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November 23, 2009 WIC Update
SUBJECT 1: 2009 End of Year Billing is due December 10, 2009
SUBJECT 2: Breastfeeding Training for Local WIC Staff
SUBJECT 3: New BFPC Program Coordinator
SUBJECT 4: Extra Formula
SUBJECT 5: SAVE THE DATE – 2010 WIC Conference
- 2009 End of Year Billing is due December 10, 2009: The FFY 09 end of year deadline for invoices is December 10, 2009. Expenses must have been incurred prior to October 1, 2009 to qualify for the FFY 09 funding year. The grant year will close the end of December and payments beyond this date are not possible.
September Invoice due 10-10-09
SUPP1 due 11-10-09
SUPP2 due 12-10-09 – ABSOLUTE DEADLINE
Please contact your District Technical Assistance Staff for assistance.
- Breastfeeding Training for Local WIC Staff: The USDA training titled, "Using Loving Support to Grow and Glow in WIC", is a breastfeeding training for all local WIC staff that has been scheduled to begin in February 2010. Fifteen trainings are currently scheduled in locations throughout the state. All local agency WIC staff, including existing and newly hired staff, are required to attend one of these trainings. Nutritionist and CPAs must attend both days of training and all other staff (WIC Coordinators, WIC Clerks, HPAs, Certifiers, etc.) need to only attend the first day, with the second day being optional.
We recommend that all staff attend this training, but exceptions are being made for those that have a strong background in lactation management and have recently attended Breastfeeding Peer Counseling or Breastfeeding Coordinator training. If someone from your agency meets this criteria and would like to be excused from attending or you have any other questions please contact Kathy Mertzlufft, WIC Breastfeeding Coordinator, at 573-526-4792. To register for the training please complete the attached registration form and either fax to 573-526-1470 or email to firstname.lastname@example.com.
- New BFPC Program Coordinator: Kathy Mertzlufft has taken the position of WIC Breastfeeding Coordinator which then vacated the position of Breastfeeding Peer Counseling (BFPC) Program Coordinator. It is our pleasure to announce that Leona Greer joined our staff on November 16th, as a Nutritionist III, to fill this position. Leona has a Master's Degree in Nutrition and is an IBCLC (International Board Certified Lactation Consultant). Some of you that have been in WIC for a while may remember Leona when she worked as a Nutritionist at Randolph County several years ago. She brings with her local WIC agency and peer counseling experience. Leona can be contacted by email at email@example.com or by phone at 573-751-6498. Kathy and Leona are our WIC breastfeeding team and will work closely together on all breastfeeding issues in WIC. Please join us in welcoming Leona to WIC!
- Extra Formula: Attached is a current listing of extra formula available at different LWPs and guiding principles for shipping created to assist you when sending or receiving extra supplies of infant formula. Red shading means the formula will be expiring in the next quarter. Please check the listing in order to utilize formulas with the most recent expiration date first, prior to placing an order, to help keep food costs down. Also be sure to notify your district nutritionist or Michelle Nienhuis at firstname.lastname@example.com when you have unused formula available at your agency so it may be added to the database. If you have any questions, please contact Michelle Nienhuis at 1-800-392-8209.
- SAVE THE DATE – 2010 WIC Conference: A statewide WIC conference is scheduled for October 25-27, 2010 in Jefferson City at the Capitol Plaza Hotel. The state office is collaborating with the Missouri WIC Association to offer this conference. The conference will begin at 1:00 p.m. on October 25 and end at noon on October 27. Funds will be provided in local agency FY2011 contracts to send staff to this conference. More information on the conference will be forthcoming.
Extra Supply of Formula
UPS Hard Copy Form Shipping Instructions
Grow-Glow BF Training Registration


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Red Eye Brewing Company
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|Project Information
At the Red Eye Brewing Company, artisan beer & food are served. This sustainable design project features a wood-burning oven and solar thermal hot water system. Plus, Ultra Series awning windows allow ventilation above the stationary picture windows. Chutney fluoropolymer finish creates a striking exterior, along with 3-1/2" flat extruded aluminum casing. The main entrance doors have glass lites and raised panels, as well as custom moulding and commercial hardware. The French doors that open out to the patio feature full glass lites and 1-1/8" wide PDL bars.

subset: commoncrawl


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Diamond Aircraft (Canada) and diesel company on the mendFriday, May 17th, 2013
Not long ago Diamond's plant in Canada laid off all but 51 workers. That 51st employee was there to oversee the paperwork on the Diamond D-Jet. At the time I was told that there were still partially completed airframes on the line, and when those were delivered as new aircraft, employees would be called back. Now 34 workers have returned, including those needed to lay up more composite airframes. Through all this the Diamond headquarters in Austria has operated normally. A Diamond plant in China continues to churn out 30 to 40 four-passenger DA40 aircraft a year to be delivered in Asia, at this point meaning China. That plant has never built a gasoline-powered model, putting a Thielert diesel engine on the very first one. Only now is the plant transitioning to Austro diesel engines, the engine Diamond turned to when Thielert hit financial and mechanical problems (now solved). Thielert, with its Centurion marketing and warranty arm, is on the verge of emerging from bankruptcy–meaning someone is going to buy it. Whoever does that will suddenly have a family of diesel engines, right up to a 350-hp certified but undeveloped engine. There are already negotiations in progress which the company can't disclose. The financial questions that led to Frank Thielert leaving the company will be resolved soon, too, by a German court. Thielert engines have one problem–time between replacement. That means you trash the engine (destructive testing is the nicer phrase) when it reaches 1,500 hours rather than overhaul it. Overhaul might be offered in the future by the new owner. Purchasing the engine is still economical if you happen to live in Europe where avgas is $12.58 or in Niger where it is $22 a gallon. Diesel engines cost 30 percent more but you save 24 to 35 percent on fuel–a good deal for those flying 500 hours a year.


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Well Samolina is produced here in canada known to be the best in the world. infact the pasta's made in italy are using canadian exported samolina, its a very very very nice flour to work with specially in foccacia or pizza doubh 1/3 and when you finish the dough batch mixing just sprinkiling a little samolina would give this amazing touch to the dough as well just as cornmeal does but finer...you have to contact a place like SYSCO to probably get it in bulk.also trywww.robinhood.ca


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Car rental insurance: One of the most common benefits that people often forget about is that most credit card companies will cover part of your car rental insurance if you book a car with their card. Decline the "collision damage waiver" insurance, and your credit card firm will cover any damage or theft of the car that occurs during your rental.
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Trip cancellation: Some credit cards provide trip canceling insurance, which can reimburse you for the cost of your flight if you cancel due to sickness or injury. Lost luggage coverage: If your luggage has been lost, stolen, or damaged, your credit card company might cover a portion of it.


