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DuPage County Family and Divorce Attorneys
Mevorah Law Offices, LLC
Bloomingdale, Illinois 60108
(630) 529-4761
(630) 529-7630
Contact Mr. Steven H. Mevorah
Other Offices: Joliet, IL Lombard, IL St. Charles, IL
Free ConsultationContingency FeeCredit Cards
Law Firm Overview
Attorney Steven Mevorah built his practice on principles of personal service, accessibility, and a zealous defense of client rights and interests, whether through litigation or mediation. The firm's Lombard office offers extended hours to accommodate hectic schedules, and together with its many attorneys and several other satellite offices throughout the state, ensures that clients are not left with a paralegal or other support staff to answer questions. The diligence and care with which each attorney handles cases and treats clients has earned the firm a long list of grateful testimonials, each evidence of its continued commitment to providing businesses and individuals with the tools they need to protect their investments and lives.
Experience is by far the greatest mark of a successful attorney and firm, the one indicator of how well clients may trust the advocates to which they submit their fears and responsibilities. Mevorah Law Offices has proudly given over 150 years of legal expertise in service to Chicago and the state of Illinois, gaining over three decades the lifelong gratitude and trust of families, businesses, and individuals everywhere.
Year this Office was Established: 1979
Languages: English
Areas of Law
- Accident
- Admiralty & Maritime
- Adoption
- Alimony
- Alternative Dispute Resolution
- Animal Bites
- Asbestos Mesothelioma
- Assault
- Aviation Accidents
- Back & Neck Injury
- Bankruptcy
- Battery
- Bicycle Accident
- Birth Injury
- Boating Accident
- Brain Injury
- Burn Injuries
- Bus Accidents
- Car Accident
- Catastrophic Injuries
- Child Custody & Visitation
- Child Support
- Civil Rights
- Class Actions
- Collaborative Law
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- Computer Crime
- Constitutional Law
- Construction Accidents
- Construction Injuries
- Consumer Law
- Criminal Defense
- Criminal Law
- Cruise Ship Accidents
- Debtor & Creditor
- Defamation, Libel & Slander
- Defective Drugs
- Defective Products
- Discrimination
- Divorce
- Domestic Violence
- Drug Crime
- Embezzlement
- Employment
- Estate & Trust
- Estate Planning
- Ethics
- Expungements
- Extradition
- Failure to Diagnose
- Family Law
- Federal Law
- Felonies
- Foreclosure
- Fraud
- General Practice
- Government
- Green Cards
- Health Care & Social
- Homicide
- Human Rights
- Identity Theft
- Immigration
- Industrial Injuries
- Inheritance Law
- Insolvency
- Juvenile Crime
- Juvenile Law
- Landlord & Tenant Law
- Lemon Law
- Litigation
- Malpractice
- Manslaughter
- Mass Tort
- Medical Malpractice
- Medication Errors
- Money Laundering
- Motor Vehicle Accidents
- Motor Vehicles
- Motorcycle Accident
- Murder
- Narcotics
- Native Populations
- Naturalization & Citizenship
- Negligence
- Nursing Home Abuse
- Paternity
- Pedestrian Accident
- Perjury
- Personal Injury
- Personal Property
- Pharmaceutical Litigation
- Pre-nuptial Agreement
- Premises Liability
- Probate
- Product Liability
- Product Liability Litigation
- Professional Liability
- Professional Malpractice
- Prostitution
- Railroad Accidents
- Rape
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- Robbery
- Rollover Accident
- Sex Crimes
- Sexual Abuse
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- Social Security
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- Surgical Errors
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- Transportation
- Truck Accident
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- Will
- Wire Fraud
- Work Permit
- Workers Compensation
- Workplace Injuries
- Wrongful Death
Additional Areas of Law: Auto Accidents; Dog Bites; Amputations; Permanent Disability; Property and Asset Division; Post-Decree Modifications; Dissolution of Arranged Marriages; Postnuptial Agreements; Traffic Violations / Municipal Court; Record Sealing; Retail Theft; Driver's License Reinstatement; Bankruptcy for Individuals; Chapter 13; Chapter 7; Bankruptcy for Businesses; Family-Based Visas; Employment-Based Visas; Temporary Visas; Education-Based Visas; Removal/Deportation; Retaliation; Negotiating a Settlement.
Areas of Law Description
Mevorah Law Offices offers legal services in the following practice areas:
- Personal Injury
You need an effective legal representative to help you if you have been seriously injured because of the negligent or wrongful conduct of another person. Our personal injury lawyers have helped clients receive fair and full compensation for all types of personal injury claims.
- Family Law
Our law firm understands that nothing matters more to you than your family. Our firm is composed of experienced family law attorneys who are committed to aggressively advocating for our clients in all their family law matters. With over 150 years of combined experience, our seasoned attorneys work as a team to protect your rights.
- Worker's Compensation
If you've been injured or are suffering an illness due to your employment, Illinois law states that you are entitled to compensation for medical expenses and lost wages. The attorneys of our firm have decades of experience in worker's compensation law. We'll handle your case with the compassion and care you need when dealing with a difficult situation.
- Criminal Law
We have been protecting the rights of individuals and business entities accused of crimes for over thirty years. The cases our lawyers handle encompass a broad scope of criminal litigation, DUI or DWI, Traffic Violations or Municipal Court, Drug Crimes, Sex Crimes, White Collar Crime, Assault and Battery, Domestic Violence, Juvenile Offenses, and many others.
- Bankruptcy
For over 20 years, our law firm has been assisting clients in filing for bankruptcy. We focus our bankruptcy practice on assisting individuals in filing for Chapter 7 and 13 bankruptcies. Both Chapters stop collection activities such as creditor phone calls, foreclosures, and repossessions. However, each chapter operates differently and applies to different types of people.
- Immigration
We represent clients before the U.S. Citizenship and Immigration Services and the Bureau of Immigration and Customs Enforcement and provide guidance in matters relating to immigration and naturalization, visas, citizenship, asylum, employment, and removal also known as deportation.
Mr. Bradley C. Giglio
Criminal Law, Family Law
Mr. Paul Henry Millewich
Bankruptcy, Criminal Law, Family Law, Personal Injury, Traffic Ticket
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More Information on Mevorah Law Offices, LLCFamily
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An Historical Report of the Title which the Crown of England hath unto the realm of Ireland, abstracted out of the printed book of the Statutes of Ireland in the Act of the Attainder of Shane O'Neale, 11 Eliz. 1567.
|An Historical Report of the Title which the Crown of England hath unto the realm of Ireland, abstracted out of the printed book of the Statutes of Ireland in the Act of the Attainder of Shane O'Neale, 11 Eliz. 1567.
Gurmund, King of Great Brittannye and son to King Belin, was Lord of Bayon in Spain, from where the Biscaynes came first into Ireland and were his subjects, whereby it follows that Ireland ought to be under the dominion of the Kings of Great Brittannye. Exiled Biscaynes in 60 ships were met at sea (near unto the Isles of the Orchades), with King Gurmund in his return from his conquests in Denmark. The captains of the Biscayn fleet, Hiberus and Hermon, besought the King to assign them some place where they might inhabit; the King, having commiseration of them, assigned them the land of Ireland, whereby it is evident that Ireland ought to be subject to the crown of Great Brittanye.
Dermond McMoroghe, the banished King of Leinster, submitted himself to King H. II., and became his liege man. His daughter and heir, Eva, married Richard Fits Gilbert, Earl of Struguill (or rather Pembrook), in Wales. He resigned all his right to King H. 2, and took again the land of Leinster of the King, which is a good title to Leinster.
In the year 1171 King H. II. in person went into Ireland; at Waterford Dermond King of Corke, of the nation of the McCarties, submitted himself to him and became his liege man. At Cashell, Donnell King of Limerick, of the nation of the O'Briens, swore fealty and homage to him. After that, Donald King of Ossery, McShaghlin King of Ophalye, and all the princes of the south of Ireland became his liege men. At Dublin, O'Carrell King of Uriell, O'Rwrk King of Meath, and Rotherick King of Connaght and Monarch of Ireland, with all the princes and men of account in the whole realm, swore fealty and homage to him and submitted themselves to tribute.
In the year 1185 K. H. II. gave the land of Ireland unto his youngest son, John, about which time he came in person into Ireland and held the same land. Immediately after the conquest the clergy of Ireland, being assembled at Armaghe, acknowledged that through sin of the people of the land, by the sentence of God, the mischief of conquest did befall them.
At Dublin and also here in Ireland there came to K. R. II. O'Neale of Ulster, O'Brien of Thomond, O'Conner of Connaghte, Art McMorrogh of Leinster, and all the rest of the captains of the Irishmen in Ireland swore fealty and homage to that King, whereby it appeareth evidently that Ireland is belonging and appertaining to the crown of England.
The Title which the Crown of England hath to the Kingdom of Ireland in general, and in particular to the Earldom of Ulster, proved by records abstracted out of the Act as above.
John de Courcye (sent by King H. II. into Ireland) conquered all Ulster, of whose companies in that service divers of their issues remain in that province at this day, vizt., the Savages, Jordons, FitzSimons, Chamberlaynes, Bensons, Russells, Awdleyes, Whites, and many others. John de Courcye died without heirs, and the King gave his conquests to Hugh de Lacy and his heirs, who left one only daughter and heir, married to Burgh. After three or four descents in Burgh it fell again unto a female heir, who was married to Lionell Duke of Clarence, third son to King Edw. III., whose daughter and sole heir Phillip was married to Edmund Mortimer Earl of March, who for many years enjoyed that large territory. He had issue Roger Mortimer Earl of Marche; who had issue Edmund, Anne, and Elinor. But Edmund and Elinor died sans issue, and Anne was married to Richard Earl of Cambridge, son to Edmund Duke of York, fifth son to King Ed. III., which said Richard had issue Richard Duke of York, father to King Edw. IV.; whereby it is evident that the earldom is the undoubted inheritance of the crown of England.
Farthermore, in a parliament held at Dublin in the 28 year of King H. VIII., by the consent of the three estates there assembled, the provinces of Ulster and Leinster and all the lands of the absentees were granted and confirmed and established to the King, his heirs and successors. In the 33 year of H. VIII., in a parliament held at Dublin, it was enacted that the King, his heirs and successors, should for ever afterwards be styled and intituled Kings of Ireland.
|Held by:
|Lambeth Palace Library, not available at The National Archives
|6 Pages.
|Unpublished Finding Aids:
|Former Reference Department:
|MS 613, p. 51a

