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Every single graduate continues to be engaged in theatre or the creative sectors in one way or another. These include producing and creating theatre, directing, acting, teaching and coaching, as well as in film and television – in India, China (including Hong Kong and Macau), the Philippines, Malaysia, Taiwan, Singapore, Mexico, Japan, France, and in cross-national projects. One such initiative is the Traditions & Editions Theatre Circus (TETC), a theatre collective comprising graduates from nine countries, established by the alumni in 2008 in order to keep alive the practice, vision and training methodology of Kuo Pao Kun as expressed in the unique curriculum and intercultural approaches of ITI.
All alumniAl-Matin Yatim (Singapore)
Chris Lee Ban Loong (Singapore)
Kalaiselvi Grace (Singapore)
Leanne Ong Teck Lian (Singapore)
Lina Yu (Singapore)
Peter Sau (Singapore)
Sia Ee Mien (Singapore)
Sim Pern Yiau (Singapore)
Yazid Jalil (Singapore)
Yeo Yann Yann (Singapore/Malaysia)
Zachary Ho Tze Siang (Singapore)
Zelda Tatiana Ng (Singapore)
Pedro Simoni Talavera (Bolivia)
Xiao Jian (China)
Xu Jia Li (China)
Amy Tam Ka Man (Hong Kong)
Andy Ng Wai Shek (Hong Kong)
Felix Hung Chit Wah (Hong Kong)
Melissa Leung Hiu Tuen (Hong Kong)
Walter Leung (Hong Kong)
Jyothirmayi Kurup (India)
Mohamed Kunju Noushad (India)
Sankar Venkateswaran (India)
Sajeev Purushothama (India)
Shakeel Ahmmad (India)
Sreejith Remanan (India)
Giorgia Tsolaki Ciampi (Italy)
Miyuki Kamimura (Japan)
Jose Ku Ieng Un (Macao)
Maria Au Mong Chao (Macao)
Amelia Tan (Malaysia)
Seng Soo Ming (Malaysia)
Alberto Ruiz Lopez (Mexico)
Felimon Blanco (The Philippines)
Denise Mordeno Aguilar (The Philippines)
Adrianna Koralewska (Poland)
Chang Ting Wei (Taiwan)
Hung Pei Ching (Taiwan)
Lin Pei-Ann (Themis) (Taiwan)
Alumni by class-year
Class of 2003
Class of 2005
Class of 2006
Class of 2008
Class of 2014
Class of 2015
Al-Matin Yatim first began his craft as an actor in 2007 when he joined Temasek Polytechnic's then Malay theatre society, Titisan Temasek. Since then, he has worked with theatre and dance companies such as the National University of Singapore Malay dance group, Hatch Theatrics, PanggungArts, People's Association, Teater Artistik, Teater Kami, TheatreLab, Cake Theatrical Productions and Chowk. He has also worked on collaborative works with Esplanade and Read! Festival by the National Library Board. Matin hopes to share the idea of intercultural theatre on an international level and contribute back to his society.
Matin was a recipient of the NAC-ITI Arts Scholarship (2013 – 2015).
Chris was appointed Artistic Director for World in Theatre in 2010 and directed an improvisational theatre piece titled That Clown Called Tartuffe! (2011), based on Moliere's Tartuffe, to rave reception from Olivier Guyonvarch, Deputy Chief of Mission of the Embassy of France in Singapore and the general French audience. His most recent screen acting work includes the lead role for Living It, directed by David Lee, which was in the official selection of the 2010 Busan Film Festival in the wide Wide Angle, Asia Short Film category.
Kalaiselvi Grace is a versatile bilingual actress with stage, television, radio and film acting experience who is also involved in theatre and storytelling education in various schools in Singapore. Some of her acting credits include Macbeth in Tamil for RDG (2001), An Inspector Calls in Tamil for RDG (2004), Above Us Only Sky for M1 Singapore Fringe Festival (2008), Rhinoceros for Singapore Arts Festival (2008) and My Magic – an Eric Khoo film featured in Cannes Film Festival (2008).
Grace feels that training at ITI has deepened the roots and widened the spectrum of her craft. After graduation, Grace has performed on TV in Tanglin (2015) and produced Mother I: Amma Naan: Ibu Aku (2016) that played at The Substation.
Grace was a recipient of the NAC-ITI Arts Scholarship.
Leanne graduated from National Taiwan Normal University with a bachelor degree in Education, and has been teaching language and theatre for more than 15 years. She is part of the pioneer cohort of full-time trainee actors in Practice Theatre Ensemble back in 1986.
After graduating from ITI, she taught Theatre in the Shanghai-Singapore International School. In the last two decades, she has performed in major roles in the following plays: Kuo Pao Kun's The Day I Met the Prince, Descendants of the Eunuch Admiral, The Spirits Play, Sun Set Rise (for the 3rd Chinese Drama Festival in Taipei); Taiwan musical The Soldier and His Virtuous Wife; Cao Yu's Family; Guo Mo Ruo's Tiger Tally; and May Wong's Lights Up in Guangzhou and Hong Kong.
Recent performances include; The Celestial Web by renowned Tan Swie Hian; The Cabinet, directed by Lim Hai Yen, Artistic Director of The ETCeteras; Flower Crab Club performed in Beijing 4th International Festival –Splendid Asian in 2010, directed by Goh Boon Teck, Artistic Director of The Toy Factory. More recently, she played the role of Honey in Edward Albee's Who's Afraid of Virginia Woolf, directed by Nelson Chia for the 2012 Singapore Hua Yi Festival. The show has since also travelled to the 2013 Macau Arts Festival. Leanne has also been collaborating with Drama Box since 2011 to conduct the Chinese Speech Workshop for local theatre practitioners.
Prior to ITI, Lina received the Japanese Government Scholarship to study in Tokyo, where she was trained in Music Business, Vocals, Computer Music Creation and Recording. She has also performed as a vocalist in various live events in Tokyo. Upon her return to Singapore she decided to commit herself fully to the arts after a stint in the corporate world, taking up acting with NYU Tisch Asia before she applied to and was accepted by ITI.
Post graduation, ITI has performed with In Source Theatre in Mandala (2015) as part of the Shanghai International Contemporary Theatre Festival, and with The Finger Players in Inheritance (2016).
Peter graduated from ITI (formerly known as Theatre Training and Research Programme) in 2003.
In 2009, he founded Traditions and Editions Theatre Circus (TETC), a theatre collective comprising 29 ITI alumni. Peter produced The Spirits Play (2009), which was subsequently invited to perform at India's biggest theatre festival, 12th Bharat Rang Mahotsav, and The Juggler's Tale (2011). In 2012, he produced and performed in Transformations, the collective's third production first presented in Hyderabad, India.
Peter has represented Singapore in many overseas performances. Over the years, he has won many awards and commendations in Singapore as a performer. He was part of the cast of The Art of Living in the In-Between – The Performance (Cake Theatre, 2010), which won Best Ensemble Acting at the Life! Theatre Awards. He was also involved in TKK (The ETCeteras, 2005) and Asian Boys Vol. 1 (The Necessary Stage, 2000), both of which won the Life! Theatre Awards' Best Ensemble Acting. He was nominated for Life! Theatre Awards' Best Actor for House of Sins (Drama Box, 2008).
Peter's most recent performances include One Hundred Years in Solitude 10.0 : Cultural Revolution for Huayi Festival 2012 at Esplanade Theatre, as well as the 2012 rerun of Cooling Off Day, a sold-out show last year and nominated for this year's Life! Theatre Awards for 'Production of The Year', and 'Best Ensemble'. He was creator-performer for 2012 Singapore Arts Festival commissioned work, XII: In Search of 13. For Kuo Pao Kun Festival 2012, he produced/wrote/directed/performed in a tribute piece, Tell Me When To Laugh And When To Cry in collaboration with the Esplanade. He was Assistant Director of Drama Box's Herstory, which was performed at 2011 Singapore Arts Festival. He also adapted and directed K, a play written by Goh Boon Teck, which was featured at the Esplanade's Huayi Chinese Festival of Arts 2010. He wrote and directed A Madwoman's Diary, performed at the Esplanade, as part of The Studios programme in 2009. His directorial work in 2007 includes Toy Factory's Big Fool Lee well as Machine which was performed at 2007 Singapore Arts Festival.
