. wld it be of any help????


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On-campus events designed for students during Middle School and High School.
Get[a]Way (G.A.W.) in September is a high energy & high impact event designed specifically for middle school students. Through a series of personal challenges, team building exercises, worship experiences, and thought-provoking teaching, each student will have the opportunity to better understand who they are in Christ at G.A.W. We are already planning next year's event, so be sure to mark your calendar now and plan to attend!
Intentionally designed for high school students, The Event is an overnight event which takes place each November. The Event seeks to encourage attendees in their faith by rallying like-minded believers together. Through the use of interactive sessions, corporate worship opportunities and Bible based speakers, attendees will be challenged to find the place where their faith and passion intersect.
During February each year at the Preaching-Teaching Convention (P-T) students gather together for the Teen Event. It is a time to worship and listen to an awesome speaker. It is a great time to be encouraged and gather with other like-minded students. We hope you will fellowship with us during P-T!
Come learn and serve at Deeper Life! In April of each year, 9th-12th grade students gather together to learn God's word, worship in community, and discover their spiritual giftedness ... it's a full weekend! OCC's Frontline leads worship and the main session speakers include OCC Professors.
The OCC Preaching Festival is an opportunity for high school students interested in preaching to preach a message before friends, family and the OCC Preaching Faculty during Deeper Life. Generous scholarship moneys are awarded.
Order for your student by Monday, May 9th!
For adults age 55+, June 6-9 & 13-16.
Your financial and material gifts can help train men and women for Christian service!
OCC is involved with several social networks. Connect with OCC and our network of alumni, friends, employees and students.
We have several on-campus events designed specifically for students before they leave high school. Get to know the school and grow in your relationship with Christ by attending one of this year's events!
Changing the world.One leader at a time.


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Living in the CSA: Spinach soup recipe
Baltimore Sun's food editor and Reality TV blogger Sarah Kickler Kelber has recently embarked on a Community Supported Agriculture (CSA) journey. (Read the introduction here.) Every Wednesday or Thursday, SKK will be posting about her latest CSA haul and you'll be able to give her some tips and guidance. From time to time, we'll invite a local chef to create a CSA-inspired recipe, too. And, every day, around lunchtime, look for the results of SKK's CSA experiments. -- RLG
I got started on my CSA cooking adventures this weekend, and while it was fun, it also felt at times like a part-time job. I got into this frenzy about cooking things up before they went bad. But it was a productive frenzy. I made two batches of spinach soup (recipe follows after the jump), some apple muffins, a butternut squash and quinoa casserole, and a BLT frittata. Whew. We've still got plenty to work with, and I think a curried carrot soup and a grapefruit vinaigrette are on the agenda.
I'll be sharing roughly a recipe a day, right around lunch time -- and of course asking for suggestions when we get this week's haul.
Recipe: Spinach Soup with Rosemary
(Photo by me)
Adapted from Eating Well
1 tablespoon butter
1 medium onion, coarsely chopped
1 clove garlic, minced
1 tablespoon finely chopped fresh rosemary, or 1 teaspoon dried
1/4 teaspoon salt
Freshly ground pepper to taste
2 cups diced peeled potatoes (I used yellow)
4 cups chicken broth, vegetable broth or water
6 cups fresh spinach or chard leaves, tough stems removed
Melt butter in a large saucepan over medium heat. Add onion, garlic, rosemary, salt and pepper, reduce heat to medium-low and cook, stirring occasionally, for 5 minutes. Stir in potatoes and cook, stirring occasionally, for 3 minutes. Pour in broth (or water). Bring to a simmer over medium heat and cook until the potatoes are soft, about 15 minutes. Stir in spinach (or chard) and continue to simmer until the greens are tender, about 10 minutes more. Puree the soup with an immersion blender or regular blender (in batches), leaving it a little chunky if desired. (Use caution when pureeing hot liquids.)
The original recipe includes Rosemary Croutons, but I never got around to making those, and I devoured this soup nonetheless. I suspect that they must have used water and not broth to end up with such a vibrant green soup. As you can see, mine was not nearly as pretty. I actually made two batches of this -- one with vegetable broth and white onion and one with chicken broth and red onion. I much preferred the former. The flavor of the spinach and the creaminess of the potatoes came through much more for some reason. Also, the second batch, I wasn't paying close enough attention (because I thought I knew what I was doing since I'd already made it once), and I didn't turn the heat back up when it was time to simmer the potatoes, and I didn't realize it until I checked them after 15 minutes and they still weren't soft.
I'm sure I'll be making my own stock soon, but I used the unsalted vegetable and chicken broths from Kitchen Basics. I had to salt the soup a little bit more than the recipe called for, but I'm sure it was still lower sodium than using salty broth in the first place. Also, I didn't try this yet, but I imagine you could use olive oil instead of butter easily, too.


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Sony NEX-5 Video Review
Hands on with the APS-C sized compact system camera from Sony
In this latest guide to the best cameras on the market, Ali Jennings from Digital Camera takes a look at the Sony NEX-5. The mirrorless APS-C sensor compact system camera was launched back in May to lots of hype. But what is the handling like, how does the image quality measure up, and just how is it working without an optical viewfinder? Watch the video to find out more and click the link on the right to read our full in-depth Sony NEX-5 review.