subset: commoncrawl


text:
Aberdeen Caledonian Thistle Celtic Dundee Dundee United Hamilton Academical Hearts Kilmarnock Motherwell Ross County St Johnstone
Birmingham City Blackburn Rovers Bolton Wanderers Brentford Brighton & Hove Albion Bristol City Burnley Cardiff City Charlton Athletic Derby County Fulham Huddersfield Town Hull City Ipswich Town Leeds United Middlesbrough MK Dons Nottingham Forest Preston North End Queens Park Rangers Reading Rotherham United Sheffield Wednesday Wolverhampton
Chelsea to face real Corinthian spirit
CHELSEA will be facing a team backed by some of the most fanatical fans in the world in Yokohama tomorrow.
Fans they had never met before are sleeping on the floor, packed like sardines
Former Arsenal star Edu, now director of football at the Brazil giants, revealed the unrivalled passion of his club's fans, with 25,000 expected in Yokohama.
"There is this guy who had a motorbike accident and he injured his legs and couldn't walk," said the former midfielder. "He was going to come by himself because there was no-one to push the wheelchair. He rang our president and we offered to help him.
"There are other fans who don't have money to stay in hotels and they call Corinthians fans here in Japan and they invited them to stay in their houses, but they don't charge them.
"Fans they had never met before are sleeping on the floor, packed like sardines. Corinthians is a club like no other in the world. A lot of people follow a lot of clubs, but Corinthian fans are poor people.
"They sell cars to come here, they borrow money from the bank to come here, they lose jobs to take money from the Government to come here.
"Another guy I saw was borrowing money from everybody. He had a pile of money three centimetres high.
"He was writing down exactly what everyone had given him, so he could pay them back."


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The deal's approval following months of uncertainty represents a significant milestone in the DOJ's controversial Operation Choke Point probe.
Judge OKs Settlement Between Justice Department, Four Oaks Bank
APR 29, 2014 8:24am ET
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The Username Letter Challenge v2.
View Single Post
February 27th, 2012 (10:54 PM).
we love, we hate. we die, forever late! in willow's way...
Crystal Tier
Join Date: Feb 2008
Location: California
Age: 19
Gender: Female
Nature: Hardy
Posts: 1,207
Originally Posted by
Username: _Infernape_ so first 6 letters _Infer
Game(s): B/W. Is Blaze Black Volt White Ok?
Team(s): _(idk but i dun wanna use sudowoodo any suggestions?) I(Infernape :d) N(Noctowl) F(Froslass) E(Escavalier) R(Rhyperior)
Infernape, Froslass, Escavlier, Rhyperio, Noctowl, and I need an _ Pokemon
BlazeBlack and VoltWhite are fine with me, they'll still count under B/W.
As for your _ Pokemon, I took a quick look through the list of Pokemon, and I saw that Chimecho, Lileep, Beldum, and possibly some Unown forms could work, although you would have to keep them unevolved in order to fit the requirement.
Don't worry though, if you don't find something that could work/something that you want to use, you can go ahead and use "Infern" as your first six. (Which is kind of funny, because my first six letters are also "Infern")
"Magnus! I do not fear your reign, for I have an umbrella!"
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PSU Coaches Caravan stops in Scranton tonight
The second go-round for the Penn State Coaches Caravan has been as raucous as the first for football coach Bill O'Brien.
Tonight, he'll return to the busiest venue the caravan has ever seen.
O'Brien and a cavalcade of Nittany Lions coaches will be on hand at Genetti Manor in Dickson City, as the caravan makes a stop at the annual scholarship dinner held by the Penn State Alumni Association's Greater Scranton Chapter.
The reception begins at 6:30 with dinner at 7:30.
Last year's stop in Scranton easily was the best-attended of the caravan, drawing 930 onlookers to hear O'Brien speak to area alumni and fans for the first time.
This year's dinner is expected to draw more than 800 to Genetti's, where O'Brien will be joined by men's basketball coach Patrick Chambers and men's volleyball coach Mark Pavlik.
"This is a great chance to get out and meet all our alumni and fans," Penn State's second-year coach said. "We want to get out, show our appreciation and say thank you for everything Nittany Nation does to support all our programs. It's great being in a room full of energetic, passionate Penn Staters."
The Dickson City stop highlights the second week of the Caravan, which made six stops in southern Pennsylvania, Washington D.C. and Baltimore. More than 2,100 fans attended those events, including 550 for the stop in Harrisburg.
Several scholarships will be awarded to Penn State students, and the 2013 Greater Scranton Chapter Alumnus of the year will be presented to Bob Ghigiarelli, a 1961 Penn State grad who played football for coaches Rip Engel and legendary Joe Paterno. Ghigiarelli had a distinguished career in education locally, including a 32-year run in the Lakeland School District as principal and Superintendent of Schools.
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Works as expected
Pro: Works just fine Cons: Setup was a little tougher than expected. The instruction manual could have been a bit more helpful. Was really lacking in instructions for the "average" consumer and they would most likely need more assistance to get this setup. Fortunately I know my way around these and was able to configure it with a little digging around
Was this review helpful to you?YESNO