A recipient of the 2011 Young Artist Award conferred by the National Arts Council, Peter won the "Best Actor" award in the M1-Life! Theatre Awards 2015. He is a theatre faculty member at the School of the Arts.
Ee Mien works with primary and secondary schools as a drama teacher and director, including teaching drama for the Singapore Youth Festival. She is also actively involved in Playback Theatre as a facilitator and teacher, conducting workshops in various places including Phnom Penh, Cambodia. In 2009, she performed in TETC's inaugural production, The Spirits Play, alongside fellow ITI alumni. The Spirits Play went on to the 12th Bharat Rang Mahotsav (theatre festival) in 2010. Her other works include IgnorLAND of its Desires by Drama Box (2009), I Am Queen by The Theatre Practice (2008), and The Journey West: White Bone Fiend by Paper Monkey Theatre, which was part of the Esplanade's 2009 Huayi Festival.
Beyond acting for the stage, Ee Mien has also been a television host on Singapore's Mandarin channel, been involved in Heartland TV and Gateway Entertainment, and a part-time lecturer for the Performing Arts course at the Theological Centre for Asia Drama.
Pern Yiau is an established Taiji instructor who also explores Taiji for actors, dancers, musicians, vocalists, and other disciplines. He is a lineage disciple of the Taiji Gong system stretching back to Grandmaster Lao Zi. He has taught and researched Taiji in Singapore and in countries like Chile and Norway. He has given Taiji classes, presentations and lectures at events and organisations such as the NUS Arts Festival, Duke-NUS Graduate Medical School, NTU Alumni Club, UBS Wealth Management and the National Library. He was invited to the Singapore Sun Festival for three years in a row, where his class was the most-attended wellness event for the 2009 festival.
He has also been working as an actor, writer and director in theatre since 1994. Companies he has worked with include The Necessary Stage, Drama Box, Teater Ekamatra and The Finger Players. Some of his acting projects include The Necessary Stage's Invisibility (1996), Galileo (I feel the earth move…) (1997), The Water Station (2004) and he played a lead role in The Finger Players' Furthest North, Deepest South (2006, Singapore and Hungary). As a director and co-director, some of his works include The Necessary Stage's Thicker Than Water (1997), Walking Into Doors (1998) and Dramabox's Family of Cross (2001).
Yazid's professional theatre experience began long before joining Intercultural Theatre Institute. An alumnus of Singapore Repertory Theatre's youth wing, the SRT Young Company, Yazid had also worked as an actor with Singapore theatre companies such as Teater Ekamatra, BUDS Theatre Company, Cake Theatrical Productions, Agni Koothu, We Colour People Theatre Company and Yellow Chair Productions. In 2011, Yazid pursued theatre training in France at the Ecole Philippe Gaulier as an awardee of the Singapore National Arts Council Residency Programme. Yazid has been nominated twice at the Life! Theatre Awards.
Yazid was a recipient of the NAC-ITI Arts Scholarship (2013 – 2015) and the Tan Chay Bing Education Fund (2013; 2014).
Yann Yann is most recognised on screen in Ilo Ilo, a film by Singaporean director Anthony Chen which clinched the Camera D'Or at the prestigious Cannes Film Festival (2013). Yann Yann won the Best Actress award for her role in Ilo Ilo at the Russia Vladivostok International Film Festival in September 2013, and garnered the Best Supporting Actress award for the same role in the 2012 Golden Horse Film Festival and Awards. The film also won Best Film and the NETPAC Award (Network for the Promotion of Asian Cinema Award) at the Festival.
A versatile and talented actor and theatre performer, Yann Yann has built a successful career across the mediums of film, television and theatre, and is a familiar name in Singapore and Malaysia. Her other notable film credits include Singapore box office hit 881 by film maker Royston Tan, Singapore Dreaming, Love Matters and Being Human.
Nominated for several LIFE! Theatre Awards for her various acting roles, she won the award for Best Actress in the Chinese classic play Thunderstorm in 2007. On stage she has worked with many of Singapore's established theatre companies including The Theatre Practice, The Necessary Stage, Drama Box, and The Finger Players. After returning to Malaysia, Yann Yann won local audiences over with her leading role in the drama series The Iron Lady. Her other outstanding performances include Malaysia's first period martial arts comedy Petaling Street Warriors, blockbuster drama series The Descendant and comedy sitcom Time FM.
Zachary is currently a teacher with the Theatre faculty in School of the Arts Singapore (SOTA). He has performed in 12 Angry Men produced by Nine Years Theatre. He is also a member of The Theatre Practice's Laboratory, a long-term platform by which a dedicated ensemble of actors are able to produce and develop alternative forms of theatre.
Upon graduating from ITI, Zachary collaborated with fellow graduates Seng Soo Ming and Alberto Ruiz in Unbound: Prometheus and the Monkey King, which was performed in Malaysia. He was also seen onstage in Boom! (2008) by the Singapore Repertory Theatre. In 2009, he devised and performed in Creative Lab, a presentation of eight solo works that were individual responses by eight artists to Kuo Pao Kun's The Spirits Play, the inaugural production of TETC, a theatre collective established by ITI alumni. His solo piece went on to be presented in Kuala Lumpur. In the same year, he was also Assistant Director for The Quest for the 25th Virtue of Filial Piety by the Young People's Performing Arts Ensemble. He was last seen on stage in Lao Jiu: The Musical by The Theatre Practice and directed by Kuo Jian Hong, as part of the Kuo Pao Kun Festival in 2012.
Zelda graduated in 2003. Before her training her, Zelda had already been working professionally as a theatre practitioners for over 15 years in various aspects of theatre with major established local theatre companies.
Currently a freelance arts practitioner, Zelda's previous appointments have been as cruise director, in charge of programming and entertainment onboard, with Star Cruises; project manager for Cirque du Soleil's Singapore and Hong Kong run of Quidam, and tour manager for Sentosa Resorts World.
Her works in theatre include Square Moon, produced by Function8, Garisan Kuning by Singapore Repertory Theatre, and Other/s – an independent project for the Esplanade's Studios Raw season, which went on to participate in New York's Green Festival. Other professional involvements have been in 100 Years of Solitude – Cultural Revolutions by Zuni Icosahedron (Hong Kong) and Drama Box (Singapore), as part of the Esplanade's 2012 Huayi Festival and XII – In Search of 13 – a devised collaboration with seven local theatre artists for the Singapore Arts Festival 2012. She has also participated in various TV/Film productions including Taxi Taxi, Ilo Ilo, In Cold Blood and Code of Law.
In 2015, Zelda has turned her attention towards directing and helmed the play-readings for Three Children and Titoudao, part of the Esplanade's Studios 2015 season, "Fifty". She also re-staged Drama Box's 2012 production, Afar, in June 2015, under Centre 42's collaboration with The Finger Players for its "Watch This Space (Directors' Cycle)" platform. In 2016, Zelda directed new work, Inheritance, presented by The Finger Players.
Originally from Santa Cruz de la Sierra, Bolivia, Pedro is a trained concert violinist and has been playing violin for 17 years. He was a member of the Youth Symphony Orchestra of Santa Cruz de la Sierra, an invited member of the National Symphony Orchestra of Bolivia, and member of The Youth Symphony Orchestra of the Latin American Development Bank (CAF) touring in concert to Colombia, Venezuela, Ecuador, and Peru. In 2005, he moved to France and obtained a Bachelor in French Literature at Paris-3 Sorbonne Nouvelle University. Following that, he became a member of La Boutonnière Theatre's laboratory, directed by Habib Naghmouchin, before taking part in the The Body's Journey, a project of training, research and devising, directed by Leela Alaniz, in Paris.
Pedro was a Tan Chay Bing Education Fund Scholar.