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Markets in 54 out of the approximately 350 metro areas nationwide returned to or exceeded their last normal levels of economic and housing activity, according to the National Association of Home Builders/First American Leading Markets Index (LMI), released recently.
The index's nationwide score of .86 indicates that, based on current permits, prices and employment data, the nationwide market is running at 86 percent of normal economic and housing activity.
The LMI figures for November showed that 55 housing markets were operating at or above their last normal levels and the nationwide market was operating at 85 percent of normal growth. LMI data for the two months were released simultaneously because of the delay in collecting data during the partial government shutdown in October.
"This index shows that most housing markets across the nation are continuing a slow, gradual climb back to normal levels," said NAHB Chairman Rick Judson, a home builder from Charlotte, N.C. "Policymakers must guard against actions that could impede or even reverse the modest gains of the past year."
Noting that smaller metros accounted for most of the 54 markets on the current LMI that are at or above normal levels, NAHB Chief Economist David Crowe said that "smaller markets are leading the way, particularly where energy is the primary economic driver. Nearly half of the markets in the top 54 are in the energy states of Texas, Louisiana, North Dakota, Wyoming and Montana."
"The fact that more than 125 markets on this month's LMI are showing activity levels of at least 90 percent of previous norms bodes well for a continuing housing recovery in 2014," said Kurt Pfotenhauer, vice chairman of First American Title Insurance Co., which co-sponsors the LMI report.
Baton Rouge, La., tops the list of major metros on the LMI, with a score of 1.42 – or 42 percent better than its last normal market level. Other major metros at the top of the list include Honolulu, Oklahoma City, Austin and Houston, Texas, as well as Pittsburgh – all of whose LMI scores indicate that their market activity now exceeds previous norms.
Looking at smaller metros, both Odessa and Midland, Texas, boast LMI scores of 2.0 or better, meaning that their markets are now at double their strength prior to the recession. Also at the top of the list of smaller metros are Casper, Wyo.; Bismarck, N.D.; and Grand Forks, N.D., respectively.
The LMI shifts the focus from identifying markets that have recently begun to recover, which was the aim of a previous gauge known as the Improving Markets Index, to identifying those areas that are now approaching and exceeding their previous normal levels of economic and housing activity. More than 350 metro areas are scored by taking their average permit, price and employment levels for the past 12 months and dividing each by their annual average over the last period of normal growth. For single-family permits and home prices, 2000-2003 is used as the last normal period, and for employment, 2007 is the base comparison. The three components are then averaged to provide an overall score for each market; a national score is calculated based on national measures of the three metrics. An index value above one indicates that a market has advanced beyond its previous normal level of economic activity.
For historical information and charts, please go to nahb.org/lmi.
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Have a ball of fun this Purim with the Chabad Jewish Center, in Flanders.
The Chabad's annual Purim Party will be held at 13 Watson Way, Flanders, on Sunday, March 16th, from 10am -12pm.
Come dressed up in the spirit of Purim, enjoy Jewish Purim music, nosh on some refreshments, and Hamantashen!
The celebration will begin with a unique multimedia Megillah reading, followed by an fascinating bird show, featuring the Parrot Rabbi, and his many exotic bird friends from all over the globe. Cheer for your favorite bird team during the bird races.
All are welcome to join regardless of affiliation or background.
$5 per person
$20.00 Family
$180.00 Sponsor
For more information on Chabad's Purim festivities or on the holiday of Purim and its observances, contact Rabbi Shusterman at 973-927-3531 or log on to www.mychabadcenter.com/purim.
Purim celebrates the salvation of the Jewish people in ancient Persia, in the year 356 BCE, from Haman's plot "to destroy, kill and annihilate all the Jews, young and old, infants and women, in a single day (Esther)." (Purim literally means "lots", for Haman determined the day of annihilation by throwing a lottery.) It is observed by public readings of the Megillah – "Scroll of Esther," sending food portions to friends, giving gifts of money to the poor, and enjoying a festive meal accompanied with joyous drink.


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- 318Promote
Art Print
Out of sightby Valentina Harper
Collect your choice of gallery quality Giclée, or fine art prints custom trimmed by hand in a variety of sizes with a white border for framing.
Beautiful work! I love it :)
love the flowers background :)
love the flowers background :)
really love it
Super duper!!!
So cool!!!
Great style!
Love this!
Groovy colors! I like how the backdrop feels like woodgrain too.
great style
hyper cool! lovely organic polaroid stuff :D
great one!
NICE work, fine details :)
Nice illustration! love that camera :D
Love the 60s vibe, nice work!
Amazing work!
Your work is amazing, I love the all!
Love it!
See More Comments


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Royals Game Preview: July 3 vs. Cleveland – Stars & Stripes caps for the first 10,000!
Tonight we honor America with Stars & Stripes caps for the first 10,000 fans and a Fireworks Spectacular after the game!
Let's take a look at the lineups for the 7:10 start:
Indians lineup: Bourn – CF, Cabrera – SS, Kipnis – 2B, Swisher – 1B, Brantley – LF, Santana – DH, Reynolds – 3B, Raburn – RF, Gomes – C, Kazmir – LHP
Royals lineup: Gordon – LF, Escobar – SS, Hosmer – 1B, Butler – DH, Perez – C, Cain – CF, Tejada – 3B, Giavotella – 2B, Lough – RF, Guthrie – RHP
Royals Game Notes (PDF file): Game_81_vs._Cleveland
Royals Trivia Fact: Reliever Aaron Crow notched five wins in June, tying a club record. He also became just the third Royals reliever to record five wins in a month, joining Ted Abernathy (1970) and Doug Bird (1977).