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Results tagged "amy asendorf" from Drama Queen
How can
a just society operate when violence is the only means of communication?
Williams-Witherspoon's play is a grab-bag of material examining the violent
culture of northern Philly. Including poems, rap, videos, and interviews, it
creates a night of experimental, innovative theatre that pushes its edgy voice
through vignettes. Gangsters vs. warriors, young mothers, the
police, education, alcohol and drugs, and the homeless share a Zen-like balance
topically. The play's core, however, contains a wealth of interviews that paint
a rich image of the real people of
The citizens
Williams-Witherspoon literally employs her own narrative voice in the piece to mixed results. In some occasions her poetry vividly encapsulates the moment. Her valorous verse on the difference between a gangster and a warrior provides a stirring example on how to fight for one's cause when, "many are dying, few people are trying." Other times, sadly, her meter becomes overwhelming. While riffing about young women with babies, Williams-Witherspoon slides into a series of clichés: "non- existent sugar daddies" and "children with children."
Jessica Wallace's visually stunning lighting design inspires awe with its bold color choices and stark images. Ron Ron, an up and coming rapper, is at the end of his rope. Pointing a gun at himself, he says, "click." Abruptly the lights cut to black, and as he lay dying, a screen of crimson floods the backdrop.
A desolate wasteland, Kyle Melton's set design reflects North Philly's poverty. The choice to use three simplistic, worn stoops and doorways, however, also fosters a sense of community within the play in scenes such as when the elderly generation is reminiscing of the old days.
Shot! -- with its multiple performance
levels - takes a look at the raw life of
Forget a click of the heels and
a wave of the wand; there's a new homecoming vehicle on the rise, and this one
requires no ruby-studded mantras.
Home first premiered in 1979 as a production of the Negro Ensemble
Company (NEC), whose mission of
developing plays by African-American writers achieved instantaneous acclaim. Home proceeded to earn a Tony nomination
for Best Play in 1981. As the 70's were wrought with African-American political
defiance sparked by stagnant Civil Rights efforts, the piece was eschewed by
the Black radical movement, yet otherwise enjoyed widespread fame. Praise for
this play has not since dwindled, and in the past couple years
The stubborn soul-aching by
Jamal Douglas' farmer Cephus Miles erected the possibility for a man to be devoid
of religion, yet rich in faith. The devil himself must have been summoned as
Two female muses, Pope-McBride and Taysha Canales as Woman Two, glorified the soulful direction of Mark Wade with explosive guardian-angel-on-the-shoulder flashbacks to the human blessings along Cephus' quest for home. Somehow, despite Cephus' stabs at God's vacation to Miami (leaving him helpless and forlorn) and the slurred syllables with which the women's damning judgments were delivered as he drank and gambled, Cephus continued to keep the faith kite aloft through God's gracious gift of perseverance. Together as ensemble, the trio balanced the duality of belting lyrical poetry and hip-jiving to jazzy reader's theater.
Unfortunately, the lighting by Robin Stamey detracted from the storyline toward the beginning of the piece with completely unwarranted transitions between artistic visions: imagine a friend detailing a lengthy dream while shifting seats every thirty seconds, and a similar effect is attained.
With the recent inauguration of President Obama, the promises of the Civil Rights movement for which the NEC sought have been fulfilled at last. In effect, Home has again surged in popularity, testifying to the power of faith among all people to reclaim a home that was always theirs from the start.
Nicholas Barilar
On the steps before a green door of a ghetto home sit photos, stuffed animals, and lit candles as part of a public display of love and mourning. Around the steps, people are gathered: some hold each other, some stare in bewilderment. At the top of the steps stands a young man - arms folded and eyes closed. A mother weeps and as she cries a cascade of crimson envelops the proceedings. With a sudden pivot of the head, the mourners spit a single word that rips through the heart with the cold burn of an icicle: Shot!
Williams-Witherspoon also leads the ensemble in the show. Her play presents a gift to the world and an effective motivator; however, her poetic presence on stage conveys the classic strutting with pride saloon-cowboy rather than a voice of hope for the people.
While some of this poetic dialogue might be effective, such as discussing how men leave their girls with little more than a tattoo upon their breasts, much of it is unnecessary, such as the long speech about the difference between a warrior and a gangster - something that is not brought up for the rest of the play. If cuts could be made, the slightly dragging two-act could be consolidated into a single sitting of a clearer and quicker moving play.
The acting of the ensemble might be more genuine than Williams-Witherspoon, but it is the fact that they are students that make them so effective - within their age group the play most pushes for a radical change. During a section entitled "Anatomy of a Bullet" the students portray doctors and describe the horrific surgical procedure to treating a bullet wound with the similar effect of an Iraqi Muslim describing the waterboarding process - instilling a moment of awkward discomfort that twists the stomach.
Director Douglas C. Wager employs excellent use of his lights, designed by Jessica Wallace, bringing sharp color changes about quickly. A foreboding red lingers, a gunshot rings out with a blinding white light and fades to a now bloody red.
The simple set, by Kyle Melton, consists of a stage-length long platform upon which stand three different doors with stoops leading to the floor of the stage - illustrating the broken displacement and near ruination of home in this war-torn neighborhood - in addition to telephone cords that run above with a pair of shoes flung over the cord.
At its heart, Shot! calls for change to a city plagued by violence, drugs, homelessness, and other evils. One of the doctors says, "Once it becomes alright you become a part of the problem." Shot! demands that "alright" not come for those that are lucky enough to witness the play.
A Year with Frog and Toad
Robby Bassler
Wake up! Come on, hibernation is over! No it doesn't matter what your age is, because Willie Reale's adaptation of Arnold Lobel's Frog and Toad series titled A Year With Frog and Toad presented by Indiana University of Pennsylvania transports both young and old on an adventure as large as your wildest imaginations.
A waterfall of shrill trumpets, finger-snapping bass riffs, and bells that turn into swirling leaves (Musical direction by Tom Octave) propel director Rob Greta's paint by imagination environment. Frog and Toad (Sean Barrett and Joe York) pop out of two oversized matchbox beds, with a puddle-splashing ode about meeting in each other's dreams during hibernation. Despite awkward pauses before, during, and after various critters' swan songs, playful singing voices lure even the most lethargic slugs to frolic about in a pool of catchy musical slime.
Frog and Toad outshine expectations from the most dedicated toad-toting toddler or teen. Set and costume designer Dan Iwaniec flies the enormous children's book cover that starts and ends the show into the sky to clear a path for Frog and Toad. Wise, dry-humored Frog chuckles to himself as his best pal Toad runs with the staggering gate of Chris Farley across the stage and up into the audience, trying as hard as he can to fly his big red kite.
As Toad as Frog's unique friendship takes flight, Frog accepts Toad's quirks as Frog squeezes the murky lake water out of the spongy sandwiches that Toad used as a floatation device. Iwaniec dresses this loveable, laughable Toad in a Dr. Seuss-like polka-dotted bathing suit equipped with 1920's swimmer cap. Doo-wop birds change scenery in costumes with lace wings and a feather hat to guide the silly pair of amphibians in discoveries comparable to entering a new room of Willy Wonka's Charlie Factory.
No matter how great, a journey is not complete without its obstacles. Woodland creatures squint hard at their poorly lit path guided by spotlights meandering around stage like lightning bugs. Brown blobs topped with a light bulb (supposedly moles) scurry around stage, content with digging small holes to temporarily trap adventurers. The letter-toting mail-snail crawls onstage with enjoyable dialogue, but often delays Frog and Toad with her lackadaisical comedic timing.
Toad and Frog's platonic book-ending in which they summarize the action of the entire show patronizes adults and children but stands out as an exception for the play as a whole. Throughout the rest of the adventure, jokes about birds getting the flu and cookbooks titled Betty Croaker raises expectations for all children's theatre. So for all those parents that would rather be hibernating, use your children as an excuse to lick this toad and ride out the multi-colored shockwave of fun.
Michael Cook
Guns, teen pregnancy, and drugs. Is that the latest
news report on what is destroying our nation? Shot! is a
'docu-drama' performed by
Shot was created through
interviews and videos shot of several residents of
The play explored how a neighborhood descended into the place it now is, and leaves audiences with a sense of community and a wish to get closer to their neighbors and look after each other. To say that this is the work of a playwright is to spit in the faces of the many people who were interviewed, and the actors who then recreated those interviews in a brilliant naturalistic manner. While it was somewhat 'controversial' that 'multimedia' was used in this performance, it was used in a manner like some theatre practioners as early as the early 20th century did. 'Controversial' in the manner that every technological innovation to theatre is met with initial resistance and several theatre practioners are adamantly against it. The 'multimedia' aspects of t he show were very well done and always seemed to re-enforce what was going on in the play.
The actors played many different characters, and aside from the professor who helped write the play (Kimmika Williams-Witherspoon) it is difficult to put names and faces together, which helped solidify the fact that these events could happen anywhere and aren't specific to North Philadelphia. Characters were recreations of actual people which created an element of reality of the show.
The play was also complemented by a minimalist set by Kyle Melton. The set used very little to establish the front porches of three houses in a neighborhood, but it worked out quite nicely. There were three doors and three sets of stairs leading up to a slightly higher platform.
All of these elements helped
contribute to the idea that this just isn't about North Philadelphia, I
personally am from rural
This was the first production of this play at the Kennedy Center American College Theatre Festival (it has made script changes since it's debut) and it is safe to say that this is not the last time this show will be seen by anyone.
Mark Costello
Please, Douglas C. Wager: it's time to upgrade to a better toolbox.
The director of 2007's In Conflict has returned to the banality
of mass media talking points to harness yet another American tragedy: the
poverty and crime of
The crimson projections and lackluster tableaux of In Conflict are two more albatrosses that have clung to Wager's neck as he developed the mise en scene for Shot! Again, we see the entire cast repeatedly lined up, left to right, facing the audience in confrontation. Blood and figurative (or real) explosions abound in both works and sadly, both are as intriguing as a conversation overheard on the C-bus.
This piece's failure comes from Wager's reliance upon a parasitic art form. Docudrama culls together snippets of interviews, histories, and newspaper articles to create a script from which drama is supposed to magically arise. In many instances, such as In Conflict or Robbins' Dead Man Walking, these works are about as engaging as a staged scrapbook.
Much of the first and the
entirety of the second act drag accordingly. Protean actors wander back and
forth, up and down, speaking the words of real
Thankfully, the production manages to rise under the power of Kimmika Williams-Witherspoon's writing and performance. Decked in loose corn-rows and an understated black pant-suit, Williams-Witherspoon commands awed silence with the practiced stride of a feared schoolmarm. When she screams: "No one can lift themselves up by their bootstraps!" the room erupts, and in that moment she could sell hot coal in hell. Her poetic testament can knock down the giants who keep her town starved in their shadows while raising her neighbors to the status of supermen.
The production is at its
strongest when Wager departs widely from the work he's done before. Kyle
Melton's inspired three stoop set transforms slowly into a roadside altar in memoriam of a boy slain by
circumstance; the boy's mother collapses on it, wailing, sorrow hanging thick
in the air like
Shot! loses its deeply felt message in Wager's inability to make art of reality. As it is, his unwillingness to trade in his old bag of tricks makes for a stale piece, sometimes melodramatic, rarely awe-inspiring, without much to brag about outside of Williams-Witherspoon's magic.
Please, Mr. Wager: revamp your toolbox.
A Year with Frog and Toad
"Crisp, but not overly brittle,
just a scintilla of spice, and cunningly soft in the middle." Claims the
delightful Frog as he relishes a fresh cookie from his pal Toad. Coincidentally,
Frog is also describing
Under the delicate and careful direction of Rob Gretta, the small ensemble remains true to the script and does not favor an adult or children's audience. With Robert Reale's score, which ranges from brisk jazzy melodies to breezy country tunes, and Willie Reale's witty libretto this production neither plays down to a child nor flashes a wink to an adult.
At the center of this production were a charming and playful Sean Barret as Frog and the sincere and sometimes doleful Joe York as Toad. Both embodied their characters fully, keeping the audience engaged through inside jokes, and amusing sight gags. Take a look at Toad's outrageous swimsuit, and Mr. Barret's amusing leaps onto his companion's shoulders. The ensemble works hard, and seamlessly with the audience to tell a warm story of friendship and devotion.
Brandon Beale & Anthony Lombardi's lighting design does a fine job in using bright yellows, and cool blues to depict the various seasons. However, their use of follow spots is questionable. The spotlights washed out the actors' faces, and took away from the rich colors thety created for the atmosphere. Shockingly, there were moments when actors could not find their light, and could not be seen by the audience. It was the one area of this production that appeared burnt and overcooked.
Charming costumes by Dan Iwaniec provided depth to characters, with bright colors and vibrant patterns that leap off of the stage like a children'spop-up book. Carefully and expertly detailed, such as Frog's sharp striped suit, with green leggings, and Toad's polka dotted suit, complete with converse sneakers. The costumes provided another layer for actors to dig deeper into their amphibian characters.
Zipping along at a quick 90 minutes, this delightful musical comedy reminds audience members that simple is better. Many contemporary musicals today try and boast flashy technical elements to wow the audience over, yet contain hollow librettos and scores that are consistently unmemorable. It is refreshing to spend time with an airy piece of theater that plays homage to the good old days of musical theater when artistic integrity trumps financial success. A Year with Frog and Toad is deliciously consumed from first bite to last and profoundly memorable long after it has been fully digested.
Valerie Gibbs
Worn wood, chipped paint, and a
sunken porch might not sound much like home, but hasn't it been said that "home
is where the heart is?" Well, heart is definitely found in
Young African American Cephus
Miles struggles to find himself during the racial crossroads in American
history. He was born to be a farmer, but soon hears the echoing call of the
city to hop on the subway and experience the high life. Actor Jamal Douglas
portrays Cephus with conviction and authentic passion and holds nothing back.