After graduation, Xiao Jian was employed as a drama teacher by Julia Gabriel Centre in Singapore and later went on to a teaching position at an international school in Shanghai. He also performed in Lan Ma for the Chinese Theatre Circle in Singapore, and for the Festival of World Cultures in Dublin, Ireland, in 2005.
Jia Li taught drama at the Shanghai Singapore International School after studying at ITI and returning to Shanghai, where she launched and managed the Chinese Culture Room. She directed and performed a solo performance KaraokeMedea, directed Dario Fo's Michele Lu Lanzone, and made a solo performance Shakuntala integrating Beijing opera and Indian Kutiyattam elements, based on her experiences at ITI. Jia Li received support from the Georgette Chen Scholarship for her studies at ITI.
Besides the theatre, Jia Li also worked as a translator for several renowned professors such as Richard Schechner and taught Beijing opera related classes in the US, UK and Bulgaria. She now works at the International Affairs Office at the Shanghai Theatre Academy. She also has an MA in Enterprise and Management for Creative Arts from the University of the Arts, London.
Amy has been involved in over 30 theatre, dance and choir performances since 1995, both on stage and as part of the production team. A graduate from the Hong Kong University of Science and Technology (HKUST) Faculty of Business with a Bachelor's degree, she co-founded the theatre company Facial Corner in 2001 and produced various original theatre productions, and acted as the Marketing Director of the company. In 2003, she went on to set up the HKUST Drama Alumni Association with a few alumni friends. Amy, who has a strong passion for acting, has appeared in TV commercials and short films. The Hong Kong Federation of Drama Societies awarded her with the inaugural Hong Kong Drama Scholarship for her studies at ITI. Amy continues to work towards being an outstanding actor and creating more original plays through her eponymous theatre company. In 2016, Amy produced Single Mother Temptation and The Retrograder.
After graduation, Andy performed in the inaugural play, The Spirits Play (2009), of TETC, a theatre collective established by ITI alumni, as well as facilitated Creative Lab, a presentation of eight solo works that were the responses by eight artists to the play. The Spirits Play went on to the 12th Bharat Rang Mahotsav, a major theatre festival in India, after opening in Singapore.
He has created works such as Whisper of Love presented by Unlock Dancing Plaza in Hong Kong and Ending the World commissioned by the Hong Kong Arts Festival 2006. In the latter, Andy directed and performed alongside ITI graduates Melissa Leung and Walter Leung. He has also spent time in Taipei for a cultural exchange project involving On & On Theatre (Hong Kong), Shakespeare's Wild Sisters (Taiwan) and a Japanese company, each creating a new work based on a different section of Dante's Divine Comedy.
In 2015, Andy played the lead of Macbeth in London and the Hong Kong Arts Festival, in the production by Tang Shu-Wing Theatre Company. Andy was also part of the ground-breaking Titus Andronicus which moved from the Hong Kong Arts Festival to the Globe to Globe World Shakespeare Festival at the Globe theatre, and Titus 2.0 which played at festivals and theatres across Europe and China before returning to the Hong Kong Arts Festival.
Andy also conducts training in movement for actors, and was formerly a Lecturer at Hong Kong Academy of Performing Arts.
Felix (Wah Wah) has been Resident Artist with The Theatre Practice, Singapore, since 2011 where she performed in The Story After Ah Q (Chinese Theatre Festival 2011 and the 14th Taipei Arts Festival 2012), Lao Jiu: The Musical, The Day I Met the Prince and The Bride Always Knock Twice.
In 2009, she was in Creative Lab, a presentation of eight solo works that were the responses by eight artists to Kuo Pao Kun's The Spirits Play, the inaugural play of TETC, a theatre collective established by ITI alumni. Her solo show went on to be presented in Kuala Lumpur. In 2010, she further developed her solo and presented The Mother Hen Next Door by EX-Theatre Asia in the 3rd Taipei Fringe Festival where it clinched the highest accolades and was nominated for the 9th Taishin Arts Award (Performing Arts). In 2012, she re-worked this creation and performed it in Singapore, as well as in the 5th Taipei Fringe Festival and at the 12th Macau Fringe Festival.
After her training at ITI on a Hong Kong Theatre Association's Hong Kong Drama Scholarship, Wah Wah was involved in a youth directing project in Malaysia. Back in Hong Kong, she worked in several productions by On & On Theatre Workshop, including The Seducer's Diary in 2007, at the Cattle Depot Theatre Season, in which she was one of the ensemble cast, as well as Myth of Archaeology Bird: The Vanished Wings, a work that looked at Hong Kong 10 years after its handover to China, following the memorable Fly! Fly! Fly! Archaeology Bird, which premiered in 1997. She also work with different companies in Hong Kong such as Chung Ying Theatre Company, Class 7A Group and Cine Matict Theatre.
Melissa is Director of Education and Outreach of The Theatre Practice (TTP) in Singapore.
She was previously based in South Korea, as the associate artistic director of movement-dance group, Quattro Station. The group focuses on physical theatre and dance theatre, believing in the power of simple stage design and the fundamental energy of performers in delivering theatrical works.
Melissa has been chalking up experience in various aspects of theatre – acting, directing, education and arts administration. After graduating from ITI, Melissa returned to Hong Kong where she worked with many theatre groups in Hong Kong such as Theatre du Pif, On & On Theatre Workshop, Unlock Dancing Plaza and Theatre Fanatico.
Walter performed in Ending the World at the Hong Kong Arts Festival 2006 and in Gao Xingjian's Of Mountains and Seas (World Premiere) in 2008.
In 2005 & 2009, he directed the experimental production of Kuo Pao Kun's Descendants of the Eunuch Admiral; The Silly Little Girl and The Funny Old Tree in Hong Kong. He also directed Russian controversial play Dear Yelena Sergeyevna and French masterpiece The Little Prince in 2012 and 2013 respectively.
Walter used to lecture at City University of Hong Kong – School of Continuing and Professional Education. He also conducts drama classes, while at the same time continuing his Taichi training and practice.
Jyothirmayi graduated with a Masters in Theatre Arts from the Sree Sankaracharya University of Sanskrit in Kerala, India after obtaining her Bachelors in Multimedia from Mahatma. Her training and performance experience reflects her wide range of skills, and she has acted in productions such as Iruvattam Manavatty, the first Malayalam adaptation of a Chinese opera in the Thiruvanathapuram International Theatre Festival directed by Ramesh Varma, a renowned theatre director in India. Jyothirmayi has also spent seven years studying classical Indian Carnatic Music.
Jyothirmayi was a Tan Chay Bing Education Fund Scholar.
Noushad has been a Reader in Department of Theatre Arts, Sarojini Naidu School of Arts & communication, Central University of Hyderabad, since November 2010. He was formerly Artistic Director of the Shri Ram Centre (SRC) Repertory, an appointment he secured after graduating from ITI. His directorial venture in SRC includes plays like Mere Bacche, an adaptation of Arthur Miller's All My Sons (2009), William Shakespeare's A Midsummer-Night's Dream (2009), Girish Karnad's Hayavadan (2008) and Anton Chekhov's The Seagull (2008). He also directed Bertolt Brecht's The Caucasian Chalk Circle, in Mizo language, collaborating with the Department of Art and Culture, Government of Mizoram (2010). His devised performance Reflections with the department of Theatre Arts students, University of Hyderabad (2011) was staged at the National theatre festival in Begusarai, Bihar and in various theatre festivals of Kerala (2012) and New Delhi.
He has acted in numerous theatre productions in India and internationally. These include Kuo Pao Kun's The Spirits Play (2009), the inaugural play of Traditions & Editions Theatre Circus (TETC), a theatre collective established by ITI alumnus, followed by a presentation of eight solo works that were the responses by eight artists to the play in the Creative lab. The Spirits Play went on to the 12th Bharat Rang Mahotsav in January (2010) after opening in Singapore. He also performed in another TETC production, Transformations, as part of Kuo Pao Kun theatre festival, in Hyderabad (2012), An Autobiography of a Sex Worker (2011), staged in Hyderabad and in Kerala, Portrait of Dora and Helen which participated in Bharat Rang Mahotsav in January (2008) and Japan Foundation's project Performing Women – Clytemnestra, Medea and Jocasta, based on Greek drama, involving artists from India, Japan, Iran and Uzbekistan which was performed in India and Tokyo and later in the Seoul Theatre Festival (2007).