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As I mentioned last week, I'm pretty laid back about the whole birth thing. (Although — true confessions — I did start packing a bag for the hospital after I read some of your comments last week!) But I have to admit this past week threw me for a loop with the most frequent, intense Braxton-Hicks contractions I've ever had.
In fact, one day last week I had to drop everything, leave a work assignment early, and just lay on my couch. The contractions, while painless, were coming every three minutes for over an hour and nothing I did could stop them. It wasn't until I went to sleep that night, six hours later, that they truly went away. At some point that evening, I actually started to cry because I thought they weren't going to stop.
That was the "come to Jesus" that made us realize we better get our baby sh*t together. The nursery needs to be finished. The car seat needs to come out of the box. The tags need to be cut off the baby clothes and, god help us, someone needs to wash them. We are in the home stretch, baby.
Every day since, I have had intense periods of contractions. They don't hurt, but they're very frequent and pretty regular. They don't stop until I stop — whatever I'm doing I have to be prepared to drop — not something that's easy when I'm running around with my two kids. I never experienced Braxton-Hicks contractions so intensely during my prior pregnancies so it has completely taken my by surprise.
Did you experience crazy frequent Braxton-Hicks during your pregnancy?
Follow Along! Pregnancy posts to date:
Week 14: Surprise!!!!!!!!!!!
Week 15: How NOT to tell the kids you're pregnant
Week 16: How NOT to tell the kids you're pregnant – part 2
Week 17: Every mom deserves a babymoon!
Week 18: The week I forgot I was pregnant
Week 19: Houston, we have a BABY BUMP!
Week 20: Baby has a gender!
Week 21: When mama comes tumbling down
(Week 22: VACATION!!!)
Week 23: Does this make my bump look big?
Week 24: Swollen ankles already?
Week 25: Am I the most boring patient ever?
Week 26:Help! We can't agree on a name!
Week 27: Seriously, how will I manage with three kids?
Week 28: Help! I'm suddenly obsessed with baby gear!
Week 29: Time to start the nursery (pics!)
Week 30:Um, this is so embarassing
Week 31:Which bottles should we use?
Week 32: Weird things people say to pregnant women
Week 33: Oh dear God, why can't I sleep?
Week 34: 5 creative uses for my baby bump
Week 35: Am I too laid back about birth?
Week 36: Holy Braxton-Hicks Contractions!


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On Friday, EA filed a lawsuit against Zynga, accusing the company of directly copying elements from EA's The Sims Social in Zynga's recently released The Ville game.
"In legal terms, our claim is that Zynga copied the original and distinctive expressive elements of The Sims Social in a clear violation of the U.S. copyright laws," said Lucy Bradshaw, general manager of Sims maker EA/Maxis, in a blog post.
According to the complaint, EA contends that The Ville, released in June, copies multiple elements of The Sims Social, a Facebook version of EA's long-running franchise released back in 2011. From broad design choices to animations and character actions, EA believes Zynga has crossed the line and is engaging in 'blatant mimicry'.
It's hardly the first time Zynga has been called out for cloning another game. Earlier this year, the creators of iOS hit Tiny Tower took Zynga to task for copying their game. And back in 2009, the makers of social game Mob Wars had some unflattering words for Zynga over their much bigger hit, Mafia Wars.
But EA's involvement marks a turning point for the fight against Zynga's predilection for plagiarism -- and EA knows it.
"This is a case of principle," Bradshaw says. "Maxis isn't the first studio to claim that Zynga copied its creative product. But we are the studio that has the financial and corporate resources to stand up and do something about it. Infringing a developer's copyright is not an acceptable practice in game development. By calling Zynga out on this illegal practice, we hope to have a secondary effect of protecting the rights of other creative studios who don't have the resources to protect themselves."
It's just the latest batch of bad news for Zynga. Last week, the company's stock tanked following a poor earnings report. Worse yet, Zynga execs have been accused of engaging in insider trading via multiple lawsuits.
Despite those headaches, Zynga isn't taking EA's suit lying down.
"The Ville is the newest game in our 'ville' franchise — it builds on every major innovation from our existing invest-and-express games dating back to YoVille and continuing through CityVille and CastleVille, and introduces a number of new social features and game mechanics not seen in social games today," said Reggie Davis, Zynga's general counsel, in a statement. "It's unfortunate that EA thought that this was an appropriate response to our game, and clearly demonstrates a lack of understanding of basic copyright principles."
"It's also ironic that EA brings this suit shortly after launching SimCity Social which bears an uncanny resemblance to Zynga's CityVille game. Nonetheless, we plan to defend our rights to the fullest extent possible and intend to win with players."
So that last bit is a little crazy. It's one thing to claim that The Ville simply iterates on past Zynga games -- Zynga's "-ville" franchise is really just one game model with slightly different themes -- but to suggest that The Sims Social is itself a ripoff is somewhat presumptive and, one could say, weirdly ignorant of video game history. The Sims series dates back to 2000, though if you want to get even more hardcore, you could argue that all of these sorts of games owe a tip of the hat to 1989's SimCity. Zynga might be barking up the wrong tree with that argument.
Still, it's clear that the two sides are digging in for a fight.
For game news, free codes and more, Like us on Facebook, follow @yahoogames on Twitter and check us out on Pinterest!
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I had a dream i had two babies
right now im 20 and in no way looking to get pregnant right away. One night i had a dream i went into labor and had a baby girl i couldnt see her face only her tiny feet i was trying to fix her shoes, i would say to her i wanted a boy and then I somehow then have a baby boy. I have them both and again i cant see their faces only their feet
Posted: 10/01/2012 by a BabyCenter Member
Answer this question