text:
Lock My Mac... This simple application will lock OS X while keeping your programs running in the background. Enter your password as you would at login to resume your session.
Using this program in conjunction with Spotlight or Quicksilver will enable you to quickly lock your mac.
RequirementsMac OS X 10.5.2
Similar SoftwareOpen Comparison
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Hotel Bernheof
- Free WiFi
Main amenities
- 11 guestrooms
- Marina
- Restaurant
- Breakfast available
- 24-hour front desk
- Front desk safe
- Multilingual staff
- Luggage storage
- Lobby TV
What's around
- Heart of Genoa
- White Palace (0.5 mi / 0.7 km)
- Galata Maritime Museum (0.5 mi / 0.7 km)
- Palazzo di San Giorgio (0.5 mi / 0.8 km)
- National Ligurian Gallery at the Spinola Palace (0.5 mi / 0.8 km)
- Palazzo Rosso (0.5 mi / 0.9 km)
Good location, great for a one night stay
It was a different kind of hotel
Hotel Bernheof
Hotel Info: 800 1205131from S$65
- Basic Twin Room, Shared Bathroom
- Basic Double or Twin Room, Private Bathroom
- Basic Triple Room, Private Bathroom
- Basic Double Room Single Use, Shared Bathroom
- Basic Double Room, Private Bathroom
Recommended hotels
At a glance
Key facts
Hotel size
- This hotel has 11 rooms
- This hotel is arranged over 1 floor
- Check-in time 2:00 PM-10:30 PM
- Check-out time is 11 AM
- Express check-in/out
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
Travelling with others
- Children (3 years old and younger) stay free when occupying the parent or guardian's room, using existing bedding
- No cribs (infant beds)
- Pets allowed (dogs and cats only)
- 1 per room (up to 30 kg)
- Free WiFi and wired Internet access in public areas
- Free WiFi in rooms
- No parking
Nearby One Star Genoa hotels
In the hotel
- Breakfast (surcharge)
- Restaurant
- Marina on site
- 24-hour front desk
- Luggage storage
- Elevator/lift
- Safe-deposit box at front desk
- Designated smoking areas
- Television in common areas
In the room
- In-room climate control (air conditioning)
- Iron/ironing board (on request)
- Premium bedding
- Shower only
- Bidet
- Free toiletries
- Hair dryer
- Digital TV channels
- Desk
- Free WiFi
- Phone
- Housekeeping - once per stay
- Access via exterior corridors
Recently reviewed hotels in Genoa
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"Fantastic location to Portofino and morning sea view."Dec 26, 2014
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"The hotel is conveniently located near the city centre and accessible to many shopping and eating locations. Though it is between 2 train stations, but the Central Station is…"Nov 20, 2014
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Hotel Bernheof's small print
Cash transactions at this property cannot exceed EUR 2999.99, due to national regulations. For further details, please contact the property using information in the booking confirmation.
Noise-free guestrooms cannot be guaranteed.
Mandatory fees
You'll be asked to pay the following charges at check in or check out:
- A tax is imposed by the city: EUR 1 per person, per night
Optional extras
Air conditioning is available for an extra charge of EUR 5 per stay
Rollaway beds are available for EUR 18 per night
Breakfast is offered for an extra charge of EUR 6 per person (approximately)
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
Is the description of this hotel not correct? Tell us


text:
Sparks fly in short campaign in Venezuela
At passionate rallies that take on the feel of rock concerts, Capriles has shouted that "Maduro is not Chavez" while calling attention to Venezuela's high crime rate, its overvalued currency, its overreliance on food imports and its 22 percent inflation rate, the highest in Latin America. He's also tried to assure Chavez supporters that he will not touch their many social programs.
Yet the 40-year-old candidate is short of funding, time and, maybe, votes. A recent survey by the independent polling firm Datanalisis showed Capriles trailed Maduro 49 percent to 35 percent in a sampling of 800 voters from March 11-13. The poll had a margin of error of 3.4 percentage points.
That may explain why the opposition candidate has shed last fall's turn-the-cheek approach for a more confrontational style. He's accused Maduro of shamelessly capitalizing on Chavez's legacy and ridiculed his opponent, a tall and physically imposing former union leader, as an "oaf" incapable of fixing the country.
Mariana Bacalao, a political analyst at the Central University of Venezuela, said the abbreviated campaign has pushed both candidates to turn up the rhetoric for maximum effect with each appearance.
"Capriles has to make a quick impression," Bacalao said
Capriles also has to strike the delicate balance of attacking Chavez's record - but not Chavez.
The Datanalisis poll found that 79 percent of Venezuelans had a positive image of Chavez, while only 55 percent thought positively of Maduro. At the same time, 56 percent had a positive image of the country's situation, but only 47 percent felt the same about the economy.
Campaign adviser Oswaldo Ramirez acknowledged that Capriles must "confront those responsible for public policy and those responsible for 14 years of bad management without touching Hugo Chavez with so much as a feather."
"Hugo Chavez is now the opposition's sword of Damocles. You cannot attack him," Ramirez said.
He conceded that Capriles will have difficulty reaching the millions of Venezuelans who now believe it's the government's responsibility to provide their basic needs - and who are fed a steady diet of Maduro's broadsides on state-controlled media.
Izarra said Capriles' strategy will backfire.
"Capriles is disrespecting the people. They are accusing him of being disrespectful, and he made a big mistake with that," Izarra said. "People are very sensitive to what you say about Chavez now. People are looking for sympathy."
Government officials, meanwhile, preach unity - and optimism - at least for their side of this country's gaping political divide, which appears to have grown wider with the populist leader's death, said Information Minister Ernesto Villegas.
"It turns out the Chavez movement without Chavez is even more Chavista," Villegas said.
Associated Press writers Fabiola Sanchez and Jack Chang contributed to this report.
Christopher Toothaker on Twitter: http://twitter.com/ctoothaker
The Associated Press


text: Posted March 5, 2012 Toothpicks? Guitar picks? Nose picks? What? I personally wouldn't trade draft picks for him. for every sensible team in the league, there's a kansas city or oakland raiders. some dumbass would give up a 2nd for him Share this post Link to post Share on other sites


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But Why, With These Headphones?
Questions regarding neckband earphones.By Susan Rinkunas
Questions regarding neckband earphones.By Susan Rinkunas
From the first headsets to the debut of Google glass.By Erica Schwiegershausen
We caught up with the designer after today's show to ask what's in the pipeline.By The Cut
Dependable soundproofing.By Erica Schwiegershausen
And to protect their own ears, as well.By Caroline Bankoff
Thieves love the ubiquitous, expensive headphones, unsurprisingly.By Joe Coscarelli
Headphone-wearing man walks into oncoming train.By Azriel James Relph
"Do ur homework."By Nitasha Tiku


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Escape in L.A.: Thunder comes up just short in Game 2 loss
LOS ANGELES — You can do away with every encouraging sign that was seen Sunday, and forget about how educational this experience is supposed to be for future years.
Suddenly, the Oklahoma City Thunder appears capable of actually winning this thing.
Sure, the Thunder now trails 2-0 in this first-round series against the defending champion Los Angeles Lakers following Tuesday night's 95-92 thrilling defeat inside Staples Center.
But this best-of-seven showdown is shifting to Oklahoma City, where 18,000-plus will try to spur on their beloved boys to two victories and a chance to send it back to L.A. knotted at two games apiece.
And if that scenario plays out, the Thunder, after Tuesday, should have supreme confidence that it can return to the land of La La and land a victory.
Jeff Green missed a potential game-tying 3-pointer at the buzzer that would have sent the game into overtime. His miss followed Kevin Durant's missed 3-pointer that would have given the Thunder a one-point lead with just more than seven seconds to play.
It was a shocking turn of events for a Thunder team that seemingly no one had picked to win this series, and certainly not steal one on L.A.'s home court.
"We always had that confidence that we could come in here and win the game and play with these guys," Durant said. "A lot of people didn't even think we could play with these guys."
Oklahoma City put up plenty of fight against the Lakers, overcoming adversity and a much rowdier sellout crowd of 18,997 inside Staples Center.
Three consecutive errors, though, doomed the Thunder in the final 2 1/2 minutes, a trio of blunders that might have given credence to any claim that Oklahoma City's inexperience is indeed an issue that is too tall for the Thunder to overcome.
The first came with the game tied at 88-88. Serge Ibaka goal-tended a shot by Russell Westbrook and negated a jumper that appeared to be going in. Lakers All-Star guard Kobe Bryant responded with a pull-up jumper to give L.A. a two-point lead.
Durant was then called for an offensive foul on the next possession. Bryant swished two foul shots at the other end to push the margin to 92-88 with 1:31 to play. And finally, Durant turned the ball over on a drive to the basket, leading to Shannon Brown hitting one of two free throws to give the Lakers a 93-88 lead with 1:18 remaining.
"A couple of things went our way down the stretch that made the difference in that ballgame," said Lakers coach Phil Jackson. "We were down two points in the last five minutes and we were able to pull it out."
If you're scoring at home, that's twice now that Jackson has watched his team eke out a victory. The Thunder trailed by 17 in Game 1 and battled to within six in the closing minutes Sunday before losing by eight. On Tuesday, the Thunder never trailed by more than six in the second half.
"They have the hunger to try to prove themselves and get to the level where we are," Bryant said.
You could make the case that Oklahoma City outplayed L.A. in five of the eight quarters inside Staples Center on Sunday and Tuesday. The Lakers won both first quarters and on Tuesday used a 28-22 third quarter to turn a 47-45 halftime deficit into a four-point lead going into the final period.
Now, the Thunder's task is to find a way to hurdle its fourth-quarter hump and close out the Lakers. If Oklahoma City duplicates its effort from these first two games, the Thunder will give itself an opportunity to make the third time the charm.
The Thunder maintained its pesky defense from Game 1 and held the Lakers to 37.5 percent shooting. Only two Lakers players scored in double digits. Problem was, those two players, Bryant and Pau Gasol, combined for 64 points.
"That was about as well as we can play, and (we) just came up a little short," said Thunder coach Scott Brooks. "Overall, I was very happy with the way we played."
What stood out most was the Thunder's resiliency.
The most significant showing came from Durant, who made the proper adjustments against bulldog defender Ron Artest and delivered the type of performance the Thunder needs to make this a series. The Thunder's star and NBA's leading scorer shook off his dreadful playoff debut and netted a team-high 32 points on 12-of-26 shooting.
Durant's eight turnovers, however, were problematic. And he couldn't outshine Bryant's game-high 39 points, 15 of them coming in a fourth quarter that temporarily answered the questions about Bryant's health.
"What did Mark Twain say?" Jackson asked. "Rumors of my demise are overrated."
Coach Scott Brooks made the right adjustments as well, giving Ibaka more playing time against Lakers duo Andrew Bynum and Gasol. With the more athletic Ibaka in the mix, the payoff was a franchise playoff record 17 blocked shots, including seven by Ibaka.
The Thunder also overcame a foul-plagued night by Russell Westbrook. The point guard, who was the Thunder's lone offensive weapon in Game 1, was whistled for his second foul with 5:35 remaining in the first quarter and never had a chance to put his stamp on the game early. After returning 24 seconds into the second quarter, Westbrook was called for his third foul with 6:06 remaining in the first half and the Thunder trailing 37-28.
Still, Westbrook finished with 19 points, six rebounds and three assists in 29 minutes. Green, however, shot just 2-for-11 from the field and had 12 points. Nenad Krstic, who scored six of his 10 points in the third quarter, was the only other player to finish in double figure scoring, as the Thunder shot 39 percent from the field and 5-for-19 (26.3 percent) from behind the 3-point line.
"The Lakers did what they're supposed to do," Brooks said. "They protected their home court."
And now it's the Thunder's turn to show it can do the same.