Other acting experience include Teater Ekamatra's Impenjarament for the Singapore Arts Festival (2005), Chen Hui Wen's production of Sarah Kane's 4:48 Psychosis in Taiwan (2005). In film, he acted in Amal, an Indian-Canadian collaboration film, Wonder, a regional film based on the Navarasa series and a Hindi movie, Magic Lantern, directed by award-winning director K. Madhusoodhan.
Sankar graduated from Calicut University School of Drama & Fine Arts with a first rank in theatre direction (2002), after which he pursued acting training at ITI (2003-2006, then known as the Theatre Training and Research Programme) in Singapore.
In 2007 he founded Theatre Roots & Wings and produced Quick Death, and then conceived, produced and directed Sahyande Makan – The Elephant Project, and traveled extensively in India and abroad. In 2009, he was invited by The Japan Foundation to direct Bhasa's Urubhangam with a cast of all-Japanese actors, which premiered at the Matsumoto Performing Arts Centre, Japan. In 2011, he directed Neerina Niluthana for Marutirugata repertory company, Karnataka.
His other works include Shogo Ohta's The Water Station (2011), featuring an all-Indian cast co-produced by The Japan Foundation, New Delhi; Chekhov's The Seagull (2012) for Ninasam Theatre Institute; 101 Lullabies (2012); and Henrik Ibsen's When We Dead Awaken (2012), commissioned by the Delhi Ibsen Festival.
His work as a theatre director extends to performances and workshops both in India and abroad. He has conducted workshops for theatre companies in India and overseas. In 2011, he was invited to be the Artist in Residence in Zurich, Switzerland by Pro Helvetia. In 2012, he was appointed Festival Director for the National Theatre Festival by the Kerala State Government. Sankar was conferred the Ustad Bismillah Khan Yuva Puraskar from Kendra Sangeeth natak Akademi in 2012 for his exceptional talent in the field of theatre direction. Sankar has received the International Ibsen Scholarship for the year 2013.
Sajeev Purushothama Kurup is a theatre producer, director and writer based in Paris, France. Upon his graduation from ITI, he has been involved in various research-based performances, workshops and festivals in different parts of Europe.
Since 2009, his project themes and concepts such as Monkeyelephant, Solitude & Science (2010-11), Earth of Human and Pollution (2012), A Stage for Distance (2013), and Weavers Theory (2014) have been selected for production, backed by community funders. His artistic group, First World, employs a theatre lab approach, aimed at de-stabilising conventional theatre staging and works towards pushing the limits for participative and socially committed theatre-making in France and beyond.
Shakeel Ahmmad was born in Loni, a village in the southern state of Karnataka, India. He obtained a Diploma in Education from DIET College of Mysore and worked as a government teacher for five years before continuing with a Bachelor of Arts from the Karnatak University of Dharwad. Prior to ITI, he received professional actor training at Ninasam Theatre Institute, where he became versatile in traditional and contemporary techniques: Yakshagana Traditional Theatre, Kalari martial art, Yoga, Kolata folk dance, theatre design and contemporary acting. As an actor, he has also toured Karnatak with professional theatre companies for a year before studying in ITI. Shakeel is a recipient of an Asian scholarship sponsored by a private philanthropist.
An actor, researcher and theatre educator, Sreejith is a faculty member of the School of Drama and Fine Arts, Calicut University, Kerala. Previously, he had been teaching acting at the Hyderabad Central University, and was also a programme producer for Amritatv, a leading television channel in Kerala. He is also Co-Founder and Artistic Director of Natakam International Theatre Lab in India.
Sreejith played the lead in the play Saketham that was staged in Tokyo and has also performed in the plays of Maya Tungberg, S. Ramanujam, Abilash Pillai, and Ram Gopal Bajaj. His directorial credits include The Chairs (Eugene Ionesco), Mother Courage and Her Children (Bertolt Brecht), and The Museum of Lost Pieces, a devised project by the students of the University of Hyderabad. He also directed a short film, Yakusha Co Ltd (2009), which won him the Best Director award at the Swaralaya Film Festival.
Giorgia Ciampi was born in Florence, Italy from an Italian father and Greek mother. She volunteered for three years as assistant director for Florence-based Perelandra Theatre Company. At 18 years old, she won a place at the University of Exeter where she graduated with a BA in Drama and subsequently with an MA in Actor Training and Directing under the supervision of renowned theatre practitioner/pedagogue Phillip Zarrilli. Her roles ranged from playwright to director, stage manager, composer and performer. Giorgia feels that her experience in ITI has completed her Western training with the practice of Asian traditional trainings in an intercultural environment, and that the meeting and interaction of cultures through the actors' body-minds is a very important strand of her current enquiry.
Post-graduation, Giorgia has based herself in Paris to work; in 2016, she co-founded Compagnie Canopée.
A freelance trainer and actor, Miyuki has served as cast trainer for several productions led by Makoto Sato. He is currently a movement teacher and leads workshops across Asia.
His works include a promotional video of Dream Factory in Singapore and performed in Red Demon (2013) by Ex Theatre Asia in Taipei. He also performed in Short and Sweet Singapore (2010), Juggler's Tale by TETC, Singapore, 2011, Transformation by TETC in Hyderabad, India 2012. In 2010, he also performed in Research Work by Fabien Proville, ex-member of Tanzteater Wuppertal Pina Baush (Saitama, Japan).
In 2009, he performed in the inaugural play, Kuo Pao Kun's The Spirits Play, of TETC, a theatre collective established by ITI alumni, as well as in Creative Lab, a presentation of eight solo works that were the responses by eight artists to the play. The Spirits Play went on to the 12th Bharat Rang Mahotsav, a major theatre festival in India, after opening in Singapore.
He appeared in Workshop (2007) by Makoto Sato in Okinawa; Hamlet/Machine (2006) by Makoto Sato and the Butoh performance of No Roots No Leaves – Absurd Day Dream (2006), both in Japan; and Chen Hui Wen's production of Sarah Kane's 4:48 Psychosis (2005) in Taiwan. He was also in the leading role for several films, including Vivid by Sam Loh, which was nominated as a finalist at the Singapore Film Festival 2008, Café (2005) by Kelvin Sng, Island (2004) by Mirtillo Films and Midnight Café by Opus Films. In 2008, he joined a three-year project with Yudi Ahmad Tajudin (Indonesia), Liew Kung Yu (Malaysia) and Makoto Sato taking place in Okinawa and various countries in Asia.
Jose is a drama teacher at the School of Drama, Macao Conservatory. Since 2008, he has been the associate professor (acting) at the Faculty of Arts, Shenzhen University. His studies at ITI were supported by a scholarship awarded by the Cultural Institute of Macao (now Cultural Affairs Bureau). After his ITI training, he also earned an MA in Directing (with Distinction) at Rose Bruford College, UK. He performed in The Juggler's Tale by the Traditions & Editions Theatre Circus, a theatre collective set up by ITI alumni. The production was featured as part of Esplanade's The Studios series in May 2011. In 2010, he was invited by the Shenzhen Dramatist Association to be director at the event 'Shenzhen Harmony – Celebration of Xhenzhen's 30th Anniversary'.
In 2007, he was awarded a commission to direct a production of Kuo Pao Kun's Descendants of the Eunuch Admiral for the Macao Literary Festival. He performed in Dis-Orientations by Border Crossings, UK, in an off-West End production in London in September 2006. Other performances include I Hate Hamlet by the Macau Youth Theatre Company. He has also lectured on Studies in Asian Theatre at the School of Theatre and Entertainment Arts, Hong Kong Academy of Performing Arts, and was invited by the Violet Dance Company to be Director of Open Box 2012 – Reflections. In 2012 he formed "O O O Tree (Out of One's Tree)", a theatre group focused on training and storytelling for performers. He was appointed Artistic director of 2012 Parade Through Macao, Latin City in 2012.