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From Uncyclopedia, the content-free encyclopedia
Revision as of 16:19, June 4, 2011 by 188.8.131.52 (talk)
- Needs more GNAA crapflood and karma whoring, other than that good so far. Furluminati 04:50, 23 May 2007 (UTC)
- And possibly some mention of meta-meta-moderation.
- Wheres it's Goatse? More nerd photos would be nice.
- This article is pathetically unfunny.


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Results 1 to 5 of 5
Thread: John Deere Tractor Won't Start
- Join Date
- Sep 2012
- Posts
- 2
- Location
- Massachusetts
- Mower
- John Deere
John Deere Tractor Won't Start
I realize that the title of this post could mean anything, so here are the specifics:
I bought a John Deere D140 Lawn Tractor from Home Depot (mistake number 1). I bought an "extended warranty" (waste of money, so far). Last weekend, I pulled a wood chipper out into the field (quite a distance) to chip some wood. (I've done this many times before.) After my job was done, I attempted to start the tractor to pull the wood chipper back to the garage. Surprise! The tractor wouldn't start. I mean, there was absolute silence when I turned the key.
Now, I realize that there are a number of "safety features" on the John Deere. First, you have to have the parking break on. Check. Next, the blade may not be engaged. Check. Finally, you have to be sitting on the seat. Check. Still, nothing. Not even the sound of a weak battery trying to turn the engine over.
I really didn't think it was the battery, as the lights came on bright as ever when I turned the key. But, I put a charger on it any way. Still, not a peep when the key was turned. I won't go into the details about the non-service which I've gotten from Home Depot and their warranty company. Suffice it to say that one week later the tractor is still in my garage (yes, I pushed it all the way back, along with my 250-pound wood chipper). Every day, I go out and turn the key, hoping that some magic has occurred (the same magic that might actually get Home Depot to make good on their warranty agreement). But, alas, it remains quiet (not even a click) when I turn the key.
If anyone could give me some ideas about what might be wrong, I would greatly appreciate it.
- Join Date
- Apr 2012
- Posts
- 671
- Location
- Texas
- Mower
- Grasshopper
Re: John Deere Tractor Won't Start
This was put together by a few forum members and might help. Let us know how you are doing.
Electrical* problems can be very easy or very difficult, depending on four things.
1. * How well you understand basic electricity.
2. *What tools you have and know how to use.
3. *How well you follow directions.
4. *You don't overlook or assume anything and verify everything.
Remember we cannot see what you are doing. *You are our eyes, ears and fingers in solving this problem. *You must be as accurate as you can when you report back. *The two basic tools we will ask you to use are a test light and a multi-meter. *If you have an assistant when going through these tests it would be very helpful. *These steps work the best when done in order, so please don't jump around. *Now let's solve this problem.
First, check the fuse(s), check battery connections for corrosion (clean if necessary) and *voltage - above 12.5 volts should be good.*
Second, check for power from the battery to one of the large terminals on the solenoid. *One of the wires is connected directly to the battery and has power all the time so one of the large terminals should light a test light or show 12 volts on a meter at all times.*
Third, *check for power at the small terminal of the solenoid while depressing the clutch/brake pedal and holding the key in the start position (you may need an assistant to sit in the seat to override the safety switch). If your solenoid is a four wire solenoid, check both small wire terminals as one is ground and the other is power from the ignition switch. *If your solenoid is a three wire solenoid, make sure the solenoid body is not corroded where it bolts to the chassis of the mower as this is your ground path back to the battery. *If in doubt, remove the solenoid and clean the mounting area down to bare metal. *If there is no power to the small terminal then your problem is most likely a safety switch, ignition switch or in the wiring.*
Fourth, check for power on the other large terminal of the solenoid while holding the key in the start position (you may need an assistant to sit in the seat to override the safety switch).*
Fifth, check for power at the starter while holding the key in the start position (assistant again).*
Sixth, check your ground circuit back to the battery.
After you have gone through each of the above steps, let us know what happened when you did each step. *At that point we will have great info to tell you how to proceed. *Remember you are our eyes, ears, and fingers, so please be as accurate as possible.
Be as specific as possible with voltage readings as this will help diagnose your problem quicker. *If you do not know how to perform the above checks, just ask and I will try to guide you through it. *Youtube also has some videos and as you know a picture is worth a thousand words.