text:
About This FirmThe Angel Law Firm is a unique firm focused on representing employees and local businesses (employers) in employment law claims in the Charlotte area as well as throughout North Carolina.
Areas of Law
- Labor and Employment
- Discrimination
- Harassment
- Wage and Hour
- Family and Medical Leave Act
- Covenants Not To Compete
- Wrongful Discharge
- Unjust Dismissals
- Retaliatory Discharge
- Unemployment Appeals
- Sexual Harassment
- Age Discrimination in Employment
- Confidentiality Agreements
- Employee Discipline
- Employee Drug Testing
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text: Dean's List Announced for Fall Semester February 1, 2016 Albany College of Pharmacy and Health Sciences congratulates all of the students who made the Dean's List for the fall 2015 semester. Dean's List status is awarded to full-time students who have successfully completed their coursework with a semester GPA of 3.5 or higher out of a possible 4.0... View More ACPHS Hosts 6th Annual Research Forum January 15, 2016 The ACPHS Research Forum took place on Saturday, January 23 in the Gozzo Student Center. The Forum provided a platform for faculty members from across the College to discuss their current research projects via oral and poster presentations. This marked the sixth year of the annual event. View More MVP to Support Student Operated Pharmacy December 3, 2015 MVP Health Care has made a major gift to the College's new "Beyond Practice Ready" campaign that will help support the ACPHS student operated pharmacy in Schenectady. MVP executive Christopher Del Vecchio said the company is "proud to be part of this innovative health care model... View More Pages < 1 2 3 4 5 6 7 > Archive Year2016201520142013Media ContactGil ChorbajianDirector of CommunicationsWork: 518-694-7394Cell: email@example.com Publications ACPHS In The News


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betachannel3d [at] gmail [dot] com
I moved to Orlando in March of 2014 to work as a character artist at EA Sports on Madden 15 and NBA Live 15. After shipping both titles I left EA to seek out a new challenge. I am currently the Senior Lead Artist at Evolution Ventures, leading a team of 7 artists creating real-time architectural visualization for both mobile and PC using Unity and UE4. Before moving to Orlando, I worked at Ferris State University as an Adjunct Instructor in the Digital Animation and Game Design program in Grand Rapids, Michigan. I have worked with notable clients such as Dell, Cisco, Disney, Zynga, Kixeye, Mattel and Nickelodeon while working as the Lead Artist at YETi CGI. Furthermore, I have comprehensive knowledge of the creation of 3D characters and environments for mobile devices, consoles, and modern PC hardware. I also have extensive experience leading teams of 25 artists in creating content for games. I am passionate for creating the highest quality content for games that is both unique and memorable.
Evolution Ventures
Senior Lead Artist 2014-Present
Electronic Arts
Associate Character Modeler 2014
YETi CGI
Lead Artist 2008-2013
Ferris State University
Adjunct Instructor 2007-2014
Freelance Artist
Contractor 2007-2009
U.S. Army
Senior Artist 2001-2007
Electronic Arts – NBA Live 15 (2014)
Electronic Arts – Madden 15 (2014)
Character Art
Disney – Club Penguin 1.2 (2012-2013)
Disney – Ariel's Musical Surprise
Lead Artist, Technical Artist, Project Manager
YETi CGI – Roaming Fortress (2012-2013)
Digital Paintings, Character Art
Kixeye – Tome: Immortal Arena (2012)
Lead Artist, Character Art
Nickelodeon – D.E.E.P. (2012)
Character Art
Zynga – Farmville 2 (2012)
Lead Artist, Character Art, Environmental Art
YETi CGI – Battle Scars (2012)
Environmental Art, VFX Art
Kixeye – Battle Pirates (2010-2011)
Environmental Art
Kixeye – Backyard Monsters (2009-2011)
Lead Artist, Environmental Art
Ultra – 20+ Titles (2009-2011)
Lead Artist, Tech Artist, Character Art, Environmental Art, UI Designer, VFX Art
Kaon (2007-2009)
Lead Artist, Product Art
US Army (2001-2007)
Junior Artist, Environmental Art
Ferris State University: Aug 2004 – Dec 2007
B.A.S. Digital Animation & Game Design
Outstanding communication skills ranging from employee reviews to classroom instruction
Easily adapts to new and changing pipelines
Exceptional skill and speed in high-poly sculpting and modeling
Understanding of legacy and current technology
Quickly learn and implement new software into existing workflow
Experience leading teams of 2 – 25 artists
Intimate knowledge of entire pipeline from concept to shipped title
Classically trained artist with complete understanding of human anatomical structure
Knowledgeable on current and cutting-edge technology and industry trends
Awesome beard
I have been working in the game industry for the past 14 years. My artistic career started in an unlikely place, the Army. I worked as a 25M; Multimedia Illustrator. This position gave me graphic design experience and the opportunity to work on murals. One year into my military service I was given the chance to work on a classified project that focused on digital simulation of occupied areas to help soldiers navigate unfamiliar terrain. I continued to work on that project, creating textures, vehicles models, and environmental assets until I was honorably discharged from the military in 2007. While still in the military, I started college courses. During this same time, I began managing sub-contractors on projects for Dell, Cisco and Sun Microsystems.
In 2007 I graduated college and began teaching at my Alma Mater, Ferris State University. Classes I have experience teaching include, Digital Sculpting (Zbrush), Traditional Drawing (graphite), Traditional Sculpting (Clay). In 2008 I began working at YETi CGI as Lead Artist. During the past five years I have shipped over 20 titles. Some of my clients include Zynga, Disney, Kixeye, and Nickelodeon.
I moved to Florida in early 2014. Since moving I have worked at EA Sports in Orlando as a character artist for Madden 15, 16, and NBA Live 15. Currently I am the Senior Lead Artist at Evolution Ventures helping to create photo-realistic interiors in real-time interactive walk throughs.