Maria teaches acting, voice and movement at the Macao Conservatory's School of Drama. Her studies at ITI were supported by a scholarship awarded by the Cultural Institute of Macao (now Cultural Affairs Bureau). After ITI, she completed her MA in Directing at Rose Bruford College in London. She has co-directed a devised play with another ITI alumni, Jose Ku. In addition, she conducted research into theatre development in China in relation the 100th anniversary of the birth of contemporary theatre in China in 2007.
An active player in the Malaysian theatre scene, Amelia is the Artistic Director of ACX Productions, a company specializing in theatre production and an educational theatre training for people of all ages, which she co-founded in 2011. As an actor, Amelia performed in The Lost and The Ecliptic, a play which was co-presented by Pentas Project and the Kuala Lumpur Performing Arts Centre in October 2007, and later played at the Esplanade in Singapore as part of The Studios series in 2010. She was also in The Juggler's Tale by Traditions and Editions Theatre Circus (TETC) in 2011, and collaborated with Anata Theatre (Thailand) and Pentas Project in Changmai in Dec 2010. In Feb 2012 she performed in Dear Elena Sergeevna, directed by Malaysian's Chinese Director Dr. Deric Gan. In Aug 2012 she performed in Paper Crane: A Musical, directed by Joe Hasham. Amelia directed The Mystery of the Phoenix Tree, which was invited to join The Asean Puppet Festival (Thailand) in March 2013 and Wayang World Puppet Carnival (Indonesia) in September 2013.
After her graduation from ITI, she was part of a youth directing project in Malaysia, and was also invited to co-produce a musical and the Ada Drama Awards 2006. Her education at ITI has strengthened her understanding of multicultural practices and their application to contemporary theatre. In 2015, Amelia took home the award for "Best Director" at the 12th Boh Cameronian Arts Awards.
Soo Ming is an actor, director and theatre educator based in Kota Kinabalu, Sabah. He founded PITaPAT Theatre in 2012 and directed the first two theatre productions of the theatre company in 2013; Wanted!! and Die Die Tak Bayar, which were performed in multi-languages.
Soo Ming was one of the acting teachers at the Kuala Lumpur Performing Arts Centre (KLPAC) in 2010. Upon his graduation from ITI, Soo Ming collaborated with fellow graduates, Alberto Ruiz and Zachary Ho, in Unbound: Prometheus and the Monkey King performed in Malaysia. In 2009, he was in Creative Lab, a presentation of eight solo works that were the responses by eight artists to Kuo Pao Kun's The Spirits Play, the inaugural play of the Traditions & Editions Theatre Circus (TETC), a theatre collective established by ITI alumni. His solo went on to be presented in Kuala Lumpur in Play Spirits, a different collective production with another three members of TETC. He also performed in TETC's second production, The Juggler's Tale, featured as part of Esplanade's The Studios series in May 2011. Soo Ming was selected to be in Stan Lai's production of The Village, which was presented at Esplanade's Huayi Festival in 2009 and later toured in California and eight cities in China. In 2010, he performed in Pilgrims and a Loser and Franz Kafka's Metamorphosis at KLPAC.
In 2015, Pitapat Theatre presented An Enemy of the People – at the Moment directed by Soo Ming. That same year, he was also a recipient of the Krishen Jit-Astro Fund. Soo Ming directed Kakak in 2016 – a programme of the Kota Kinabalu Arts Festival.
Right after graduating from ITI, Alberto collaborated in Unbound: Prometheus and the Monkey King with fellow graduates Seng Soo Ming and Zachary Ho, which was performed in Malaysia. He was invited to work on another theatrical project in Poland, with actress Justyna Tomczak from theatre group Theater Y. He was also involved in an exchange programme with Grotowski Institute of Poland for a year.
In 2009, he performed in the inaugural play, Kuo Pau Kun'sThe Spirits Play, of the Traditions & Editions Theatre Circus, a theatre collective established by ITI alumni, as well as in Creative Lab, a presentation of eight solo works that were the responses by eight artists to the play. The Spirits Play went on to the 12th Bharat Rang Mahotsav in January 2010 after opening in Singapore.
Alberto has been a teacher of various modules such as Acting, Movement, Graham's Technique and Theatre Language for Dancers at the University of Guadalajara, Mexico since 1990. He is also a certified Kundalini Yoga teacher.
As a director, he has helmed operas – Verdi's La Traviata and Purcell's Dido and Aeneas – and plays such as Dario Fo's Un Dia Cualquiera and Alfred Jarry'sKing Ubu. His work extends beyond his home country of Mexico to Poland; Texas, USA; and Colombia. A theatre practitioner who has directed and acted, he was also a former Director of the Company of Theatre from Jalisco. In 2015, Beto performed in R vs J, a solo piece in Mexico.
A multiple award-winning recipient, Beto holds a Bachelor of Performing Arts from the University of Guadalajara, Mexico. He has returned to ITI as a faculty member with the position of Head of Acting.
Felimon heads kaZAulogaN, Inc, a network of artists in Zamboanga del Sur, a province in the Philippines. Since June 2007, he has been appointed artistic director of LSU Teatro Guindegan of La Salle University, Ozamiz City. From 2008-2013, Felimon also served as Mindanao representative to the National Committee on Dramatic Arts, part of the National Commission for Culture and the Arts (NCCA) – a national policy-making body of theatre leaders and practitioners from across Philippines. Prior to that, from 2007 to 2010, he was the provincial artistic Director-Designate of the Zamboanga del Sur Provincial Tourism, Culture and Arts Office, in charge in developing cultural and arts programmes for the province.
Aside from appointments, Felimon's notable artistic involvements were in Uwahig by the Integrated Performing Arts Guild (IPAG) in 2006. The play premiered at the UNESCO-International Theatre Institute's 31st Theatre Olympics of the Nations in Manila in May 2006 and featured again at the 2007 Taipei Arts Festival, and was an official entry to the 4th CCP National Theatre Festival in Manila. In the same year, Felimon was also in My Sister…My Friend, which played in Mumbai. His solo piece, The Last Tape, was performed as part of the "Waiting In The Wings" programme of the Cultural Center of the Philippines in 2006. In 2009, he performed his solo piece "Lady from the City" as part of ALSA BALUTAN: The 1st Philippine Monodrama Festival in Manila. That same year, Felimon also participated in Creative Lab, a presentation of eight solo works that were the responses by eight artists to Kuo Pao Kun's The Spirits Play - the inaugural play of the Traditions & Editions Theatre Circus (TETC), a theatre collective established by ITI alumni. He also performed in TETC's second production, The Juggler's Tale, featured as part of Esplanade's The Studios series in 2011. In 2012, he performed in Luwasa Inahan, a devised environmental play as Philippine entry to Solo International Performing Arts Festival in Solo, Indonesia.
Off the stage, Felimon was also a regular delegate to international programmes such as Asia Europe Foundation's "Health on Stage: 10th Asia Europe Young Volunteers Exchange Program", in Bangalore, India (2011); at Tokyo Performing Arts Meeting in Yokohama (2013), Japan; at 20th Performance Studies international Conference in Shanghai, China (2014) where he presented his paper "Hugis: Experimenting Asian Classical Forms in Contemporary Performance."
In 2013, the Provincial Government of Zamboanga del Sur awarded Felimon the 2013 Most Outstanding Zambosurian (Arts and Culture Category).
Denise is from Cagayan de Oro City, Philippines. Her training in theatre began at 14 years old where she trained in an acting workshop with Cultural Center of the Philippines (CCP). Since then, she was actively involved in various production and stage manager roles in theatre before becoming a performer and trainer with Pasundayag Community Theatre.
As a theatre practitioner and educator, she believes in the arts as a powerful way to share stories and experiences that represent the complex dynamics of our society, ultimately using theatre as a creative pathway to peace and community engagement. It is with this intention that she embarked on training at ITI, and in the process equip herself with the wisdom of Asia's great theatre traditions.