- Join Date
- Sep 2012
- Posts
- 2
- Location
- Massachusetts
- Mower
- John Deere
Re: John Deere Tractor Won't Start
Thank you very much for your detailed response. I do not have a test light nor a voltage meter, but I have discovered that I can get both very quickly from Amazon.com. However, there are many choices. Could you suggest which ones I should get? Admittedly, even though I believe that I understand how electricity works, I have never worked with either of those tools.
- Join Date
- Mar 2012
- Posts
- 6,380
- Location
- Wisconsin
- Mower
- Toro
Re: John Deere Tractor Won't Start
I would get the best test light I could afford (I would make sure it used a red bulb not white) and a medium priced multi meter. Test light is easy to use and good meters will come with a good manual. You can buy a cheap meter if you only intend to use it a couple of times.
1,000 Post Club
- Join Date
- Aug 2010
- Posts
- 1,404
- Location
- 150 west of tulsa
- Mower
- Murray
Re: John Deere Tractor Won't Start
Learn how to directly jump start your D140 directly at the starter if you don't know how. That knowledge may have saved you from pushing all that equipment. If you need that information we can help you do it safely.
That won't solve the real problem but it often keeps us from walking / pushing until the real culprit can be located.
This jump starting procedure also tells us the battery is probably good and the starter works just fine which would save lawn tractor owners MY OH MY no telling how many thousands of dollars annually.
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SEATTLE, WA -- (Marketwire) -- 01/04/13 -- The U.S. equity markets showed positive returns on Wednesday, January 2nd 2013 as reflected by the Russell U.S. Indexes, the day after U.S. Congress passed a resolution to avert the so-called "fiscal cliff." The Russell 1000® Index of large-cap U.S. stocks reflected a daily return of 2.5%, led by the Technology (3.1%), Financial Services (2.8%) and Consumer Staples (2.7%) sectors. And the Russell 2000® Index of small-cap U.S. stocks reflected a daily return of 2.8%, led by the Materials & Processing (3.6%), Technology (3.5%) and Consumer Staples (3.0%) sectors. In addition, the Russell 2000 Index reached an all-time high on Wednesday in total and price index value.*
Other world equity markets also performed strongly Wednesday, with positive returns for the Russell Eurozone Index, Russell Greater China Index and Russell Emerging Markets Index. This follows positive returns for these indexes in 2012.
"By forging a last minute deal to mitigate much of the immediate impact of the fiscal cliff, the White House, Senate, and the Republican-controlled House of Representatives addressed the first (but by no means only) policy challenge in 2013 -- and the short-term reaction has been a rally in global risk assets as shown by equity index returns to begin the year," said Stephen Wood, Chief Market Strategist for Russell Investments. "An 'all clear sign' is premature as unresolved fiscal issues in the U.S. as well as Europe will keep uncertainty alive in the coming months. As a consequence, we expect to see ongoing volatility and a 'risk-on/risk-off' investment environment globally, which may increase the need for a dynamic, multi-asset portfolio approach."
Index / Sector 2012 January 2, 2013
Russell 1000 Index 16.4% 2.5%
Russell 1000 Technology Sector 12.5% 3.1%
Russell 1000 Financial Services Sector 27.2% 2.8%
Russell 1000 Consumer Staples Sector 10.0% 2.7%
Russell 1000 Materials & Processing Sector 17.7% 2.6%
Russell 1000 Producer Durables Sector 16.3% 2.5%
Russell 1000 Utilities Sector 7.8% 2.4%
Russell 1000 Consumer Discretionary Sector 25.3% 2.3%
Russell 1000 Energy Sector 4.1% 2.3%
Russell 1000 Healthcare Sector 19.5% 2.0%
Russell 2000 Index 16.4% 2.8%
Russell 2000 Materials & Processing Sector 26.4% 3.6%
Russell 2000 Technology Sector 9.3% 3.5%
Russell 2000 Consumer Staples Sector 10.9% 3.0%
Russell 2000 Energy Sector -3.9% 2.9%
Russell 2000 Financial Services Sector 21.3% 2.8%
Russell 2000 Healthcare Sector 17.3% 2.8%
Russell 2000 Producer Durables Sector 15.9% 2.8%
Russell 2000 Utilities Sector 5.8% 2.4%
Russell 2000 Consumer Discretionary Sector 23.3% 2.0%
Russell Eurozone Index 20.8% 2.9%
Russell Greater China Index 21.2% 2.3%
Russell Emerging Markets Index 19.1% 2.0%
Source: Russell Investments
Please note: Indexes are unmanaged and cannot be invested in directly. Returns represent past performance, are not a guarantee of future performance, and are not indicative of any specific investment. Russell's publication of the Indexes or Index constituents in no way suggests or implies a representation or opinion by Russell as to the attractiveness of investing in a particular security. Inclusion of a security in an Index is not a promotion, sponsorship or endorsement of a security by Russell and Russell makes no representation, warranty or guarantee with respect to the performance of any security included in a Russell Index.
Disclaimer: http://www.russell.com/indexes/about/index_alerts.asp#disclaimer