Supporting cast members Briana Pope-McBride and Taysha Canales also let the emotions of the text stir them to dancing, shouting, whispering, running around in a fury, or standing still staring off into space. Both speak with their entire body, not just their mouths. Emotion is not solely heard in their voices; it is freely personified for all to see. The show's heartbeat never slows, and music, dancing, singing, and poetic language fill the stage with an immense fever that cannot be ignored.
The set is comprised of a small
deteriorating farmhouse center stage and two angled platforms on either side,
often transformed into various locations such as a bar or Sunday school
classroom. The openness provides a blank canvas for hues of emotion to shine
through. Lighting designer Robin Stamey captures the essence of every moment
presented on stage. The moment Cephus' friend is killed in
Today's audience is much
different than the one Williams wrote for, but Home still relates to people today. Every individual goes through a
time of self-discovery. Many experience
a love like Cephus and Pattie Mae, the struggle between desire and duty, and
often wonder if God has "taken a vacation to
Increased Difficulty of Concentration
Peter Starr Northrop
1. At the center of
a quiet den Dr. Huml stands rigid in terror. He is completely surrounded by a
mad swirl of people and unavoidable questions while lights pop and flash all
around him. For the first time in his life, Huml has lost control. Yes,
6. In crafting this
3. The set consisted of a semicircle of four enormous column-like doors looming over a quiet living room. From the start, the doors give the impression that they will become a threat to the serenity of this place. The walls are all painted olive green, a shade that completely matches Julie Henegan's costumes.
2. A product of the
late 1960s during the Soviet Union's iron reign over the
5. And in his costume, Joe Feilding plays a marvelous Huml. He is earthy and smooth like pipe smoke. He can put any situation to ease--especially when both his wife and the woman with whom he is having an affair interrogate him in separate scenes. They both ask desperate him questions to see if he is ready to leave the other. But, Fielding deflects their inquiries with incredible ease.
4. In this case, Huml's costumes are an olive green suit and a plaid creamsicle set of pajamas. These complement the set's color and give the firm notion that this is Huml's space.
7. Vanessa Lancellotti's direction takes this crazy time scheme and brings order to it. From matching set and costume designs to casting Huml's two love interests so they look alike, Lancellotti weaves together all these chaotic elements so anyone can be guided through the pandemonium.
8. The show focuses around Huml's encounter with a set of fellow social scientists and their quest to make a scientific formula for the interactions of man. After the madhouse climax where everything goes wrong for the scientists, Huml completely loses control of his life for just an instant. Afterwards, Huml finally understands where he's gone wrong and the point of the show becomes clear. "The fundamental key to man does not lie in his brain, but in his heart."
Nathan Taylor
Click. The buckle opened as I pushed inward on the release. The straps swung slowly, back and forth, almost pleading with me not to go through with it. Ignoring their appeal, I put my hands to my head and took a deep breath before yanking off my thinking cap. It was the only way to even remotely enjoy W&J Student Theatre Company's original play Love @ 1st Plight.
Imagine an episode of Family Guy for a basic understanding of the jests writer Drew Aloe uses; lines like "holy cow on a hamburger" sacrifice pacing for humor, resulting in a Möbius strip of predictable clichés. Tiresome jokes assist in unraveling the script; in ninety minutes, main character Spools (David Doom) manages to repeat his name more times than Bob Dole has in an entire lifetime. No help is received from director T.S. Frank, who endorses a hamfisted style of acting.
Mate the voices of Harvey Fierstein and Scooby Doo with the comedic talent of Carlos Mencia, and out pops Doom's portrayal of Spools. The character is tricky; with lines like "Bullshit! From his ass!" and "Let's hug it out bitch," it's little wonder Doom trips over this complicated role. Yelling every line, he presumably researched his part at an elementary school recess.
Roommate Rich (Johnny Galli) is more of an unabridged collection of Shakespeare's works than an actual character. Galli delivers his lines with all the wooden acting ability of Keanu Reeves. There's no chemistry between him and Doom, but it's hardly a surprise watching him ineptly serve his lines to the audience instead of his partner.
Not all performances are as
threadbare - understudy Sophia Tsiris's Daisy demonstrates potential despite
the figurative manhandling she receives attempting to flirt with Doom. And ironically enough, the foreseeable plot
allows Dent Holden's cameo Phil to produce the most massive laugh. Expecting Daisy underneath a mask, the
prancing, southern accented
Enough praise, the crowd demands more blood! Dan Shaw's set design is a sloppy mess of ideas, unpolished and uninspired. Such clutter is absent from the dorm room that includes nothing more than two beds and a desk. Stylistically, the only item missing is a John Belushi poster. The door to said room was set in the middle of a large, white, sparkly fairytale castle. Why is still a mystery; I'll wish upon a star and get back to you.
With all the wit available at a college party, Love @ 1st Plight would have been much more satisfying with a beer in hand.
Jensen Toperzer
Rhythm and motion - this is what defines Arcadia University's production of Samm-Art Williams' Home, a show that in almost every aspect, a production that stands out as a true gem amidst the shows presented at this year's Kennedy Center American College Theater Festival.
The script itself would feel clichéd if not for the cadence of Samm-Art's dialogue, evocative of the works of Langston Hughes or Ntozake Shange. Taysha Marie Canales' character, listed only as 'Woman Two', shows this in the lines of a speech about going to the city - 'Take it to the city', she says, and in her words we can hear the rumble of trains and the flow of people, the skyscrapers towering overhead.
Even more than in their voices,
the actors' mastery of their own bodies is nearly perfect. James Douglas' lithe
movements are each well thought out, not a single one wasted as he conjures vignettes,
stories, and locations from Cephus' life. For example, when he tells the story
of the "Black Indian" he leans on his porch to speak to the (not physically
present) man, then stands up bolt straight with his arms close to his body to
mimic and parody the deluded fake-Indian before shifting back to his own
confidant yet relaxed posture. Everything seems planned, from the confidant and
sly way he moves as a young man to the subtle tremors in his hands as a shoe
shiner in the twisted canyons of
Robin Stamey's lighting is
almost as much of a character as the actors. Though some cues are slightly
mis-timed and on occasion the actors are left in shadow, it is clear that this
is a problem of the space and short amount of time to put on the show, not the
show itself. The warm, almost buttery tones used to recall Crossroads,
There are some questions about the possible relevance of the play to modern audiences - originally produced in the late 70's, the play speaks on issues concerning Vietnam and black rights.Yet the themes addressed seem just as relevant to the modern day: Cephus' treatment as a man who 'spits on the flag' after he refuses to fight in the war for religious reasons is especially relevant considering the pervasive conservative attitude towards objectors to the war in Iraq during the last decade.
Rhythm and motion - this is what defines Arcadia University's production of Samm-Art Williams' Home, a show that in almost every aspect, a production that stands out as a true gem amidst the shows presented at this year's Kennedy Center American College Theater Festival.
The script itself would feel clichéd if not for the cadence of Samm-Art's dialogue, evocative of the works of Langston Hughes or Ntozake Shange. Taysha Marie Canales' character, listed only as 'Woman Two', shows this in the lines of a speech about going to the city - 'Take it to the city', she says, and in her words we can hear the rumble of trains and the flow of people, the skyscrapers towering overhead.
Even more than in their voices,
the actors' mastery of their own bodies is nearly perfect. James Douglas' lithe
movements are each well thought out, not a single one wasted as he conjures
vignettes, stories, and locations from Cephus' life. For example, when he tells
the story of the "Black Indian" he leans on his porch to speak to the (not
physically present) man, then stands up bolt straight with his arms close to
his body to mimic and parody the deluded fake-Indian before shifting back to
his own confidant yet relaxed posture. Everything seems planned, from the
confidant and sly way he moves as a young man to the subtle tremors in his
hands as a shoe shiner in the twisted canyons of
Robin Stamey's lighting is
almost as much of a character as the actors. Though some cues are slightly
mis-timed and on occasion the actors are left in shadow, it is clear that this
is a problem of the space and short amount of time to put on the show, not the
show itself. The warm, almost buttery tones used to recall Crossroads,
There are some questions about
the possible relevance of the play to modern audiences - originally produced in
the late 70's, the play speaks on issues concerning
A Comb and a Prayer Book
Kelly Wetherald
Awareness of the Holocaust is an
event that individuals cannot avoid for we are educationally bombarded with
images and horrific details in American history classes nationwide. Modern
society knows this. But what about "genocide in
A Comb and a Prayer Book: A Survivor's Story's central theme struggled. Was the vision to tell one person's history or to heighten awareness of genocide and humanistic cruelty? The play had an unclear objective and static storyline which in turn made the performance boring and unbearably annoying. The production was just another attempt to do justice to a riveting memoir that turned out to be an epic failure on stage.
I cannot blame the painful
performance solely on the actors at
Hendrick also chose to incorporate chamber theatre techniques while directing. This technique includes using as much original text as possible while telling the story through a couple main characters. Unfortunately, Lauren Suprenant playing Shana Fogerty delivered unmotivated monologues with a monotone voice. It is hard to believe that such vivid textual images such as "barren bed chambers", "saturated piss stains", and "starvation to the point of eating worms" could still come across so bland. The lack of ensemble interaction and clear disconnect to the story only added to the antsy atmosphere felt in the theater.
One positive aspect of this production A Comb and a Prayer Book was the technical lighting and set design. Varied lighting angles and color helped create a somber, death stricken mood that the actors themselves couldn't naturally create. The lighting provided depth, a sense of time and helped to make the minimalistic set spring to life. Metal scaffolding, ominous hanging lights and block platforms blended into the background yet also chilled the tone of the piece. The basic set design allowed for imagination to drive visual images.
The high hopes that I had for this production after their nomination to KCACTF were shattered within twenty minutes. I found myself longing for the end or at least for the nonexistent intermission to take a break from the monotonous one dimensional narration.
Shawn Arnold
no, not again." The room spins. A woman on a chair writhes and contorts. She
grips the seat, but it is no use. Falling with a thud, she flops about as a
white vortex opens behind her. Snap! All suddenly goes black. The woman opens her eyes in
a nursery and discovers she is now A BABY! This is but one of the many
reincarnations of Miss Witherspoon. In Christopher Durang's absurdly funny play,
Amy Asendorf
When searching for a personal sense of fulfillment, it is wise to begin with a healthy dose of
suicide. Go right ahead! Run into oncoming
traffic, overdose, invite the dog to nibble on your flesh. Any method will suffice! Christopher
Durang's Miss Witherspoon, as
performed by
Nicholas Barilar
Chicken Little, Gandalf (The
Lord of the Rings' wizard), an abusive parent, an Indian angel, suicide,
and Jesus Christ in a muu muu are now available in one convenient package! All
of these characters--and more--reside in
Robby Bassler
Michael Cook
The world is in danger because humans can't just get along,
the sky is falling, events from decades past traumatize one woman. Only one
person can stand up and save humanity. Who is this hero? Why, Miss Witherspoon
of course! Chistopher Durang's Miss Witherspoon tracks our reluctant
hero's spiritual journey through the afterlife. As with many other Durang
plays, no topic is taboo and audiences will find themselves laughing at topics
they'd otherwise find uncomfortable. However,
Mark Costello
A young woman of no more than 21 flops around like a beached
sea creature. She's writhing in a big way, as though her brown-hued, business-casual
outfit is made of peanuts and she's allergic. Her eyes strain upward, her face
is almost on the ground, and in a terrified flash, her hand darts back toward
her raised hindquarters. Stunned confusion soon trumps horror, as said hand
spastically fans an imaginary flame. We soon get it: she's pretending to be a
dog. This unfortunate, disturbing mishandling of Christopher Durang's
pleasantly dark comedy is the norm in
this Heaven? Nope, it's purgatory, and unless you quit killing yourself you're
going to stay here for all eternity! Sticking around may be a problem for suicidal
Veronica, who rests uneasily at the center of Christopher Durang's Pulitzer Prize-finalist farce Miss Witherspoon.
Valerie Gibbs
"Who said life has to
move forward? Can't it move backwards, too?"
Peter Starr Northrop
So the lights came up for
Nathan Taylor
Ever wanted to see a two-week-old baby incite an invisible
dog named Fido into mauling her to death? Never fear,
Jensen Toperzer
Kelly Wetherald
life like a box of chocolates? No. Life is a dream-cycle filled with suffering,
sacrifice, and perpetual annoyance; at least according to Miss Witherspoon, Christopher
Durang's suicidal cynic starving for peace in the afterlife.
Dear Editor,
The theater world has a new and exciting craze that's popping up in small drama companies all across the country. It's an incredible movement called "24 hour theater." This new twist on drama involves paring down the usually lengthy and exhausting process of writing, workshopping and producing a fully staged show from what could be several years to just a single day. This bold new form of expression is usually done in a festival setting where a rag-tag group of writers, directors, actors and designers are frantically thrown together into teams. They are then given a concept and (you guessed it) 24 hours to write, produce and perform a ten minute play. These festivals are usually teeming with the theater scene's amateurs, all of them desperate for that first chance to express their vision on the stage.
This sounds lovely, but do the theater-goers of your readers really want to go see a play (or series of plays) that have been haphazardly built over the course of a single day? What's the appeal of 24-hour theater to an audience?
I would like to offer your publication a 1,200-1,500 word
feature article entitled "The Fringe Challenge--a look inside the new form of
spontaneous theater" that answers that very question. The article will take a very in-depth look at
one of the many spontaneous theater
festivals that has popped up in the region--The Kennedy Center American College
Theater Festival's Fringe Challenge. While the Fringe Challenge is technically 48 hour theater, it's still got all the
aspects one would expect from a 24 hour theater fest. Best of all, this year's
challenge is held at the Indiana University of
The article will go in depth into the conceptual side of this new art form, opening up with the Fringe Challenge's long-time director, Len Kelly. It will then feature interviews with several of the Challenge's participants--where they will share their background in theater and their passion for this fun new way of looking at the performance arts. The article will be a collage of different stories from a wild and maddening 48 hour period that leaves its participants and audience members forever transformed. It will show amateurs pull off stunning theatrical feats that--given the circumstances--seem almost impossible.