Denise was a recipient of the Kuo Pao Kun Foundation-ITI Scholarship.
Ada Werc (Adrianna Koralewska) is an actor, director, event animator and most of all, a pedagogue. Awarded the Georgette Chen TTRP Scholarship Fund, and Creative Scholarship by the Polish Minister of Culture – Waldemar Dąbrowski. For four years, she was working with several international schools in Shanghai, China. She is a certified Yoga Teacher and an Educational Kinesiology practitioner (International Faculty). She is based in Poland.
Chang Ting Wei hails from Taichung, Taiwan (ROC). Ting Wei graduated from the University of East London with a Master's Degree in Acting (2011) and also holds a Bachelor's Degree in Applied Theatre and Creative Drama from the National University of Tainan. In her postgraduate study years, Ting Wei has performed with Half Moon Theatre and Stratford Theatres in London, and also played Natasha in Chekhov's Three Sisters. She was involved in many arts festivals in Taiwan, including hosting the Nan Ying Art Festival. Ting Wei's involvement in the traditional arts has seen her perform with Ming Hwa Yuan Taiwanese Opera Company in the play Sui Tang Yan Yi. In Singapore, she has collaborated with several theatre companies including Drama Box, Siong Leng Musical Association, Cake Theatrical Productions and Chowk.
Post-graduation, Ting Wei joined The Theatre Practice as its Resident Artist. In 2016, she performed in the company's Liao Zhai Rocks.
Pei Ching is an actor in theatre and educational projects. In 2009, she was in Creative Lab, a presentation of eight solo works that were the responses by eight artists to Kuo Pao Kun's The Spirits Play, the inaugural play of the Traditions & Editions Theatre Circus (TETC), a theatre collective established by ITI alumni. Her solo went on to be presented in Kuala Lumpur. She was in EX-Theatre Asia's Day I Met the Prince at the Asia Contemporary Theatre Festival in Shanghai in 2006. Her studies at ITI were supported by the Taipei Business Association in Singapore and the Georgette Chen Scholarship.
Pei-Ann is Co-Founder and Executive Director of EX-Theatre Asia based in Miaoli, Taiwan. The company staged A True Calling at Esplanade's The Studios series in 2011, which was nominated for the Taishin Performing Arts Award in 2010.
From 2006, she served as producer for her company and productions included Numit Kappa, The Island, The Story of the Tiger and Hayavadana. She performed at the Asia Contemporary Theatre Festival in Shanghai in 2006 and her acting works include Marriage Math, Troy, Troy…Taiwan, I am Samurai Musashi-Q!Q!Q!,Day I Met the Prince and Silk Road at the 2007 International Ulker Puppet Festival, Istanbul. She has also worked with PARC (Japan Center, Pacific Basin Arts Communication) to create the multi-language work, Shichinin Misaki, presented at the Poly-National Arts Carnival 2004 and 2006 in Yokohama, Kanazawa and Kyoto.
Previously a member of Taiwan's Golden Bough Theatre, Themis wrote, directed and performed All-in-One (with a collaborator) for the company at the Experimental Theatre of Taiwan National Theatre and the I-Lan Traditional Art Theatre in 2005, while in 2004 she performed in their production Butterflies at the Singapore Arts Festival. In 2004, she performed in dance-drama Princess Cina at the Indonesian Dance Festival in Jakarta and Solo, Indonesia. Pei-Ann was nominated for "Best Supporting Actress" at the Taiwan Golden Bell Awards in 2006.
In 2009, she performed in the inaugural play, The Spirits Play, of TETC, a theatre collective established by ITI alumni, as well as facilitated Creative Lab, a presentation of eight solo works that were the responses by eight artists to the play. The Spirits Play went on to the 12th Bharat Rang Mahotsav, a major theatre festival in India, after opening in Singapore.


text:
Wall Street Journal: "So why have home sales slowed? Prices are rising in part because there aren't very many homes for sale … Home buyers may still be adjusting to the reduced affordability from the combination of higher prices and rates."
"Here's the problem: If low inventories—and fewer foreclosures—have been holding back sales of existing homes, then builders should be putting up a lot more new homes. So far, that hasn't happened. New-home sales plunged in March by 14.5% from February."
"Builders have focused on building fewer homes that can fetch higher prices as they face rising labor, land and supply costs."
"And builders have said that they are focusing on selling to more affluent buyers, as opposed to entry-level buyers, who are either struggling to come up with the cash to buy a home or aren't interested in ownership right now."
"Housing's rocky recovery could signal weakness more broadly in the economy, reflecting the lingering damage from the bust that has left millions of households unable to participate in any housing recovery."Save to Favorites

subset: commoncrawl


text:
Traditional Flutes by P.G.Bleazey
Traditional Flutes, hand made by P.G. Bleazey
Home Page
Traditional Flutes Catalogue
Flute Care
Music Samples
Service and Mail Order
Where to see us next
Related Links
About Cathie
About Phil
Traditional Flutes
Traditional flutes are those instruments seen by people as preceding the new and revolutionary flutes developed by Theodore Boehm in the second quarter of the 19th. Century. Prior to Boehm's work flutes had developed from the parallel bored medieval instruments of which we only have iconographical evidence and through the renaissance period they remained parallel inside. Only with the introduction of flutes made in three or more pieces by the Hotteterre family do we start to see tapered bores appearing. Then came the introduction of keys, only one at first, as was commonly seen on the highly decorated flutes of the baroque period but soon evolving into the eight keyed instrument of the classical period. Traditional music is played using any combination of the above types usually dictated to the musician by the thickness of his wallet. The music of these musicians can be heard played in pubs or for traditional dance sides today but would have been one of the only sources of entertainment for families at home before recording technology became available. Iconographical evidence points to the fact that such entertainment was also common among families who were wealthy enough to commission those paintings of "boy with flute".
In such areas as Northern Ireland young people have been encouraged to join groups like the famous Armagh Pipers who teach playing of traditional flutes for use in concerts or marching bands.
Like many modern folk flutes and whistles, the instruments were six holed and did not have any keys. Today there is a revival in traditional flute music brought about by those members of re-enactment societies who want to portray domestic and military life from many historical periods with a background of music "of the people". Traditional flutes are often used today for mood music which might be used for meditation or to set the subject at ease prior to massage. The mellow, haunting tones of these instruments have made them popular for background music for spiritual occasions and they can be heard more and more setting the scene in movies. Many session musicians are finding work today providing music for television and cinema with these traditional instruments which have been recognised by directors as being more appropriate than taking the instruments from a modern orchestra. Traditional instruments and their makers can be found by attending exhibitions such as the folk festivals around the U.K. and other countries, there is also the possibility of finding them at the early music festivals which take place all over the world. I find it heartening to know that, even today, makers and players are making their livings from traditional flutes as has been the case for hundreds of years. From the giant Fujara flute of the Slovak shepherds which stands almost two metres high and plays harmonics and overtones to the often found clay instruments some no more than 40 cm. long, there is a huge variety of flutes with no tone holes at all, the notes being produced by over blowing the harmonics and stopping the ends to produce a different behaviour of the air column like a stopped organ pipe. Some traditional flutes play a pentatonic scale like those of north America and yet others produce a full diatonic scale using only three holes and the 5th. over blow. There is endless fascination in traditional flutes and their making to the point that there are museums dedicated to the instrument, so wide is its use and popularity. The list of materials from which these instruments are made is almost as long as the list of instrument types.
Home Page
Flute Catalogue
Flute Care
Music Samples
Service and Mail Order
Where to see us next
Related Links
About Cathie
About Phil
The Old Furness Street Stables LANCASTER LA1 5QZ
Tel: 01524 849085 or 07955 607511
email phil at woodenflutes


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Hi Tanker - Glad to have you aboard.
This is a discussion on New from Central Texas within the New Members Introduce Yourself forums, part of the Welcome To DefensiveCarry.com category; I just joined from Central Texas. I'm retired Army and was a tanker on M60A1, M60A3, and M1 series tanks....
I just joined from Central Texas. I'm retired Army and was a tanker on M60A1, M60A3, and M1 series tanks.