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Mandala Seeds Delivers High Quality & Extreme Power at Affordable Prices!
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Mandala Seeds is all about the science of high-powered cannabis seeds, but these breeders also know that great weed is supposed to be fun! If you'd like to give one of these marijuana seeds a try, you won't go wrong with their signature Mandala #1, but 8 Miles High is the one that sold the entire Rhino Team on Mandala Seeds. Order yours today!
Mandala Seeds does a great job of keeping the prices on their stunning line of cannabis seeds extra low, but the Rhino goes one better! We guarantee you'll get your choice of Mandala Seeds beans at the absolute cheapest price in the UK. If not, we'll refund the difference plus a little extra to say we're sorry we screwed up. Who else does that?
Mandala Seeds Summary
This weeks most popular strain is Big Bang 2


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You are here: Home / Publications / EIB: Economic Information Bulletin / The Potential Impact of Tax Reform on Farm Businesses and Rural Households
Stay Connected
Economic Information Bulletin No. (EIB-107) 32 pp, February 2013
Cover image for EIB107 An analysis of the potential impact of tax reform proposals on farm businesses and rural households in the United States.
Keywords: farm households, tax reform, income tax, tax rates, Federal tax policy, farm losses, refundable credits, tax deductions, rural households, tax preferences
In this publication...
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Last updated: Thursday, February 07, 2013
For more information contact: James Williamson, Ron Durst, and Tracey Farrigan
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Usablenet Assistive is a Usablenet product. Usablenet Assistive Main Page.


text: Info Search results 3 items matching your search terms. Filter the results. Item type Select All/None Collection Page Event File Folder Form Folder Image Link News Item Collection Person New items since Yesterday Last week Last month Ever Sort by relevance · date (newest first) · alphabetically Resident Didactic Lecture Located in Events / Archives M&M Conference Located in Events / Archives Grand Rounds Kemi Doll, MD, Fellow, UNC Gynecologic Oncology | "Gynecologic Cancer Mortality in North Carolina: Population Based Studies" Located in Events / Archives


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Emerson Oil Rubbed Bronze With Medium Oak/dark Cherry Blades 5 Blade 50" Pro Series Ceiling Fan in Oil Rubbed Bronze and Medium Oak Finish - Blades and Light Kit Included
Offer Ends
We still have product details, accessories, replacement parts and reviews below, scroll down to see them!
Technical Specs
|Owner's Manual
|Blade Finish
|Dark Wood, Medium Wood
|Blade Pitch
|Blade Span
|Blades Sold Separately
|Bulb Base
|Candelabra (E12)
|Bulb Type
|CFM (High)
|Pro Series
|Controller Included
|Downrod(s) Included
|Energy Star
|Fan Control Type
|Pull Chain
|Flush Mounting
|Light Direction
|Down Lighting
|Light Kit Compatible
|Light Kit Included
|Number of Blades
|Number of Bulbs
|Product Weight
|Suggested Room Fit
|Bedroom, Dining Room, Kitchen, Living Room
|UL Listed
|UL Rating
|Dry Location
|Watts Per Bulb
5 Blade 50" Pro Series Ceiling Fan in Oil Rubbed Bronze and Medium Oak Finish - Blades and Light Kit Included
The Emerson Pro Series fan incorporates contractor requested "Quik Install" features to make installing your ceiling fan a snap. The easy to align Precision-Lock™ blade arms and easy install mounting bracket make this fan easier and faster than ever to install.
- 50" blade span with 12° blade pitch
- Precision-Lock™ blade arms with pre-attached screws for quick and easy alignment of blades
- Removable light fixture can be replaced with switch cover if desired (included)
- Easy install mounting bracket
- Dual mounting for close to the ceiling or downrod installation
Package Includes:
- Five reversible blades (Dark Cherry / Medium Oak)
- Light fixture
- Dual mount
- Optional no-light cover
- 4.5" downrod
- Limited lifetime warranty
Optional Accessories:
- SW90 wall control
- Blade finish: Dark Cherry / Medium Oak
- Airflow: 5224 CFM (high speed)
- Fan speed set via a 3-speed pullchain
- Fan weight: 19 lbs
- Light Kit uses (3) 60 watt candelabra base incandescent bulbs
- UL listed for dry locations
Additional Emerson Links
- View Manufacturer Warranty
- Shop All Emerson Products
- Shop All Emerson Pro Series Collection Products
Our SKU: CF712ORB
This product is listed under the following manufacturer number(s):
- Oil Rubbed Bronze with Medium Oak/Dark Cherry Blades*
*Denotes a finish or option that has been discontinued
6 Questions from the Community
The Emerson CF712ORB is dual mounted which means it can be flush mounted or can be suspended with a down rod.
So does Hanging Mount always mean that it hangs from a rod? It is listed as a DUAL mount and hanging mount. Dual Mount does not always include "flush mount"?
A. The Emerson CF712ORB is dual mounted which means it can be flush mounted or can be suspended with a down rod.
The Emerson CF712ORB includes a 4.5" downrod.
how far does the fan drop from the ceiling total
A. The Emerson CF712ORB includes a 4.5" downrod.
The Emerson CF712ORB comes with a 4.5" down rod.
how far does this drop from the ceiling
A. The Emerson CF712ORB comes with a 4.5" down rod.
The glass shade on the Emerson CF712ORB is a light amber color.
What color is the glass shade?
A. The glass shade on the Emerson CF712ORB is a light amber color.
Per the manufacturer, the blades on the Emerson CF712ORB are not interchangeable.
Can I change out the blades for different ones?
A. Per the manufacturer, the blades on the Emerson CF712ORB are not interchangeable.
Per the manufacturer, the Emerson CF712ORB cannot be controlled with a remote control.
Can I use a remote controle with this fan?
A. Per the manufacturer, the Emerson CF712ORB cannot be controlled with a remote control.
Emerson Pro Series Collection
Other Products In The Emerson Pro Series Collection
Emerson CF712
Pro Series 50" 5 Blade Ceiling Fan - Blades and Li...$119.00-$129.00(21)
Emerson CF713
Pro Series ES 50" 5 Blade Ceiling Fan - Blades and...$149.00-$159.00
Warranty Info
All products are warranted against defects in workmanship and materials for one year from date of sale, except for motors in selected ceiling fan models whish are warranted against defects in workmanship and materials for extended periods of time. See the specific limited warranty included in the owner's manual packed with each fan. These warranties do not apply to damage from accident, misuse, or alteration; nor where the connected voltage is more than 5% above the nameplate voltage; nor to equipment improperly installed or wired or maintained in violation of the Instruction Sheet. These warranties are valid only in the fifty states of the United States. No employee, agent, dealer or other person is authorized to give any warranties on behalf of Emerson Electric Co.
The customer shall be responsible for all costs incurred in the removal or reinstallation and shipping of the product for repairs. Within the limitations of these warranties the customer should contact Carrol Appliance, authorized Service Center, at 1-800-654-3545. We will replace parts, or the unit, at our option, at no charge to you with return freight paid by Emerson. It is agreed that such repair or replacement is the exclusive remedy available from Emerson Electric Co. and that EMERSON IS NOT RESPONSIBLE FOR DAMAGES OF ANY KIND, INCLUDING INCIDENTAL AND CONSEQUENTIAL DAMAGE. Some states do not allow the exclusion or limitation of incidental or consequential damages, so the above exclusion or limitation may not apply to you.