The article can also have several aspects on your publications website if desired. Full audio interviews with participants are available and several groups involved have agreed to have their chaotic writing and rehearsal sessions filmed for internet publication--giving further breadth to this experience.
The Fringe Challenge begins on January 12th , and goes live on the night of the 14th. The article and online aspects can be available to you by as early as the 15th.
Peter Starr Northrop
Query 3:
Dear Editor,
How many times have you driven down an unknown street in Philadelphia, and had a chill run down your spine? Did you immediately lock your doors, and accelerate your car to escape the block? If you have then the Temple University theater department's production of Shot! wants to have a brief word with you.
I'd like to offer you a 1,200-word article entitled "Song of the Street". The theater department of Temple University has conceived a brand newperformance piece entitled Shot! The piece gives audience members an inside look at Beirut, a Northern Philadelphia urban community, whose image has been tarnished from the 1964 riots.
My article will examine the process that the production team of Shot! went through and give an inside look at the process that goes into putting a piece of this nature together. Temple University uses poetry, monologues, songs, and documentary footage to create an authentic narrative and perspective of a neighborhood that has been.
Through interviews with writer Kimmika Williams-Witherspoon, director Doug Wager, and a few members of the ensemble members I will give readers an insight into the process. I will also have video recordings of the interview to place on your website. As a theater artist and scholar I believe that it is important to highlight this production and highlight the Docudrama performance style. I believe that through this production, Philadelphia citizens will get an insider's perspective into the real story of their community and an insight in the process that goes into putting a piece of this nature together.
I would like to thank you for your time, and I look forward to hearing back from you!
Connor Davis
Query 4:
Dear Editor,
Is there really such a drastic gap between entertainment for children versus entertainment for adults? And do basic instincts and values change over time or are the morals instilled in us as children timeless? Actors and adult audience members alike tend to look at children's productions as a "dumbed-down" version of stereotypical theatre. On the contrary, children's theatre explores a different aspect of creative expression, taking a script and interpreting the text to be universally relatable.
I would like to offer you a 1,000 word article entitled, "Rediscovering Childhood in a World of Professionalism." The article would explore the importance of well rounded theatrical exposure, the connection between a mature and elementary script style as well as Indiana University of Pennsylvania's effect on the youth of the community. IUP's presentation of A Year with Frog and Toad by Willie and Robert Reale opened my eyes to the lack of children's style shows in production, especially at the collegiate level. These specific points are supported with interview quotes of the cast and director, Rob Gretta, as well as video clips of recent productions.
The lack of children's theatre workshops and events at KCACTF further proves the reasoning behind this article. According to the Children's Theatre Company in Minneapolis, children's theatre is a completely different focus for the performing arts that has consistently increased in both revenue and popularity over the last decade. Shouldn't professors, actors, directors and theatre goers alike place more weight and interest on this steadily growing field?
Children's theatre can be thought of as the foundation of theatrical experience. If an actor or director can interpret a script and convey its message to a sea of children, then they can take the basics of a mature script and convey its ideas to a sea of educated adults.
As an actor, newly evolving director, and avid writer I feel that I have an extremely diverse and multi-faceted viewpoint and would therefore be the best candidate to write for your journal. I am a junior musical theatre major and nonprofit studies minor at James Madison University and have recently worked with JMU's Professional Children's Playshop in the summer of 2009. I have a passion for children and the importance of theatre in their ever-changing development as productive and artistic citizens.
I thank you for taking the time to review and consider my proposal and I look forward to hearing your response. If you are interested in the details of my research or this unconventional perspective, I would be glad to have my article, "Rediscovering Childhood in a World of Professionalism" on your desk within two weeks of hearing your response. Thank you again.
Kelly Wetherald
Query 5:
Dear Editor,
Many people are fascinated by the survival stories of the men and women who endured life in concentration camps during the Holocaust, but how often do we really stop and think about how hard and grueling their lives must have been? There are plenty of books and documentaries on this subject, but few have ventured to take these stories to the stage. A Comb and a Prayer Book: A Survivor's Story, by Pamela Hendrick, is the story of Elizabeth Blum, who, by the age of nineteen, had endured life in six concentration camps. It is based on personal interviews and the book written by her granddaughter, Shana Fogarty.
I would like to offer you a 1000-word article title "Staging
the Holocaust," which examines the long process of transforming the book and
interviews of this Holocaust survivor into a theatrical production. Specifically, I will examine the process of
the show performed by The Richard Stockton College of New Jersey at the 42nd
Kennedy Center American College Theatre Festival held in
The stage is a place where we see stories brought to life, made into a reality. This article will explain exactly how that is made possible. It will follow the show's development from a simple interview, to the writing of the book, and finally, to the stage. It will not only present the difficulties in putting such an emotional event under the lights, but it will explain the effect that doing so can hold. Staging historical events is different from creating a movie on the subject in that the action is experienced right before our very eyes; the audience is in the moment, and is able to relive a bit of history. This not only creates a bridge to the past, but it furthers one's appreciation of the present.
As a Theatre major at
I hope that you sense my passion for this subject and if interested, I can have my full article to you within two weeks of your approval. I am looking forward to hearing from you.
Thank you for your time,
Valerie Gibbs
Query 6:
Dear Editor,
The other day I saw a four-year-old teach her father how to
use his I-Phone to take a picture. Generations
in this country find it difficult to communicate because they do not
communicate through the same media.
I want to offer you a 1000 word article entitled "Snap-Shot!:
"Snap-Shot!" addresses how the fuse of theatre and film made a new medium for addressing race in Shot! Interviews from old and new generations of Northern-Philadelphian audience members explore how Shot! acts a gateway to new racial frontiers. The article concludes with the idea that interlocking technology and race in Shot! helps two generations of Philadelphians share accounts of racial strife.
This article is important to Philadelphians because it demonstrates how multi-media performance in Shot! starts a new discussion that is accessible to all generations and races.
As a Native-American critic and a product of today's technology codependency, I offer insight into how using a timeless medium to fuse generations and discuss racial tension. Additionally, "A Night at the KCACTF Drive-In," my runner-up critique in last year's American College Theatre Festival, provides insight into my exploration of the use of live-technology in Shot!
I hope that I can interest you in sharing this discussion
with the city of
Robby Bassler
Query 7:
Dear Editor,
It's always wonderful when we
get to celebrate ambassadors of the City of
For your publication, I would like to write an 800 - 1,000 word article tentatively entitled: "Taking Home With Them." The piece will detail the production's path from stunning hometown show to successful, recognized opus as follows:
story. By interviewing Mark Wade (director), Taysha Canales, Brianna
McBride Pope, and Jamal Douglas (all of them ensemble actors and KCACTF merit
certificate winners), I will provide a look at the driving personalities behind
the work's hometown success. I will also detail their connection to the
· Outcome. After establishing the group's path to the festival, the remainder of the piece will be devoted to detailing the students' current preparation for performance, the outcome of the competition, and the students' reaction to it.
I am a master's candidate in
theater at
am highly concerned with rising college theater companies that are making the
Mark J. Costello
Query 8:
Dear Editor,
Beads of sweat dot the furrowed brow of the twentysomething actor. They gently cascade down his nose while the butterflies in his stomach do choreographed air shows. Throw on top of this the fact that he is competing against 200 other students for a chance at a scholarship. Thus is a case of one student who is taking part in the Kennedy Center American College Theatre Festival (KCACTF) Irene Ryan Acting Scholarship.
I would like to offer you a 1000 word article on the journey of local college students who take part in the KCACTF Region II scholarship program (tentative title- Going for Granny: Irene Ryan Acting Scholarship).
In the article I would specifically like to track the progress of three to four students who take part in the process. Here I hope to examine their feelings about auditions, acting, and what the scholarship would mean to them.
To begin with, the article will briefly introduce the reader to exactly how students are selected. I will then follow the stories of three to four local college students who are competing in the competition. This will paint a picture of the experience of each actor's time in the Ryan audition process. Following the festival I will sit down with each student and conduct a formal interview. Here I will gets the reflections of each student after all is said and done.
As a former Irene Ryan partner and actor I know the strife auditions can cause and the journey students go through academically while honing their craft. These students are the future of theatrical arts, and they are products of this paper's base. I hope you find interest in this topic, and I am looking forward to your response. I can have a copy of it to you 3 weeks following the regional competition and your approval. Again thank you for your time!
Sincerely,Shawn Arnold
Query 9:
Dear Editor,
Angry shouts are heard in the distance. You walk around the corner and down a street. The sound grows louder. You continue around yet another corner and find the source: a large group of political activists spreading a message. What might be the most intriguing aspect of the group is that they are made up of college students. The college student body has traditionally been a political force to be reckoned with and the theatre has proven to be an excellent venue to send a message.
I am offering to write an article entitled something to the affect of "Political College Theatre - You Cannot Stop It!" that would be some 3,000 - 4,000 words in length on the political nature of college theatre and how it is bound to continue to be a natural choice of medium and venue through which a political message may be conveyed using the shows featured at this year's American College Theatre Festival in region two as examples.
The article will include commentaries on the festival's productions of A Comb and a Prayer Book: A Survivor's Story, Increased Difficulty of Concentration, and Widows Each have a political or social issue behind them (genocide, sexual morality in the workplace, and repressive government, respectively). I will also include interviews with the cast and director of A Comb and a Prayer Book in my article, to gain a better demonstrate the potency of the political college theatre scene. What's more, if you should chose to pursue the publication of this article, I will provide the full audio to the interviews I will be conducting.
My article would focus on the political and social aspects of each play and how college theatre groups will use plays like the ones that will be seen at the festival to make their own charged statement as well as how colleges are an ideal place to present a political play.
I hope to hear from you soon and that the topic of my article might be of interest to your publication. Thank you for your time.
Nicholas Barilar
Query 10:
Dear Editor,
You find yourself at an audition, receive a cold reading, and are told to go with no time to prepare. The casting director vaguely asks you to try something "different." Your scene partner drops their line and everyone stands around awkwardly, now unsure of both themselves and the scene. Whatever the scenario, there is one solution accessible to all - improv. With some sort of improvisational training, actors will never find themselves stumped in any sort of circumstance.
I would like to offer you an 800 word article titled "The Importance of Improv: Imagination in Action." The article would discuss the significance of actors attending improv classes and workshops, and provide an evaluation of several workshops, informing readers about various teachers and their methods.
Take Gail Winar's workshop "Theatre Games," being taught at the Kennedy Center American College Theatre Festival this week. It describes itself as a way to "explore theater games and improvisational exercises to wake up your creativity, imagination, and awareness during the rehearsal process." In my own experience, there are several types of directors, and a number of them have no problem with an actor bringing their own ideas to the table - some, in fact, encourage it. Through improv, one can open themselves up, becoming more extroverted and willing to share their ideas.
Another area improv can help an actor explore is physicality; with enough creativity and a willingness to explore their environment and their body, actors can discover mannerisms unique to their character that they might never have dared to try before. Improv is no simple chocolate or vanilla but rather the Neapolitan, where no one bite is exactly the same as the last. Improv is a tasty gift that changes in every new situation.
The great American improvist Viola Spolin once wrote in her book "Improvisation for the Theatre" that "everyone can improvise." Whether or not every person has the ability to travel to Second City or star on "Saturday Night Live" is of no matter; the mere introduction of improv can enhance an actor's innate skills. My article will show the influence of improv by interviewing those who attend these workshops, and asking them how each class heightened the skills they already had.
I was not only involved in improv in high school, but also at my college (James Madison University's "New and Improv.'d"). The value of the practices, the conferences we visit, and the myriad of classes we attend is unfathomable, so I speak from experience when I say that improv is an inestimable tool that should be utilized by every actor.
Please let me know if you have any interest in this article or its subject matter, and I can have a finalized copy of the article delivered to you within a week. Thank you for your time.
Nathan Taylor
That's all for the pitches; the students are waiting to hear if any of these result in a home run. Tomorrow I'll post their first reviews, and appropriately enough, the two shows they saw today run the emotional gamut from comedy to tragedy. Both have literary roots, but A Year with Frog and Toad, based on Arnold Lobel's children's stories, and A Comb and a Prayer Book, based on Elizabeth Blum Goldstein's Holocaust memoir, couldn't be more different. I'm really looking forward to seeing how they handle this analytical mood swing, and I hope you are too.
Everything I Know I Learned from Musicals
Theater Alliance of Greater Philadelphia
What's Good/What Blows in NY Theatre