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***Wednesday Bloggers 12/26***
I blogged - The second day of the Top 2000 Blog Party. Come in and take a look at the 16 artpieces of the participants... oh, and ofcourse you can join the fun if you like. You're very welcome to submit your layouts created with the music! We will be pla


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Friday Nights at the de Young
2016-05-27 17:00
2016-05-27 18:00
Presentation: "A Tour of Princess Amanita's Dangerous Garden" and Vignette by Dark Garden Unique Corsetry
2016-05-27 18:30
2016-06-03 17:00
2016-06-03 18:00
2016-06-03 19:00
2016-06-04 13:00
Answer one question. Improve our website.
Today, I'm visiting this website:
- For inspiration.
- To learn something new.
- To plan an activity for my family/friends.
- Because it was recommended to me.
- For professional reasons.
Done. Thank you!
We're always looking for ways to improve our site, so we want to know why you're here and how we can help you find the information you need. For specific questions or comments about our website or this survey, please contact us. Thanks for your help!


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President Obama has, we believe, landed on the right side of history in the debate over gay marriage.With a much-discussed declaration that he supports the rights of same-sex couples to marry, the president has anticipated the future of the debate, which decades from now will be no debate at all. Gay marriage someday will be legal throughout the country, and future generations will wonder what all the fuss was about.
This, of course, is merely a prediction, and it is not necessarily a prediction delivered in celebration nor in resignation. It is, however, a prediction supported by trends in public opinion; and by the fact that younger people tend to be more accepting of the notion of gay marriage; and by the inevitable evolution of a society that once debated slavery and women's suffrage and interracial marriage.
As The Columbian stated editorially in the past, we view the issue of gay marriage to be one of fairness and one of extending similar rights to all citizens.
Not that Obama's declaration will put an end to the debate. We expect those who oppose gay marriage to continue to express their opinions, and we welcome a healthy and meaningful dialogue.
The tradition of marriage and the nature of religious beliefs are strong, valid arguments in opposition to gay marriage, and they are to be respected. Suggesting that somebody who opposes gay marriage does so solely out of bigotry is, in itself, a vile form of intolerance.
We do, however, dismiss the argument that allowing gays to marry somehow diminishes the nature and the meaning of heterosexual marriages. If gay partners are willing to stand up and make a lifelong commitment to each other, we fail to see how that has anything to do with anybody else's marriage.
For those whose religious beliefs teach that marriage is between a man and a woman and is sanctioned by God, the notion of gay marriage does not alter that. Under those beliefs, a gay couple is not truly married, and how the state views it does not change that perception. We can respect that.
All of that said, Obama's statement was largely symbolic rather than practical. States make their own laws regarding marriage without input from the federal government, and 42 states have banned gay marriage through either statute or constitutional amendment.
That indicates the delicacy of Obama's election-year stance. Several swing states in the presidential election — such as Ohio, Florida, Virginia, and North Carolina — have passed bans on gay marriage. The issue of gay marriage has proven to be a strong draw for getting people to the polls, and that could work against Obama in November.
That likely won't be at play in Washington, where Obama carried 58 percent of the vote in 2008.
Since then, Washington put in place a domestic partnership law that was affirmed by voters two years ago. A same-sex marriage bill — expanding the law beyond domestic partnerships — was passed this year by the Legislature and signed by Gov. Chris Gregoire. The law is scheduled to go into effect June 6, although it might face a challenge if opponents of the law can gather enough signatures to place Referendum 74 on the ballot. Petitions also are circulating for Initiative 1192, which would ban same-sex marriage.
As they consider the future of gay marriage in our own state, we trust that Washingtonians will stand on the right side of history.


text: Posted April 26, 2012 I personally like Shawn...he is usually pretty good with his info but I asked him a few questions via twitter and he said that he doesn't expect Carolina to trade back (not sure if he meant they wouldn't be able to or what)...I also asked about Coples and he said "he won't be the pick". Kinda breathed a sigh of relief on that last one...he said they will go BPA. Share this post Link to post Share on other sites