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How to: Flash Galaxo ROM
Time to change that Samsung Galaxy a bit? Time for the Galaxo how to. Just remember that unlocking your bootloader will void your warranty. The risks are very slim but they do exist and neither I or anyone else will take any responsibility for any problem that could occur. However you will always loose all your data on the phone! Any external SD card will be left untouched.
That was the disclaimer on to more fun stuff! This guide will flash (install) Galaxo by Drakaz on your phone. We will use Galaxo 1.6.2 which is built on the XEJC6 firmware. It's not as hard as it look, I just wrote a quite extensive guide divided in many steps. My goal is that you should be able to achieve this without any pre-knowledge at all. more straight forward instructions are always published with the ROM. Note that this guide focus on how to do this on a Windows computer, it's possible on Mac and Linux but since I don't have any experience on that I'll let you look for that answer somewhere else.
Phase 0: Preparations
0.1 First of all you need to follow this guide to install the correct firmware and get all the files needed.
0.2 Back-up anything you want to save from your phone and make sure your battery is charged to minimum 60%. Enable USB Debugging in Settings->Applications->Development
0.3 Make sure you have the files needed, ie. Recovery 4.6.2, Galaxo 1.6.2 and the XEJC6 firmware as linked in the Odin guide. You should still have the SDK installed and ADB up and running. Just like last time I will assume you installed the SDK in C:\Android so if you didn't just change the paths accordingly.
Phase 1: Install the Recovery
1.1 Extract the Recovery 4.6.2 zip. You should now have 2 files, recovery.img and RECTOOLS.tar.gz
1.2 Copy the extracted "recovery.img" to "C:\android\tools\"
1.3 Change the name on "Galaxo_V1.6.2.zip" to "update.zip"
1.4 Extract the firmware zip and rename "I7500XEJC6-PDA-CL209906.tar" to "SAMSUNG.tar" (in caps!)
1.5 Connect your phone and mount your SD card, now copy "SAMSUNG.tar", "update.zip" and "RECTOOLS.tar.gz" to the root of the card. This can be done with the ADB Push command if you prefer it but in my opinion that doesn't exactly make it simpler
1.6 If you followed the above steps correctly you should now have "recovery.img" (from the Recovery 4.6.2 zip file) in C:\android\tools and in the root of your SD card "SAMSUNG.tar" (renamed from the firmware zip), "update.zip" (renamed Galaxo 1.6.2 zip) and "RECTOOLS.tar.gz" (from the Recovery zip)
1.7 Shut down your phone and connect it to your computer via USB
1.8 Press "windows-button + R" and type in cmd, Enter
1.9 In your cmd window type "cd c:\android\tools" and press enter
1.10 Type "fastboot flash recovery recovery.img" (without the "") and press enter. The response should be "Waiting for device" like shown in this picture
1.11 Start your phone in fastboot mode by pressing "Call + Power/End call"
1.12 Your phone should show you a terminal-like black screen with white text that say FASTBOOT in the top. The cmd window on your computer should find your device and after a short while say "OKAY" as will your phone. If it stays on waiting for device try typing in the "fastboot flash recovery recovery.img" again but this time don't hit enter until you've started your phone in fastboot. You will have something like 10-15 seconds before the phone restarts so be quick on that Enter key. If you get the same result again, go back to the Odin guide and make sure that you have ADB live and kicking.
1.13 Your phone reboots and the cmd window will go back to showing c:\android\tools and accept input. Just shut your phone down again.
Phase 2: Flash Galaxo ROM
2.1 Boot your phone in recovery mode by pressing "Volume down + Call + Power/End call". It should now look similar to this picture (older version, picture borrowed from Drakaz)
2.2 Just in case you Galaxo update doesn't work as planned or you decide to switch back, make a Nandroid back-up. Do this by selecting "Nandroid backup" with your navigation pad and pressing "OK". This will take a while and when done return to the previous screen. Make sure it says "backup complete!" in the bottom of the screen. Now you can always return to this "clean state".
2.3 Before we update it with Galaxo we perform a wipe, select the entry "Wipe data/factory reset" press "OK" and then confirm. get a cup of coffee while you wait and then we'll sprint through the last part.
2.4 Time for the actual Galaxo update! Select the entry "Apply sdcard:update.zip", confirm and start to get exited