text:
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text:
U.S. Men's National Team Update for Nov. 6, 2008
B.J. Hoeptner Evans
Manager, Media Relations and Publications
Phone: 719-228-6800
E-Mail: email@example.com
ANAHEIM, Calif. (Nov. 6, 2008) – Members of the U.S. Men's National Team continue to play in leagues overseas and are even playing each other.
In the Russian "superleague," outside hitter Reid Priddy's Lokomitiv Novosibirsk went up against Lloy Ball, Clay Stanley and their team, Zenit Kazan, on Saturday in Kazan and lost 0-3 (21-25, 21-25, 18-25).
Stanley (Honolulu, Hawai'i), at opposite, led Kazan with 15 points on 10 kills, three aces and two blocks. Ball (Fort Wayne, Ind.) who is the team captain at setter chipped in three points on two aces and one block.
Priddy (Richmond, Va.) had eight points for Novosibirsk on seven kills and one block.
View Novosibirsk's photos of the match at www.lokovolley.ru/en/photo/foto8en/. View Kazan's photos at www.zenit-kazan.com/eng/photo/?rzd=56.
Kazan is now third in the Russian league with a 4-2 record. On Thursday, it defeated Netherlands' Piet Zoomers 3-0 to open play in the CEV Indesit Champions League. It will visit Russian league opponent Lokomotiv-Belogorie on Saturday (Nov. 8).
Novosibirsk, which is in seventh place in the Russian league with a 2-4 record, went on to defeat Spain's Arona Tenerife Sur in the first round of the CEV Cup on Wednesday, 3-0 (25-17, 25-20, 25-23). It will play Metallinvest Stariy Oskol in its next Russian league match on Nov. 8.
Fakel Novy Urengoi, the team of setter Kevin Hansen (Newport Beach, Calif.) and outside hitter Sean Rooney (Wheaton, Ill.) is sitting in second place in the Russian League and defeated Nova Novokuybyshevsk, 3-1 (26-28, 25-21, 25-21, 27-25) on Saturday in Novokuybyshevsk.
Rooney scored eight points on six kills and two blocks in the match while Hansen had one point on a block.
View a photo gallery of the match at www.fakelvolley.ru/photo2_20082009/l33_ph.htm.
Opposite Gabe Gardner's Russian team, Ural Ufa, is in fifth place in the Russian League following the team's 1-3 loss on Saturday to Dynamo Moscow (18-25, 25-19, 22-25, 20-25). Gardner (San Clemente, Calif.) had 13 points in the match.
Visit the Ural Ufa photo gallery at http://translate.google.com/translate?u=http%3A%2F%2Fwww.volleyufa.ru%2F&sl=ru&tl=en&hl=en&ie=UTF-8.
In other European leagues, middle blocker David Lee and Trenkwalder Modena in Italy's Serie A League, sitting in 11th place following a 0-3 (18-25, 23-25, 21-25) loss on Sunday to Bre Banca Lannutti Cuneo. Lee scored two points in the match. Lee is averaging 0.58 blocks per set for Modena, which puts him in a tie for 16th in the league.
Modena will play Itas Diatec Trentino next Sunday (Nov. 9).
In Turkey, middle blocker Ryan Millar (Palmdale, Calif.) and outside hitter Scott Touzinsky (St. Louis, Mo.) played key roles in Istanbul Buyuksehir Belediye's 3-1 (20-25, 25-15, 25-16, 25-15) victory Sunday over Halkbank in Ankara.
Touzinsky scored 14 points on 12 kills and two blocks and Millar had 13 points on six kills, four blocks and three aces. The team is in third place in the league with a 3-1 record and will face Arkas Spor on Sunday (Nov. 9).
Outside hitter Riley Salmon (League City, Texas), who plays for Ziraat Bankas? in Turkey defeated U.S. compatriot and opposite Brook Billings (Santa Barbara, Calif.) and his team, Fenerbahce, 3-1 (25-23, 16-25, 25-21, 25-16) on Saturday in Istanbul.
Billings had 24 points in the match on 20 kills, three aces and one block. Salmon scored 13 points on 12 kills and one ace.
Among other players who have been on the U.S. Men's National Team:
Outside hitter Jayson Jablonsky (Yorba Linda, Calif.) is playing for Wayel Balogna in Italy's Serie A2 league. Wayel is third in the league with a 5-1 record. Jablonsky is averaging 2.8 kills per set.
Paul Munoz (Huntington Beach, Calif.) is playing libero for SL Benfica in Portugal's A1 league. He was the starting libero in Benfica's 3-2 loss to Vit. Guimarães on Nov. 1. The team is seventh in the league with a 1-5 record.
Outside hitter Nils Nielsen (Fallbrook, Calif.) is playing for M.G.S. Apollon Kalamarias, which is in ninth place in the Greek league at 6-11.
Opposite Evan Patak (Pleasanton, Calif.) is playing for Hot Volley in Vienna, Austria which is competing in the CEV Indesit Champions League and is in the same pool as Slovenia's ACH Volley, which features U.S. middle blocker Delano Thomas (Sacramento, Calif.). The two teams are scheduled to play each other next week.
Opposite David McKienzie (Littleton, Colo.) and outside hitter Jim Polster (Laguna Niguel, Calif.) have both signed with Dynamo Krasnodar in Russia's high league.