Nemo Me Impune Lacessit
Hi Tanker - Glad to have you aboard.
Chris - P95
NRA Certified Instructor & NRA Life Member.
"To own a gun and assume that you are armed
is like owning a piano and assuming that you are a musician!."
http://www.rkba-2a.com/ - a portal for 2A links, articles and some videos.
Thanks. I've got the same screen name on PDO. 5th generation soldier. Retired in 94.
Nemo Me Impune Lacessit
Welcome from Alabama, Tanker. There are a number of current and former tankers on this board, myself included. Bumper, the administrator, is also a former tanker, IIRC.
Jump in anytime.
Two things are infinite: the universe and human stupidity; and I'm not sure about the universe. Albert Einstein
Welcome, amigo
"We must remember that one man is much
the same as another, and that he is best
who is trained in the severest school."
~Thucydides, History of the Peloponnesian War
Welcome from Kansas City.
One shot. One kill.
Primary Carry - Taurus PT-111 Mil Pro 9mm DAO with 12 + 1 in the pipe. Holstered in a Brigade OWB M2.
Secondary Weapon - Taurus PT1911 5" 45acp SA with 8+1. Holstered in a Kydex paddle.
Thanks, all, for the warm welcome. And let's remember those who are in harm's way.
Nemo Me Impune Lacessit
Welcome Tanker, you'll find quite a few military folks hanging out here.
EOD - Initial success or total failure
Welcome, and if you haven't found it already, check outOriginally Posted by RetTanker
for closer-to-home discussions.
Thanks, kd5nrh. I've added that site. Had my CHL about 15 months now.
Nemo Me Impune Lacessit
Welcome. I'm up in north central Texas near Wichita Falls.
Charlie - 40FIVER
Why I carry:
"The heart is deceitul above all things, and desperately wicked: who can know it?
Jeremiah 17:9
Welcome -
"To disarm the people is the best and most effective way to enslave them."
George Mason
"Gun control is a job-safety program for criminals."
John R. Lott
Hello! and welcome to the forum!
Welcome to the forum...you'll like it here!


text:
Enhance The Way
You Watch Television
Watch What You Want with Cox Cable in Toano, VA
Thanks to Cox Cable you'll never miss Marymount University basketball action or the excitement you can expect from the Kardashians. Whatever your interests and price range, Cox Cable has a plan that will fit. Cox makes sure you're always in the loop about regional and national events. When it's entertainment you're after, Cox offers popular premium channels plus ON DEMAND and Pay-Per-View. Sign up for an Advanced TV package or higher and you'll enjoy FREE HD!
And when you pair Cox Cable with the Whole Home DVR from Cox, you'll get the most out of all your news and entertainment choices. Cox's Whole Home DVR gives you the freedom to watch your favorite TV shows when it's most convenient for you. The next time you get stuck late at the office or you're too tired to stay up for the big game, Cox Whole Home DVR has you covered.


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How Far Is Heaven
- Running Length:1hr 39mins
- Cast:Sister Margaret Mary, Christopher Pryor, Miriam Smith
- Rated:M - Contains offensive language
Session Times
The Sisters of Compassion have lived in the remote village named Jerusalem, in New Zealand, for 120 years. Today, only three nuns remain - their legacy on the river is coming to an end. This is a complex world of powerful dualities; Maori & Christian spirituality, parties & prayers, pig hunting and perfume appreciation.


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NFL's four wild cards far from long shots
They are supposed to be the ultimate long shots.
But with the NFL playoffs looming, recent history suggests the four teams in the field that did not win their division titles — the Atlanta Falcons, Detroit Lions, Pittsburgh Steelers and Cincinnati Bengals— have legitimate reason to believe.
Three of the last six Super Bowl winners, including last season's sixth-seeded Green Bay Packers, entered the playoffs as wild cards.
MORE: Falcons seek redemption
Can it happen again this year?
"You can't look at the wild cards and say that they don't have a chance," says Phil Simms, CBS analyst and retired New York Giants Super Bowl-winning quarterback.
"But this year maybe they don't have as much of a chance as in years past."
It will be put to the test this weekend, when each of the four wild-card teams hits the road to face a division champion.
The wild cards' path to Super Bowl XLVI is undeniably tougher, because the mission includes having to win three consecutive road games.
Yet the Packers survived such a gantlet last season. The Giants took the wild-card route in winning Super Bowl XLII, as did the Steelers on the path to XL.
"It's pretty simple, when you think about why it can happen," Simms says. "There's not a great difference between the so-called elite and the other teams in the playoffs."
No wonder Detroit coach Jim Schwartz, preparing for Saturday night's game at New Orleans, is so adamant in declaring it's not enough that the franchise's 12-year playoff drought has ended.
"This isn't college bowl season, when you're getting a watch and a new warm-up suit and taking a tour of the chamber of commerce and it's like a reward for the season," Schwartz says.
"This is the tournament. This is the chance to win a championship."
Even as a sixth seed.
Meaning in seeding?
Playoff seeding sometimes means only so much.
The Atlanta Falcons, preparing for Sunday's playoff opener at the New York Giants as a fifth-seeded wild card, can vouch for that.
"Last year, we were a No. 1 seed and we ended up losing to a sixth seed that went on to win the Super Bowl," says cornerback Dunta Robinson, mindful of the playoff-opening loss to the Green Bay Packers. "So those things don't matter. It's about your chemistry and how well you're playing this time of year.
"We're not doomed. There's a lot of football left to be played, if we play like we're capable . We're in the playoffs. That's good enough."
Yet given the difficulty of winning three consecutive road games to advance to Super Bowl XLVI -- while higher-seeded teams rest with a first-round bye — you won't find many banking on a current wild-card to repeat the Packers' run.
"You'd think the Steelers would have the best chance to pull it off," says NFL Network analyst Jamie Dukes. Pittsburgh opens on Sunday at Denver. "But at the same time, with them losing Rashard Mendenhall (torn ACL) and with Ben Roethlisberger limping around (ankle), I wouldn't be shocked if the Steelers lost this weekend."
So, it's wide open … if.
"When you think about Green Bay doing it, remember they are an all-weather team," says ESPN's Keyshawn Johnson. "I can't see these dome teams -- like the Falcons going up to New York -- winning outdoors.
"If Pittsburgh can stay healthy, they can do it. They can win in New England. And regardless of where they play, I'm not convinced that Baltimore can beat Pittsburgh for a third time. It's so tough to beat a team three times in the same season."
At the heart of Pittsburgh's chances is a No.1-ranked defense that has maintained traditional excellence during the most prolific season of offense in NFL history.
Does defense still win championships?
"They have a group of guys who know what it takes," says CBS analyst Phil Simms. "Guys like Troy Polamalu, LaMarr Woodley, James Harrison. They are some of the biggest names in football for a reason. They have done it on the field. It's not propaganda."
Naturally, pros and cons exist throughout the playoff field.
Dukes likes that Bengals rookie quarterback Andy Dalton was battle-tested in the tough AFC North and that Cincinnati has drawn the injury-stung Houston Texans and their rookie quarterback, T.J. Yates, for Saturday's first-round matchup.
On the flip side, the Bengals are the youngest team in the playoffs and went 0-7 this season against playoff teams.
Another young upstart, Detroit, has struggled similarly against top competition (0-5 vs. NFC playoff teams). But the Lions have one of the NFL's most explosive offenses triggered by 5,000-yard passer Matthew Stafford and all-pro receiver Calvin Johnson.
Simms thinks there's another reason the Lions are dangerous.
"Look, they can rush the passer," he says, alluding to the strength of Detroit's defense. "The game could easily change on a sack, a fumble or something like that."
Dukes considers the Lions one of the hottest teams entering the playoffs because they rebounded to finish strong after stumbling in mid-October and November.