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The Big House
In the hot, dead days of the theatrical dry season last summer, I stood inside the Loring Playhouse one Sunday evening, gaping through the theater lobby's windows with two strangers at a stunning storm front over Kenwood. We were there to see a reading of two short plays, including an adaptation of an exquisitely painful Joyce Carol Oates story; not surprisingly for low-budget theater, these two Canadian visitors and I were the only audience members. At intermission, the director served us soda and, in our newfound intimacy, we all fell into talking about theater. The well-dressed, fortysomething couple said that they were enjoying an annual summer jaunt to the Twin Cities, and had planned on making their usual visit to the Guthrie. But, as they explained in a soft-spoken, unassuming way, upon arriving they couldn't believe that the Guthrie was staging the lightweight comedy You Can't Take It With You. If they wanted that kind of theater, they didn't have to drive all the way to Minneapolis to find it.
That was the first time it occurred to me that something odd might be happening at the Guthrie--the theater that, for most of its 35-year history, has been regarded as the flagship of the American regional-theater movement. When the next show many of us saw was Blithe Spirit, some audience members were disappointed, particularly "the hard-core Guthrie audience," as Joe Dowling, the Guthrie's Irish artistic director, calls them. "The juxtaposition of those two shows was a mistake, absolutely," Dowling said recently. "I've admitted that and I'm certainly trying to work around that, so that we don't put all the populist plays in one basket.
"You have to build a winner into every season, but not underestimate this community," he added, with the assurance of one who's learned the hard way.
"Populist" is an oft-spoken term for Dowling, and a favored quality in both his play choices and his directorial style. So far, though, the semantic distinction between "populist" and "commercial" remains unclear. To date, Dowling's formula for concocting seasons has been a thick base of comedy and comedic drama sprinkled with a couple weightier works. In his first season, Dowling presented two comedies (She Stoops to Conquer and A Midsummer Night's Dream); two versatile dramas (Philadelphia, Here I Come! and The Cherry Orchard); two heavy dramas (The Price, A Doll's House); and, of course, A Christmas Carol. With the exception of The Cherry Orchard, Dowling's plays were all works he had directed elsewhere; his Midsummer Night's Dream bore an uncanny resemblance to a production of the play he had mounted at Stratford in Ontario in 1993.
The current season has been even more comedy-focused (and just as familiar to the director), with only one serious drama, Racing Demon. And even the more substantial comedies, such as Playboy of the Western World, have been delivered with Dowling's signature super-light touch. The new aesthetic has not gone unnoticed by either audiences or critics. Writing in the Star Tribune in August, 1996, John Habich noted: "Dowling virtually ignored the darker sides of Chekhov's family drama and treated it as a comedy, as its author long ago recommended. She Stoops spilled across the stage in a surfeit of laughter and good spirit. Only in Philadelphia does a sense of sadness and loss linger, and even in this play, the pain is leavened by humor and a sense of humanity's unending ridiculousness." Rather pointedly, Habich added, "Dowling has not attempted to update the plays nor has he subjected them to esoteric artistic concepts, an approach sometimes favored by Dowling's predecessor, Garland Wright, and the directors Wright invited to the Guthrie." At last, people seemed to be thinking, after the abstract, moody Art of Wright and his predecessor, Liviu Ciulei, theater we all could understand, theater served with a smile!
On Monday, Dowling announced plans for his third season, which will begin in July and end in May. Dowling will not stray far from the formula, opening with The Importance of Being Earnest and Turgenev's A Month in the Country, in an adaptation by Brian Friel which, the Guthrie assures us, is "filled with humor and warmth." A 1748 Italian farce, The Venetian Twins, will be adapted by Kevin Kling to take place in modern-day Minnesota, followed by A Christmas Carol. This time, Dowling is saving his heavier fare for winter and spring: The Magic Fire, an autobiographical piece by Lillian Garrett-Groag about growing up in Argentina under Peron; a Julius Caesar set in the 20th century (which Dowling did five years ago at Washington, D.C.'s Shakespeare Theatre); and Tennessee Williams's Summer and Smoke.
The Magic Fire is an interesting choice, to be sure (as is the prominent theme of midlife female sexual frustration in Summer and Smoke and A Month In the Country). Yet above the fanfare that has trumpeted Dowling's revivification of a venerable theatrical institution and will no doubt accompany this new season, a troubling set of questions has come into focus. The theater faces momentous challenges--feeding the maw of the box office, surviving a national funding squeeze, and beating off new competition from touring blockbusters--and the shifting identity of the Guthrie may be edging toward a kind of definitional paradox: How many compromises can the Guthrie make to preserve its mission without compromising the mission itself?
The Twin Cities have for the past 30 or 40 years had very little opportunity to see any professional theater, other than occasional visits by touring companies and the performances... at the Old Log. In both cases, the plays presented have been chosen primarily for their commercial appeal.... We believe that there exists a considerable public which is gravely dissatisfied with the condescension to "popular" taste made by the commercial theater, movies, and television; a public which is prepared to meet considerable demands upon its intelligence and energy. --Sir Tyrone Guthrie, 1965
Disgust with the commercial machine of Broadway and its inferior product led Tyrone Guthrie--an Irishman, and one of the most important stage directors of his day--to found his namesake theater in 1963. Then, as now, overnight success was an absolute requirement on Broadway; serious drama struggled for a foothold, while comedies and big-budget musicals predominated, leaving few options for those artists who wanted to grapple intelligently with the classics or with difficult topics and adventuresome staging. The Twin Cities were a symbolically significant choice for his brave new concept of high-minded regional theater: This was far from Broadway, out in the "heartland." (A catchier euphemism for "the middle of nowhere" was never coined.) Even more, Minnesota had a solid base of corporate donors and an educated populace that longed to be regarded as culturally savvy.
From the start, the Guthrie was as much a civic institution as an artistic one; it was to be not only a place to see good theater but also a point of pride for Minnesota on the national scene. In 1960 a steering committee of local civic and business leaders was formed, including John Cowles, Jr. (then-owner of the Minneapolis Tribune) and Frank Whiting (then-chair of the university drama department). An intensive statewide push for construction dollars ensued.
Finally, on an oppressively hot summer night in 1963, with the eyes of the theater world trained on Minneapolis, Guthrie's modern-dress Hamlet opened the theater. As it turns out, Guthrie's perception of the state of local theater wasn't entirely accurate; one theater regular who attended opening night recalls with some impatience, "You know, I had already seen two Hamlets that year." Still, the Guthrie's opening is generally considered the big bang of American nonprofit resident theater. In this idealistic realm, the vision went, audiences would attend different classical plays on alternating nights in the same theater (as they do in the fall at the Guthrie today), and actors would belong to permanent companies, honing their craft in an intensive family atmosphere and revisiting roles from time to time (as almost nobody does today, including actors at the Guthrie).
And just as Guthrie could underestimate the range of theater already extant in his adopted home, Sir Tyrone's faith in the people was a partial one at best. "[A theater's] policy must not be planned with the general mass of the public in mind," he wrote in 1965. "The general mass has shown clearly for hundreds of years that it has not the slightest use for serious theater.... Most of us are lazy all the time and by middle age are quite incapable of serious effort of any kind, physical or mental.... Therefore, do you agree, if a serious theater is realistically managed, it will not waste time and money trying to woo the great mass of the public?"
Guthrie's candor about his elitism may be charming, but his words beg an obvious question: If he truly doubted the attention span of the masses, why, then, did he build such a big theater? Guthrie managing director David Hawkanson sums up the problem neatly: "When you're successful, it's a great auditorium. When you're not, it's a nightmare." At its current size of 1,300 seats, somewhat smaller than its original capacity, the Guthrie is still the nation's largest regional rep. (For a sense of scale, Disney, one of the most profitable commercial players on Broadway today, houses 1,800 in its New Amsterdam theater on 42nd Street, home to The Lion King.) Every Guthrie artistic director has been faced with the same monstrous task, an endless wrestling match with the impossible: to fill this auditorium with live bodies, season after season, using a menu of so-called "classical" plays at a time when, Dowling asserts, most American acting schools have all but abandoned teaching classical techniques.
Dowling himself admits the improbability, even the anachronism, of the Guthrie's scale as a nonprofit theater: "I think if you were building a theater today, you would not put the same number of seats into it." But don't let his reticent tone fool you. Both Dowling and Hawkanson, his handpicked right-hand man, have pledged to bring new blood into the theater or spill their own trying. Hawkanson, previously the managing director of the Hartford Stage Company, has garnered a national reputation for digging regional theaters out of financial sinkholes and rewriting their ledger books in black ink. And Dowling says he finds the war for audiences "enormously invigorating and challenging and not frustrating at all." His tastes and temperament are attuned to just this sort of challenge. "I know creative artists aren't supposed to say that, they're supposed to say, 'I'd like to do plays where nobody came, I want to be truthful to something where it doesn't matter if there's an audience.' I like audiences, and I like big audiences."
There is nothing in the theater world which the Great Public values so highly as Success. If word gets around that such-and-such is A Great Success, people will crawl on their hands and knees over broken glass to buy tickets. They will not bother to ask what the play is about.... What they want is to associate themselves with something which is largely and loudly successful... which has Made The Grade, has Got Ahead, about which Everyone Is Talking."
--Sir Tyrone Guthrie, 1965
The circular logic of success hypothesized by Tyrone Guthrie--only popularity begets popularity--functions as a double-edged sword, and Guthrie artistic directors have historically suffered for it: Most have eventually fallen out of favor with the public and/or critics, and almost every new artistic director has been brought in under some campaign to reignite public interest. In this sense, Dowling is no different from his predecessors. But Dowling has distinguished himself from the rest through, among other things, relentlessly fighting for audiences. For Dowling, "70 percent capacity"--the amount required of every show for the Guthrie to stay in the black--is a guiding principle, practically a mantra. But even that number fails to convey the force of his ambition. As one former Guthrie insider notes, Dowling and Hawkanson are "animals" when it comes to box office: Seventy percent is not good enough, not by a long shot. Eighty percent isn't even enough. For A Christmas Carol, the Guthrie's cash cow, 90 percent won't do. One hundred percent is more like it; last season's finale, A Midsummer Night's Dream, actually exceeded that mark, making it the highest-selling show in the theater's history.
Dowling's sense of urgency has a context: When he took over, he inherited a $1 million-plus debt from Garland Wright's finale flop, the musical Babes In Arms--which Wright had hoped to sell to Broadway. He also stepped into a serious PR mess: The public had turned off to Wright and spurned the Guthrie, and the theater was hemorrhaging subscribers. Says longtime Guthrie board member Jack Hoeschler, "At a time when the theater market was actually growing, the Guthrie was going down faster than you'd expect it to be. If your business is losing market share, that is a cause of concern."
"When Garland started, subscriptions were at 13,500, and three years later they were at 26,400, the largest in the theater's history,"says Lendre Kearns, former communications director under Wright and, for one year, Dowling. "In 1993 the public got into a bad mood, and Garland got into a bad mood, and their bad moods weren't the same. The public felt they were being preached to."