text: The Quick Duck Graditional Jacket from Carhartt is made of soft, durable micro sanded and washed duck. Quilted polyester backed nylon arctic weight lining. Two large lined front pockets with zipper and two chest pockets with snap closure; two interior pockets. Extended tail blocks cold air. Shell is made of 66% cotton/34% polyester. Imported. Sizes: S(34-36), M(38-40), L(42-44), XL(46-48), 2XL(50-52).


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The Compatible Lexmark Optra S2420 Laser Toner from LD Products is a professionally remanufactured laser toner cartridge that is guaranteed to meet or exceed the print quality of the OEM Lexmark Toner Cartridge. Our Lexmark Optra S2420 remanufactured laser toner has new internal parts including OPC drums and wiper blades. Purchasing our Lexmark Optra S2420 Laser Toner is an excellent way to save money without sacrificing quality. Our Lexmark Optra S2420 Laser Toner Cartridge has a 'Two Year 100% Quality Satisfaction Guarantee'. The use of our remanufactured laser toner for the Lexmark Optra S2420 does not void your printer's warranty. We also carry OEM Lexmark laser toner cartridges for the Lexmark Optra S2420. More


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PJ Pant Ruby
Style: 30570057672
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Jersey knit pajama pants with charmeuse ribbon tie and pockets. So soft and comfy, you could lounge in them all day long.
- Mid-weight jersey knit.
- Elasticized waist. Working satin drawstring attached at sideseams.
- Front slant pockets.
- Inseam approximately 30".
- 57% Cotton, 38% Modal, 5% Spandex. Machine wash. Imported.
- From our luxuriously soft Embraceable collection. Add a matching print pajama top and cushy slippers.
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Monday, February 10, 2014
Dart Certifies Robinson R66 Float System
Source: DART
DART Aerospace has received the FAA STC approval for its Emergency Float System for the Robinson R66. The new float system designed and manufactured by DART is the only emergency float system currently available on the market and it will allow R66 operators to safely perform over-water operations. The system can be easily retrofitted on in-service R66 aircraft and the float bags can be removed in just a few minutes for missions that do not require floats.
Related: Components & Accessories News