2.5 When the update is done you only have one step left, and that is to restore Google applications. Drakaz are not allowed to put these in the ROM so instead we pull them from the firmware (this is why we have the SAMSUNG.tar file). Select "Restore G.Apps" and confirm. When it's done select "Reboot system now" and enjoy your new Samsung Galaxy, powered by Galaxo rom.
2.6 Phone doesn't start, stays on the blue Samsung logo? Most likely Restore G.Apps failed. This can happen, select "Mount SD(s) on PC" and on your computer look for the recovery.log. Open it in notepad, at the bottom you will find why it didn't work. Most of the times it's one of these 2:
File not found - Did you forget to copy SAMSUNG.tar? Did you name it properly (remember CAPS)? Did you copy it to the root and not some folder?
Checksum failed - Did you remember to perform the wipe before applying the update.zip? Do you have the correct file (I7500XEJC6-PDA-CL209906.tar renamed as SAMSUNG.tar)?
When you feel that you have checked the above, delete the SAMSUNG.tar and copy it again (don't overwrite! Shouldn't make a difference but I've seen it). Unmount the SD and start over from 2.3 performing the wipe.
Optional Phase 3: Personalize your Galaxy
Some small steps I have taken to get the most out of my phone:
The Galaxy stock keyboard is in my opinion junk. To get a mod of the Desire keyboard have a look here: http://einartysen.se/change-to-htc-keyboard-on-your-non-htc-android-device/
I got tired of the vanilla Android look and got myself a theme, there are many more out there. Just Google on Galaxo themes, note that there are a couple of different ways to install them. This is the one I use http://www.frandroid.com/forum/viewtopic.php?id=8640 with instruction (Google Translate does the trick if you don't speak french).
If anything is unclear, let me know in the comments and I'll work trough that part again!
This guide could not have been written without Drakaz hard work for the community and everyone else dedicating time to trouble shoot and explain in forums like: www.frandroid.com www.phandroid.com www.hdblog.it and last but definitely not least www.swedroid.se and their Wiki.
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College of Medicine Awards More Than $40,000 in Scholarships
WASHINGTON (November 26, 2013) – This month,the Howard University College of Medicine awarded more than $40,000 in scholarships to 55 students during its annual Awards and Honors Day for accomplishments in academic excellence, community service and research within the medical field. All the awards and scholarships were funded by the generosity of friends of the College of Medicine, foundations, established memorial funds and alumni.
"The high caliber of achievement among our students is the hallmark of the College of Medicine legacy," said College of Medicine Dean Mark Johnson, MD. " We are very proud of the accomplishments by our scholars and grateful to our alumni and donors for their generosity and support."
During the ceremony, faculty members were also recognized for their accomplishments in research, teaching and mentorship within the Howard community and medical field. Staff members were recognized and honored for their dedicated service in the College of Medicine as well.
The Howard University community celebrates these remarkable accomplishments, which further establish the College of Medicine as a valued pipeline of diversity in medicine, a champion in the fight against health disparities among minorities, and a leader in medical research around the nation and the world.
About Howard University College of Medicine
Since its founding in 1868, the Howard University College of Medicine has been at the forefront of medical education and has graduated more African-American physicians than any other medical school in the United States. Throughout its existence, it has remained true to its missions of training highly competent and compassionate health care professionals, creating new knowledge through vigorous research and addressing health disparities impacting people of color in the U.S. and abroad. For more information about the College of Medicine, visit http://huhealthcare.com/education.
Founded in 1867, Howard University is a private, research university that is comprised of 13 schools and colleges. Students pursue studies in more than 120 areas leading to undergraduate, graduate and professional degrees. Since 1998, the University has produced two Rhodes Scholars, two Truman Scholars, a Marshall Scholar, 30 Fulbright Scholars and 11 Pickering Fellows. Howard also produces more on campus African-American Ph.D. recipients than any other university in the United States. For more information on Howard University, call 202-238-2330, or visit the University's Web site at www.howard.edu.