Such an aesthetic parting couldn't have come at a worse time for the theater, even though Wright had helped to build a safety net by establishing a massive endowment of $25 million, the largest in the country (it currently stands at about $40 million). "Right when the endowment was realized, the NEA went away, and there was a shift in funding priorities," Kearns says. According to Guthrie development director Dianne Brennan, NEA funding now averages between $100,000 and $125,000 a year, down from a peak of $500,000. Meanwhile, corporate and philanthropic funding has also changed as donors now earmark their money for specific uses. Says Brennan, "Corporations have decided they want to narrow the guidelines, so that they're saying, 'We're giving to arts education, or to access programs, etc....' What that doesn't allow us to do is to move those dollars where they're needed." Says Kearns, "Excellence used to be the fundamental criteria for funding. Now, you're being judged by accessibility. Excellence doesn't necessarily get your grants." In other words, the very funding that is supposed to liberate arts organizations from a dependence on constant commercial success now functions as another cog in the relentless Success Cycle. But as compromised as those funds are, they still only constitute a fraction of the Guthrie's total budget. That's why ticket sales, especially season-ticket subscriptions, are so important, and why the Guthrie slapped itself on the back so noisily after the numbers came back at the end of last season. Dowling and Hawkanson, it seems, had nearly erased Wright's debt, and raised mainstage attendance by about 19 percent and subscriptions from about 16,000 to about 18,000 (and to almost 22,000 this season).
"When Joe came on, our task was to re-engage the core audience, to bring people back to the fold," says Kearns. "It was a marketing exercise. The focus under Garland was on long-range audience development. That's much less a priority now. This is a strongly retail-oriented approach. That's the nature of the climate." One notable example of this retail approach has been the Guthrie's focus groups, which quizzed formerly faithful Guthrie-goers on why they stopped buying tickets. This fixation on attendance is one hallmark of the new Guthrie. And, at the core, it is a new Guthrie: Even the theater's prized mission statement, at one time its very soul, has been rendered nearly obsolete. According to that statement, the number-one goal of the Guthrie is "To cultivate the finest acting ensemble in America" to perform "classic" plays. Dowling was apparently hired in part because of a proclaimed commitment to a permanent acting company; since his arrival, and his frequent casting calls to New York, Washington, D.C., and Ireland, that company has been effectively dissolved. And the concept of "classics," always rather vague (even under Guthrie), continues to lose clear definition. "There's no question that Joe has changed [the mission statement], and the board was part and parcel of that," says Hoeschler.
"Joe has expanded the definition of the classics. For a while the board was struggling with the question, do we only do classics? We've gotten over that hump. We'll do anything no matter how young it is."
Before taking the helm of Dublin's acclaimed Abbey Theatre at the tender age of 29, Dowling had climbed through its ranks of actors. And, though Dowling no longer treads the stage, performance is no less his job now than it was then. Thirty-five years after the state's booster class built itself a palace, Dowling tops the throne--and that seat brings with it the public obligations of a figurehead and the practical responsibilities of a prime minister. People who live like this, and whose work involves management--politicians, CEOs, artistic directors--are shapeshifters. That is not to say they are phonies, but that the truly brilliant ones, including Dowling, seem to possess magic most people can only wonder at: They are seen in three places at once, and are capable of being at least three or four different people, wholly and truly, bringing the sum of their force to each role--disciplinarian, friend, PR flak, creative visionary.
"There is a real feeling that people want to identify with a single individual," Dowling told an interviewer last year, "and whoever is in charge of the theater becomes that individual. Whether it's good or bad." Understanding this, Dowling and the Guthrie board have made the most of the phenomenon, presenting Dowling's image everywhere from the theater lobby to a billboard on I-394. "Invite him to a party and he'll come," says Hoeschler. "He's not hidden behind director-as-artist, and that's frankly important in this town." The message all this presents has been clear: The Guthrie is not just the Guthrie anymore; the Guthrie is Joe Dowling, and he wants to shake your hand.
Though Dowling's interactions with the media are note-perfect--a seamless fusion of alarming candor and the party line--the 24-hour cult of personality can take a toll. "I feel like I'm running for office all the time," Dowling told an interviewer for the Irish Times last year. "What they call the rubber-chicken circuit, though of course it's the smorgasbord circuit here, because it's Swedish." This is most apparent one February morning when Dowling is running late for yet another appearance, this one at North High School. As Dowling stands in his windowless office, backlit by the glow of an idle computer, the weight of the director's workload suddenly descends. One can almost see it settle in behind his eyes like some chronic headache making an encore appearance. Dowling looks tired, and not the kind of tired you get from having to wake up earlier than usual to meet a journalist. This is the kind of tired that builds up over the course of years, when work is not just work, but an identity that inhabits a body and steals its name. Labor has etched a signature of ownership across his forehead, and scribbled in around the eyes.
"I have to say, I get to a point sometimes when I want to scream," Dowling says, "when I want to literally hide my head under covers. I am essentially a very shy person--I know that sounds ridiculous. It's the hardest thing in the world. But there's part of me that goes, 'I have to do it. Fuck it.' And I do it."
That willingness to do what might unkindly be called the dirty work of artistic directing might be the most important shibboleth between Dowling and his immediate predecessors, Wright and the Romanian Ciulei (1980-85). While both were acclaimed throughout the theater world for their artistry, neither proved as gifted at public relations.
On the other hand, though both Wright and Ciulei faced extreme financial pressures and box-office slumps, neither made a beeline toward the audience's comfort zone. (In a telling confluence of events, in 1982 the Guthrie received a Tony for outstanding contributions to American theater; in fiscal year 1983, the theater would rack up $630,000 in debt and, as a result, begin to lay the groundwork for building an endowment.)
"Liviu brought a new aesthetic and challenged the way people thought about theater," explains Sheila Livingston, education coordinator and a veteran volunteer who has been involved with the Guthrie since its planning stages. "He didn't think in terms [of box office]; he thought completely of theater as a place to do art.... He felt very strongly that we needed an experimental stage, and that was one of his chief frustrations. He began to realize you couldn't really do that kind of experimental work on the mainstage."
After Ciulei left the Guthrie, Wright addressed the problem by opening the Guthrie Lab space (and finally realizing the endowment). But audiences, as ever, are attracted to the mystique of Vineland Place, and in recent years attendance at the Lab has languished around 40 percent. Accordingly, the 1997-98 Lab season has featured a single homegrown production, Black No More (opening Friday). And there is now talk of another second space, this one on the Guthrie premises.
Dowling is candid about the need. "One of the frustrations I have is that most of my life has been spent working with new writers," he says. "And I'm finding it frustrating that I don't have that side of me in operation. But it's something that's hard to do in a 1,300-seat space. We need some place where, if you've got to do the big, broad programming [on the mainstage], the Midsummer Night's Dreams and the Much Ados, you can do more contemporary, more interesting work."
And that is the closest Dowling will ever come to suggesting that the shows on the Guthrie mainstage aren't as interesting as they could be.
When people like Hoeschler and Kearns talk about "accessibility," "market share," and "retail," what they're really talking about is people: people who have a finite amount of time and money to spend on entertainment; people who might just as well go to a Twins game as to the theater; people who, most likely, are going to go to a movie or to Riverdance. If, as Hoeschler indicates, the Guthrie wants not only to maintain its core audience but to actually cut in on other entertainment outlets' piece of the pie--or boost its market share, if you will--the theater must reach these people.
Says Hoeschler, "In the theater world, you've got a major conglomeration of Jujamcyn-Pace [the Broadway theater owners and producers with a local foothold at the State and Orpheum Theatres], and Disney; that's very big, much greater than changes in government funding that affect 1 percent of your total budget. But it's a competition that's been healthy. These guys have shown that the theater of old needs to be competing more aggressively with entertainment--needs to be more entertaining. The Guthrie is perfectly capable of competing in that market."
Words like "entertaining" are vague, coded terms these days that don't exactly mean what they should. After all, wouldn't any Guthrie booster claim that every Guthrie show is entertaining? What the term really means is any combination of the following qualities:
1. Loud
2. Expensively produced, with fancy sets and costumes
3. Musical
4. Comic
5. Broadway-born or -bound
Think The Lion King, think Sunset Blvd., think Rent. That's entertainment in 1998. Indeed, like some long-lost stepfather, the very system Tyrone Guthrie sought to combat has come back to haunt his theater 35 years later; and this time, it's wearing Mickey Mouse ears, and carrying our own City Hall in its back pocket. As Hawkanson notes, the Guthrie has lost many subscribers to Broadway, and while the theater shares "significant [audience] overlap" with the touring spectacles, many of those defectors have yet to return to the Guthrie fold. And the new Guthrie seems to have determined to imitate such economies of scale without adopting them whole cloth.
None of this is to imply that the Guthrie is going to be mounting Cats any time soon; Dowling may be a populist but he's no whore, and he admits there are limits to what he'll do. (Neil Simon, for instance, is off-limits.) The future of the Guthrie might be found in a hybrid production like Dowling's A Midsummer Night's Dream. It was just a sequin shy of becoming a full-blown musical, and not a few people missed out on Shakespeare's language amid the rumble of synthesizers and special effects.
Neither Dowling nor Hawkanson professes an antipathy toward the new competition, and, in fact, the relationship between the Guthrie and Jujamcyn may soon feature as much cooperation as competition--though whether either is truly healthy remains to be seen. "We've done a lot of co-promotions," Hawkanson says of his neighbors on Hennepin Avenue. "We share mailing lists and marketing information." Actually, they share more than that: Mike Brand, head of Jujamcyn Productions, which presented the world premiere of The Lion King, recently joined the Guthrie's board. Jim Binger, Jujamcyn's founder and the CEO of Jujamcyn Theaters (which owns and operates five Broadway theaters, among others), is a lifetime Guthrie board member.
Today, the civic culture that once took so much pride in supporting its nonprofit institutions can now realize a far greater return, at least in terms of dollars, on openly entrepreneurial entertainment. Many of the same subcelebrities and jolly burghers who have bankrolled the Guthrie for years can now be found on opening nights at the curiously titled "Twin Cities Broadway Theatre Season."
"What do you say?" Hoeschler asks with an ambivalence that suggests an acceptance of the inevitable. "The NEA is just another one of your funders that died. The question is, is the Guthrie able to compete with these big, corporate productions that the city is subsidizing very aggressively? The answer is, with someone like Joe, he's gonna do it. Should he do more Chekhov? Maybe yes, maybe no.
"You or I might feel it's too bad the market is being driven by musicals and big production numbers and that stuff. But the fact of life is that the American theatergoing public is not as highbrow as it used to be." One former Guthrie insider encapsulates Dowling's compromises with fewer rationalizations. "Joe's artwork isn't interesting to me. There's no question that when Garland failed, he failed big. I've also had some of my most incredible artistic experiences [with Garland] with the most obscure plays nobody had ever seen. With Joe, there aren't as high highs, but not as low lows either." And though his energy seems indefatigable and his enthusiasm boundless, Dowling can slip into a quiet kind of introspection.
"Sometimes I feel we're a kind of dinosaur, really--big theaters in particular," he says. "None of my children are interested in theater, and if they were going out for an evening, neither of them would choose the theater as their first choice. That depresses me sometimes because this is something that I've given my life to, and I haven't passed that on. Their generation does not think of theater first at all. Now if they come, they're bused in by schools. The number of people who've come through these doors in the last 35 years is enormous. How many of them come back?"
And then, as subtly as it appeared, Dowling's reflective mood passes. He's got no time to be tired today; he's got to go. A glance at the clock, a gracious goodbye and many thanks. He throws on a coat. He's gone.
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Concern is growing over the fate of a US Marine turned freelance journalist who went missing in Syria more than a week ago. Austin Tice, 31, has reported on the conflict for The Washington Post and McClatchy Newspapers since May, when he entered Syria across the Turkish border with opposition rebels.
Last month, Mr Tice travelled to Damascus, becoming one of the few Western journalists reporting from the Syrian capital. He told his family and editors in the US that he would leave the country in mid-August, but they have not heard from him since.
The Washington Post expressed grave