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The Strategic Design MBA is for high-potential professionals who want to be well-positioned for big opportunity — whether in a major corporation, nonprofit or entrepreneurial venture. This program combines the best of business school with the best of design thinking.
Design thinking is a way of approaching innovation and problem-solving borrowed from engineers and designers. It is used by companies like Nike, Starbucks and Google to introduce new products and services and by city governments to address social issues like illiteracy. Design thinking is the skill these companies seek when recruiting individuals with both a creative and business mindset.
Combining design thinking with the analytical intelligence of business prepares graduates to solve problems better in today's volatile, uncertain, complex and ambiguous business world.
This MBA is a low-residency program with intensive industry application. It features a cohort of seasoned professionals from diverse industries and faculty who blend state-of-the art practitioner experience with excellence in the classroom. Graduates exit the program with a network in place that is capable of bringing long-term value to themselves and their organizations that extends well beyond the formal material covered.
Upcoming information sessions appear below. Please contact Graduate Admissions and they will provide you with more details or set you up with the program director for a personalized discussion.
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Strategic Design MBA Program Uses Design Thinking to Foster Innovation
Video: 4 Ways to Make the Most Out of Brainstorming Sessions


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iHerb Customer Reviews
Savings of: AU$33.55 (42% off)
a nobre proteína
Posted by Reviewer3009948 on Aug 01, 2012
- indico para todas as pessoas, todos os casos: a caseína pode alcançar até 7 horas de ação, e isso se deve porque a caseína é sensível ao pH no ambiente acido do estômago, fazendo com que sua absorção seja gradativa e prolongando a liberação dos aminoácidos na corrente sanguínea.
very good
Posted by thiagocandido on Aug 10, 2012
very good taste and protein
Posted by Reviewer1069738 on Sep 25, 2012
Posted by Reviewer1700955 on Nov 08, 2012
The taste is good and it really has consistency.
incredible taste and solubility
Posted by Reviewer2909023 on Jun 26, 2013
incredible taste and solubility
Very good
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Really good product!
Best Casein
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My newest creamer!
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Good taste, good consistence
Posted by Reviewer2468512 on May 25, 2012
Could be less fat and stevia instead of sucralose as sweetner, but better then many other powders. The taste is good to be casein :) Ordering it again


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Discover a new lake front experience with the Cottages at The Lodge. Cottages are located east of the outdoor pool, feature two bedrooms and much more. Book now for your unforgettable Lake Erie getaway.
Download our FREE mobile app today from the the App Store or Google Play for backdoor access to The Lodge on the go. You'll see nearby hot spots, special offers and deals, dining specials, announcements and even be able to make reservations for your next visit. Stay connected wherever you go.
Not only does The Lodge offer a wine shuttle, on-site wine tasting, local wine in the gift shop and Vintners Dinners, but we also offer a central hub in the epicenter of more than 20 nearby wineries.
Grow your holiday traditions at The Lodge at Geneva. Spend the holidays enjoying family while we take care of the details. From Valentine's Day to New Year's Day and everything in between, call 440-415-1546.
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5 Rocket Stocks to Buy After the Storm
BALTIMORE ( Stockpickr) -- Mother Nature just might have the best Halloween costume of all this week: the so-dubbed "Frankenstorm" that's ravaged the Eastern seaboard this week. The storm has had a real impact on markets, with Hurricane Sandy keeping U.S. stock and options markets closed until today.
It's the first time in 27 years that NYSE opted to board up its trading floor ahead of a storm. The last was Hurricane Gloria back in 1985.
>>5 Stocks Poised for Breakouts
With markets open once again, we're focusing on five new names that should be able to benefit in spite of the storm: a new handful of Rocket Stocks.
For the uninitiated, "Rocket Stocks" are our list of companies with short-term gain catalysts and longer-term growth potential. To find them, I run a weekly quantitative screen that seeks out stocks with a combination of analyst upgrades and positive earnings surprises to identify rising analyst expectations, a bullish signal for stocks in any market. After all, where analysts' expectations are increasing, institutional cash often follows.
>>5 Big Stocks to Trade for Gains
In the last 174 weeks, our weekly list of five plays has outperformed the S&P 500 by 72.68%.
Without further ado, here's a look at this week's Rocket Stocks . BlackRock
Investment management giant BlackRock (BLK) is up first this week. With close to $3.7 trillion in assets under management, BlackRock is by far the biggest manager in the world. It's not just size that matters, where the money's stashed is also important, and BLK's allocations are attractive.
Currently, less than half of BLK's funds are in equities, around a third is in fixed income, and the rest sits in alternatives. With investors still feeling squeamish about stocks, that limited equity allocation is nice. And since BlackRock got its start as a fixed income shop, it's been able to take full advantage of the treasury rally that's been roaring as risk-averse investors poured all of their assets into risk-free government debt.
>>5 Dividend Winners Better Than Treasuries
Part of the trick is going to be in convincing investors to keep their money at BlackRock when they eventually make the move over to equities again. With inflation outpacing the paltry return on Treasuries right now, it's just a matter of time . The fact that BLK gets most of its assets from other institutions should help keep those assets in-house; the group that tends to be less fickle and more willing to stay in a fund than nonprofessionals.
That said, if BlackRock is willing to court more retail investors, it'll have a big growth avenue ahead of it in the next few years. We're betting on shares of this asset manager this week.


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This will also fit 2000 - 2002 Dodge Neon w/ 2003 - 2005 Headlights and Tailights. Modification of eletrical wiring require.
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Greetings TeaFriends and welcome to TeaDay. Please drop in and share what is in your cup with us throughout the day.
Yesterday we discussed How we time our tea brews. Please continue to discuss yesterday's topic.
Today's TeaPoll and discussion topic. Your CURRENT fave teapot (or brew vessel) is ... ? Please share details (and a photo if able) including why it is your current fave.
We are looking forward to sharing this TeaDay with everyone. Bottoms up.


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TV Spot: Who Is Hanna?
Watch the TV spot for Hanna, a Focus Features release.
Directed by Joe Wright
Hanna NYC Premiere
Check out the photos of the stars and filmmakers during the premiere of Hanna in New York City.
Hanna Kicks Ass, As Do These Other Fine Ladies
Hanna may be a teenage girl, but she's also a take-no-prisoners assassin. The news is she's not alone in popular culture.
Hanna's Spree Park and Other Haunted Amusement Parks
A slideshow of creepy amusement parks, like Hanna's Spree Park.
Joe Wright Talks Hanna: "I hope it freaks 'em out...just a little bit."
Q&A with director Joe Wright.
Behind The Scenes Of Hanna: Making An Action Heroine For The 21st Century
Production notes from the movie Hanna, a Focus Features release.
Cate Blanchett
Whether an English or Elfin queen, Cate Blanchett proves with each role to be cinema royalty.


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Kamelot - Ghost Opera
Kamelot's latest album Ghost Opera was one of my most anticipated albums of this year, considering they are one of my favorite bands. It was released on June 6th, via SPV Records. Many fans were apprehensive about this release, considering it is following to consecutively brilliant albums, Epica, and The Black Halo. The first thing a lot of fans noticed was the darker atmosphere on the album. Although this is not a concept album, the use of new orchestral elements like low trombones, tuned down guitars, and bleak subject matter definitely create a dark theme that courses through the entire album. Another thing about this album, is how visually stunning it is. From the artwork, to the Ghost Opera video, to the inside sleeves, it's just very, very, cool. One thing I've always admired about Kamelot is they put everything into their music down to the details. The guitars on the album, besides from being tuned down to dropped C#, definitely have a rawer sound, which was a conscious decision according to Thomas. The bass, is well, pretty buried in the mix, but not so much that it's non-existant. Casey's drumming seems to be a step up on this album, but nothing overly amazing. Khan's voice sounds great as usual, nothing really needs to be said there. And Oliver's keyboard and orchestrations are just brilliant. With that said, here is a short track by track breakdown of the album.
01. Solitaire
The intro to the album is a short violin solo piece, which sounds quite dark eerie, but very cool at the same time. Sets the mood perfectly for what's to come and then it runs right into...
02. Rule The World
For this one I was expecting some fast, anthemic opener in the vein of The Fourth Legacy, or Forever. However, this is a mid-paced, violin laced tune, with a chorus that carries of sort of that creepy vibe from Solitaire. Not a great song, but not terrible either. Though, as far as Kamelot's opening tracks, this one isn't one of the best.
03. Ghost Opera
Ah, the title track. This one starts off with some orchestration, then launches into the catchy melody/theme of the song, backed by some heavy riffing. Although things speed up on this one, it the dark vibe definitely does not let up. The lyrics tell the tale of a young opera singer who is on the way to her stage debut when she is attacked and raped, and now is haunted and tortured by never being able to live her dream. The main melody re-appears as the vocal line in the very catchy sing-along chorus, back with some female vocals. Very cool, emotional guitar solo by Thomas on this one. Definitely one of my favorites on the album.
04. The Human Stain
This one definitely took me off guard. The intro is pure industrial, completely with chuggy riffing, tight drumming, and some wierd sound effects. The industrial sound sort of runs through the whole song, working underneath some intricate piano and guitar melodies, but works very effectively IMO. Very cool chorus on this one, and the verses are quite good as well. Lyrically it's about preserving what we have left, the environment, eachother, and the ' stain ' we are leaving on the earth. Another one of my favorites.
05. Blücher
Taking it's name from a heavy cruiser ship from WWII, the song starts off with some war sounds ( gun shots, helicopters, etc. ) A very nice melody leads the way into the song where it meets with some heavier verses. The song tells the tale of a young sailor of the Blücher when it is attacked and sunk, and how he is thinking of his fiance, and wonders if she is thinking of him as well. Some robotic voices take over in the pre-chorus, to simulate the voice over the loudspeaker on the ship, ( Port side is close to the shore, incoming shot across the bow ) and add a really cool, real vibe to it. Simone Simmons from Epica also provides some backup vocals on this song. Not an amazing song, but I quite like it.
06. Love You Death
Undoubtedly the the saddest song on the album, Love You To Death starts off with an asian sounding intro on the keyboards. A semi-ballad, with some heavier bits thrown in later on, this one is about a young romance where the girl is terminally ill and the last moments together. Amanda Sommerville provides the female vocals that go back and forth with Khan throughout the song. Unbelievably sad, but powerful song with a great chorus and memorable dueting between Amanda and Roy. They pull off this song without any trace of cheese, and it's a really great number.
07. Up Through The Ashes
This one kicks off with some quite ominous riffing, backed by sycned orchestration. The ominous, dark tone carries through the whole song which is quite fitting with the lyrics covering the conviction of christ. Really great chorus on this one, more uplifiting than the rest of the song, but great nonetheless. Really powerful lines in this one as well, I particularly like " Before I let you die...you must forgive me..." leading straight into the chorus. Some really cool choirs in this one as well. I'm sure this one will make a great live number.
08. Mourning Star
A gregorian chant backed by some ambient keyboard sounds leads us into this one. Soon after it explodes into a quicker, heavier number with some cool riffing and string lines. The song slows down for the chorus, which is quite good, and features some female backing vocals. Cool lyrics on this one too, and features a really cool solo. They have been playing this one live, and from what I've heard it sounds really great. I'd say this one ranks with Blucher though, not amazing, but still pretty cool.
09. Silence Of The Darkness
Very Maiden/Queensyrche-esque harmony leads us into this fast number. The dark/creepy vibe definitely makes it's apperance in the verses of this song, but lets up for the big uplifting anthemic chorus. This is the only song on the album I believe that features a real keyboard solo, which sounds pretty cool, but the guitar work definitely overshadows it. Not a huge fan of this song, I think it comes right after Edenecho as the weakest song on the album. I definitely don't hate it though.
10. Anthem
As with the opening track I was expecting this one to be a well...anthem, haha. However, it is actually an all piano ballad, which came as wonderful surprise. It is absoutely beautiful, with Khan's vocals really shining through, and very intricate piano and strings behind him. The song has great lyrics, as Khan wrote them about his fear of becoming a father, and you can't help but love " Sing me the anthem of life..." One thing I love about Kamelot, is they are basically cheese free and have a very human, real, approach to their songwriting. The orchestral midsection is just beautiful on this one. Love this track.
11. Edenecho
Ah, the weakest track on the album. At least IMO. It starts off with a Savatage-esque intro with some piano and guitar chords working into the verses. The theme appears again the in the chorus, which really does nothing for me. It's by no means a bad song, but it has really never done anything for me personally and can't really stand up to the rest of the album. I love the pre-chorus though. During the later half of the song, choirs make another appearance which soungs pretty cool. Now that I'm listening though, I like this song more than I did, so maybe it'll grow on me more
12. The Pendulous Fall ( Bonus Track )
This song was worth the extra money for the limited edition alone. Starts off with some piano and the whole song is catchy, but the chorus is just WOW. It really should have been on the actual album. I don't really know what else to say about this one except it's one of my favorites, and it's worth the extra money.
Alright, so in conclusion, it's a really great album. It doesn't really hold a candle to the Epica/Black Halo duo, but it's really, really great nonetheless. And I'm tired of typing, so fuck it!
>: 4 8 15 16 23 42
i have Black Halo, which is really good. I really really like Khan's vocals. They are almost as good as the guy from dream evil, but Kamelot is actually a good band instead of being a joke like Dream Evil.
"I only got the sunny hours, the brightest hours of day
I never count the gloomy hours, I let them slip away"
-Long Beach Dub Allstars
Fuckdamnshit I didn't even know this came out!
I must now find a copy somewhere!!
*Div away!*
Well that was certainly a dissapointment. I'd say this has to be their worst album that I've heard to date. Their music has really taken a turn for the worse, they've probably been hanging out with shagrath too much. If there were any good parts then I must have been asleep during them.
Basically this album is like eating a giant bowl of mashed potatoes. It's the same thing over and over from start to finish, you can't tell one bite from the other, and its got an overall bland and boring taste too it.
Last edited by Div; 06-18-2007 at 01:10 PM.
"I only got the sunny hours, the brightest hours of day
I never count the gloomy hours, I let them slip away"
-Long Beach Dub Allstars
Mortals are mortar and life is the fuse.
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Tha Academy Garden
Our guesthouse occupies one half of the 'belle etage' or 'piano nobile', the grandest of the four floors at the front of our house. Our accommodation is mostly in the form of sets of rooms (bedroom, living room, and bathroom).
The two front sets (roughly 40 sq. m. and 60 sq.m.) look out over the Academy's garden - a dense wall of greenery in the summer and a delicate tracery of branches, Classical columns, and open space in the winter. These sets are:
a) 'rooms with Dutch stove': two interconnecting rooms with their own bathroom. The first room is really a sitting room and has a single bed; the second has a double bed and a handsome and extremely wide antique desk (perfect place to spread out your books, notes, or artist's sketch pad).
b) the 'Balcony set': this has a drawing room and small library in addition to its bedroom and separate (not ensuite) bathroom; it also has a generous balcony - an ideal place to drink coffee of a morning.
The two rooms at the back of the apartment overlook the courtyard. 'Silver' is a large, light room - a series of spaces which flow into an open bathroom (40 sq.m. in all). 'Lotus' is our smallest room, but again has its own bathroom (about 18 m2 in all).
We offer free breakfast (in our large kitchen / dining room), free Wi-Fi connection, free tea and coffee, but also all the help that you will need in discovering and understanding this extraordinary city.
Availability & RatesTo view availability and prices please select dates and click 'Update Dates'
B&B Facilities & Policies
- Airport Transfers
- Free Breakfast
- Credit Cards Not Accepted
- Free Internet Access
- Free Parking
- Free WiFi
- Self-Catering Facilities
- Taxes included
- Tea & Coffee Making Facilities
- Towels Included
Cancellation PolicyThis property has a 3 day cancellation policy. Failure to cancel within this time will result in a cancellation charge equal to the first night of your stay.
Must-Read Guesthouse InfoThis property has specific Terms & Conditions.
Please note:
Check in from 14.00 or by prior arrangement - we are flexible
Since we do not have a 24-hour presence in the guesthouse, please be sure to contact us by email in advance to tell us your expected arrival time
Check out before 12.00 or by prior arrangement - we are flexible
Please note that our reception is open by prior arrangement only. So be sure to contact us by email in advance.
Light self service breakfast included
Payment upon arrival by cash only
Cancellation policy: 72h advance notice
Taxes included
Please also feel free to contact us if you need help with visa invitations, transfers, tour guides, or with any aspect whatsoever of your stay in St Petersburg. We will be only too glad to help (if we can).
DirectionsShow MapHide Map
From Vasileostrovskaya metro station: On coming out of the metro station, turn immediately right onto the pedestrian boulevard (6th/7th lines*) and walk to the next intersection (corner of 5th/6th lines and Bolshoy prospekt), where the boulevard ends. Cross over the road and turn left up Bolshoy prospekt until the next intersection (corner of Bolshoy prospekt and 4th/5th lines). Turn right onto 4th/5th lines. Ours is the first residential building you come to on this street - number 10.
From the airport: First, change a little money at the airport. You'll need 30 or so rubles each for the minibus and 25 rubles each for the metro. Minibuses and buses leave from outside the arrivals building. Almost all services head for Moskovsky prospekt and the centre of town. The word for centre in Russian is 'tsentr'. The bus will take you down a three-lane highway (5 minutes' ride) and then round a large and gloomy square with a forbidding stele in the centre and into a built-up area. This is the beginning (or end) of Moskovsky prospekt, and at this point you should start looking for metro stations. There are three along the length of this avenue and any one of them will do. There's one almost immediately after the square, called Moskovskaya . The others are Park Pobedy . Once inside the metro station, buy some metal tokens at 25 rubles per token (if your baggage is bulky, you'll probably have to buy an extra token for that as well) and take the train to Gostiny dvor where you change and travel one stop along the Green Line to Vasileostrovskaya Then proceed to our house as in the directions above.
Located Near
We are immediately opposite the garden of the Academy of Arts, 150 metres from the bank of the main river. Walk 150 metres from our front door and you will come to the embankment of the main river with its enigmatic sphinxes and stunning views over the city's main landmarks (the Winter Palace, St Isaac's, the statue of the Bronze Horseman). The Hermitage, the top end of Nevsky prospekt, and the Mariinsky Theatre are 15 minutes away by foot and 5 minutes by public transport.