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Renee Henslee – Head of School
Renee Henslee is Peabody School's Head of School. Mrs. Henslee has a B.A. in Business and an M.Ed with a focus on leadership from Mary Baldwin College. She began teaching at Peabody School in 2001, serving as a lower school teacher and Assistant Head of Lower School before becoming Head of School in 2009. Prior to joining Peabody School, Mrs. Henslee served on a management team at Canon Virginia, Inc. overseeing the management of quality assurance programs and directing activities pertaining to product development and quality engineering.
Marie Beaurline – Head of Middle School, Math
Marie Beaurline, B.S., M.A.T., teaches Grade Six Mathematics and Geometry and serves as Head of Middle School at Peabody School. Mrs. Beaurline received her B.S., with a major in information systems, from Northeastern University in Boston, Massachusetts, and her M.A.T. with a focus on grades K-8, from Mary Baldwin College in Staunton, Virginia. She also attended the University of Virginia, where she studied instructional technology at the graduate level. Mrs. Beaurline was a software developer for 14 years before becoming a teacher. Prior to joining the full-time faculty in 1998, she coached one of the school's Odyssey of the Mind teams and co-designed the Magical Measurement History Tour, a traveling museum exhibit that combines mathematics and history. In addition to middle-school mathematics, Mrs. Beaurline has taught kindergarten, first, third, fourth, and fifth grades during her tenure at Peabody School.
Travis Miller – Operations Manager
Travis Miller is Peabody's Operations Manager and the K-2 technology teacher. He has a B.A. in Biology and a Master's in Teaching from the University of Virginia. In his previous position as the Middle School science teacher, he developed a strong interest in instructional technology and chose to shift teaching roles, becoming the school's technology teacher in 2011. He has also been a presenter at the Virginia Association of Science Teachers' annual conference, demonstrating the effectiveness of using interactive computer simulations to illustrate hard-to-teach concepts. Mr. Miller has a passion for working with children and helping them develop the lifelong skills and confidence necessary to navigate today's increasingly complex world.
Demi Runkle – Community Coordinator
Demi Runkle is the Community Coordinator for Peabody School and she is also a member of the administrative team. . She is a native Virginian, attended local private and public schools, and graduated from Mary Washington College with a B.A. in Theatre Arts. She began her teaching career in 1969 in the Albemarle Public Schools system, retiring in 2000 after 31 years. Mrs. Runkle has received an M.ED from UVA, and has a academically advanced education endorsement. She began teaching at Peabody School in the fall of 2000. She has also done educational consulting for various school systems in Virginia. Mrs. Runkle has three miniature dachshunds. Her hobbies are gardening, walking, yoga, and reading good books.
Katherine Murrah – Director of Admissions
Katie Witthauer Murrah serves as the Director of Admissions for Peabody School. Mrs. Murrah holds a M.Ed. in Educational Psychology with an emphasis in Gifted Education from the University of Virginia's Curry School of Education as well as a B.A. in Psychology from Mississippi State University. Prior to joining the faculty of Peabody School, Mrs. Murrah was the Gifted Education Specialist at Clark Elementary School for five years. In 2012, Mrs. Murrah received the Golden Apple award for excellence in teaching. Mrs. Murrah enjoys meeting new people and sharing information with them about Peabody School's outstanding students and faculty.
Victoria Young – Curriculum and Instruction Director
Victoria Young has taught 2nd-5th grade at Peabody School and currently serves as our Director of Curriculum & Instruction. Upon receiving her Bachelor's degree from the University of Virginia in 2007, she joined Teach for America and taught at a college preparatory charter school in the Rio Grande Valley of Texas. She went on to work for Living Classrooms, an educational non-profit in Washington, D.C., where she designed and taught an environmental science curriculum for early elementary students. After serving as a founding teacher at a charter school with a focus on environmental education, she returned to Charlottesville and joined the Peabody staff in 2011. Ms. Young received her Master's degree from Virginia Tech's Center for Leadership in Global Sustainability in 2014 and currently serves on the board of the local non-profit StreamWatch. She loves being outdoors and is pursuing her dream of visiting all of our country's National Parks.
Amy Brudin – Director of Educational Technology
Amy Brudin is the Director of Educational Technology and the 3-8 technology teacher. She has been teaching and learning with technology since she graduated from UVA in 1994. She spent 10 years in the Washington DC area, teaching at the National Cathedral School and consulting privately with families looking to set up networks and computers at home. She and her husband George (a UVA grad, as well) moved to Batesville in 2003, and welcomed their daughter Addison in 2007 (who is a current Peabody student.)
Veronica Gomez-Torres – Administrative Assistant
Veronica Gomez-Torres is the administrative assistant and office manager at Peabody School. She earned her degree in Communication Design and brings her expertise in graphic design, photography and communication to the school. She enjoys being a part of the Peabody community helping parents, teachers, and students on a daily basis.


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Micro-insurance as the Basis for Development of Voluntary Medical Insurance in Ukraine
The article analyses the modern state of development of medical insurance in Ukraine and also studies advantages and shortcomings of the use of micro-insurance for popularisation of programmes of voluntary medical insurance and satisfaction of needs in high quality medical services for all layers of the population. It identifies that as of today the Ukrainian healthcare system is at the stage of reformation, mandatory medical insurance is not yet introduced and main consumers of the programmes of voluntary medical insurance are corporate clients. The article considers main constraints of development of medical insurance in Ukraine, including: low level of income of the population; absence of high quality providers of medical services in regions; and insufficient degree of trust of the population to the insurance sphere. The article shows that introduction of micro-insurance would positively influence the development of insurance medicine in the country, would facilitate provision of medical services even for poor citizens and would allow reduction of state budget expenditures on healthcare. The conducted study of restrictions and shortcomings of introduction of micro-insurance allowed identification of the fact that main of them are information asymmetry (unfavourable selection of risks, moral risk and insurance fraud), significant limitation of insurance coverage and difficulties in identifying optimal insurance tariffs.
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Volume (Year): (2014)
Issue (Month): 1 ()
Pages: 268_274
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