"But since Ndamukong Suh had the issue, they haven't had that defensive swagger," he said, referring to Suh's two-game suspension stemming from a walk-off stomping incident. "I think it left them with an identity crisis. As long as you play within the rules, it's OK to be the 'bad boys.' "
The Lions aren't alone in Dukes' book, when it comes to the need to solidify identity. He cringes when he sees the Falcons lean too heavily on a wide-open passing game, rather than a controlled attack built around the running of Michael Turner. They were 1-5 this season when Matt Ryan threw at least 40 passes.
"If you don't have Joe Thomas at left tackle, you cant do it," Dukes said, underscoring protection issues. "I applaud them for going to get (big-play receiver) Julio Jones, but you also have to recognize how you're built."
This is surely the time of year when second-guessing intensifies.
That applies for the participants, too. In a staff meeting on Monday, Falcons coach Mike Smith pulled out a notebook that detailed the preparation before last year's playoff game and outlined a few tweaks.
Miss having a bye?
"The way that it went down last year," Smith said, "I'd rather be up this week and go ahead and play."
In the end, it's how they play that matters most.


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Green Palm Inn and beautiful Savannah, Georgia get the spotlight in January 2011. This month media and industry professionals at BnBFinder.com and GotSaga.com point to Green Palm Inn. The travel industry pros punctuate what thousands of our bed and breakfast / inn travelers already know:
Our trendsetting Savannah B&B innkeeper [Diane McCray] is THE spot-on "focus group" on topics that surround extraordinary historic Savannah bed and breakfast lodging, and unique things to do in Georgia's First City.
BnBFinder.com, a five star rated global online directory recommends Green Palm Inn. "Our little inn has been a popular bed and breakfast to solo travelers for years. So, we are especially happy to learn of BNBFinder pointing travelers our way," says Diane McCray. They really captured the essence of the inn with this opening comment: 'Sweet and historic, the Green Palm Inn instantly exudes Savannah charm….'"
Read Rita Wilson's full article:
Five Types of Valentines and Where to Find Them; B&B Help Cupid
Fear not single ladies, strategically placed bed and breakfasts play cupid to your arrow, identifying the five types of Valentines and where to find them!
The Founder & President of GotSaga.com invited innkeeper Diane McCray to guest blog the "Top 10 Best Places & Things To Do in Savannah, Georgia". Savannah IS that rich place for "people with a passion for traveling and cultural diversity!" which GotSaga's states is their worldwide traveling audience.
Read the full blog post:
Top 10 Best Places & Things To Do in Savannah, Georgia
"If you are planning to visit Savannah, you don't want to miss this place: http://www.greenpalminn.com/"
Let us know when you want or need a little enticement to visit Savannah, Georgia! Here's our email: email@example.com


text:
There are different symptoms that would give a person an idea that his ankle is broken. The first one would be signs of swelling. If the ankle joint looks bigger than normal, or perhaps bigger than the other ankle, then this may be an indication of having a broken ankle. Another appearance of a broken ankle would be that of bruising.
This means that there would be color changes that are apparent such as a mix of violet, blue and red. Note that broken ankle recovery should take place during this period. Of course, there would also be a lot of pain and throbbing when it comes to problems with the ankle. In order for these symptoms to go away, broken ankle recovery should be given the appropriate attention.


text:
[Date Index]
[Thread Index]
[Author Index]
Re: A strange precision behavior?
On 7/7/08 at 5:07 AM, aaronfude at gmail.com (Aaron Fude) wrote:
>The following two commands result in different values:
>SetPrecision[0.01, 50] 0.01`50
That is because these are different numbers.
>Is that because in the first case, 0.01 is first represented as a
>double and then passed to SetPrecision, while in the second case,
>Mathematica gets a chance to interprete 0.01 as 1/100?
Mathematica never interprets 0.01 as 1/100. The value 0.01 is a
machine precision number.
If you want to get the equivalent of 0.01`50 using SetPrecision
you should use
SetPrecision[1/100, 50]
In[1]:= SetPrecision[1/100, 50] === .01`50
Out[1]= True
SetPrecision[0.01, 50]
is telling Mathematica to start with a machine precision number
and increase the precision to 50. You can't do this in any
consistent manner. In general, the difference between the
closest machine number entered with a decimal point and the
exact rational value will be greater than that between a number
with a precision of 50 and the exact rational value. It is never
a good idea to attempt to increase the precision of a lower
precision number.


text:
Diatomic Molecules?!
posted by ashly on .
Why do diatomic molecules form?!! :((
Let's use H-H as an example. The electron dot structure of H is H. so each H has one electron in its outside shell. It wants two. The easy way to do that is for each H to share its one electron with each other so it ends up as H:H; this way each H atom "sees" two electrons in its orbit so each thinks its orbit is full.I hope this helps but if you have further questions please don't hesitate to ask.


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Salt Lake City police are asking the public's aid in bringing a bank robber to justice.
Police say the suspect a male in his 20s, 5-foot-10, 170 pounds with dark facial hair walked into the Zion Bank branch at 1420 S. 300 West just before 1 p.m. Wednesday. He approached a teller, demanded and received cash, and then fled on foot.
Police say the suspect was last seen wearing a green hooded jacket, a dark baseball cap and jeans.
Anyone with information on this case is asked to call police at 801-799-3000.
Twitter: @remims


text:
D.C. Unveils Four New Taxicab Colors (Updated)
D.C. could eventually have one cab color to rule them all. Or stripes.
Mayor Vincent Gray unveiled four new color schemes on Monday, one of which will be chosen next year as the new paint job for the district's 6,500 taxicabs, a process that will take years to fully implement. The multicolored striped patterns are one piece of a larger modernization effort that is coming together slowly -- too slowly for D.C.'s top taxi regulator.
"I'm a very impatient person and I would like to speed it up," said Ron Linton, the head of the Taxicab Commission.
Although district lawmakers passed a taxicab modernization bill this year, the most important changes have yet to come to fruition: GPS smart meters, credit card payment machines and touch screen monitors for customers in the back seat.
The new paint jobs will be introduced when taxi drivers replace their aging vehicles; by 2018 no cab on Washington's streets will be older than 7 years, as per a new regulation, Linton said.
"The people who ride in the cabs were pushing and pushing for a modernization program," said Linton, referring to a survey undertaken by the office of D.C. Council member Mary Cheh that found widespread dissatisfaction with the current conditions of taxicabs. That survey also found the public's preferred color to be yellow (38%). Red was second (15%).
Linton's office will choose the winning color scheme next year, taking into consideration public opinion. The public may vote for their favorite inside Verizon Center through January 7 where two sample future taxicabs are on display, or choose designs online.
(UPDATE, 12/11/12 1:30pm: Two D.C. city council members -- one of whom said he was "appalled" by the color choices - say they will consider legislation to end the public vote so a new color scheme can be chosen.)
Last month a panel of administrative law judges killed the district's plan to install credit card machines in cabs because of problems with the contract awarded to VeriFone, which beat out seven other tech firms. Linton says the matter is still being resolved by the District Office of Contracting and Procurement.
"We selected Verifone on the basis of what was, in my judgment, an honest evaluation and a cost analysis," he said.
At a news conference to unveil the proposed color schemes and encourage the public to vote on their favorite, Mayor Gray said changes to the district's taxis are necessary not only to improve the hospitality industry but for the cabbies, too.
"The changes have to come," Gray said. "This industry has got to change to be competitive. I actually think the cab drivers will make more money as a result of this."
Gray said touch screen monitors that offer riders the option of tipping 15, 20, or 25 percent will induce larger tips.
"As opposed to what you have now where people in a cash business sometimes give nothing or give a meager sum, I think the cab drivers will ultimately do better as a result of the changes we're proposing."
When those changes ultimately arrive is unclear, although Gray and Linton said it will take years to fully implement the new color scheme. Roughly one-third of taxicabs have installed credit card machines on their own, Linton said.
As for D.C.'s cabbies, some have been reluctant to accept changes that are commonplace in other cities. A common complaint is credit card processing fees will bite into a day's pay. Others say GPS smart meters are an invasion of privacy. As for the proposed color patterns, one cabbie waiting for customers outside Union Station on Monday was not impressed.
"It looks ugly. It's no good for the city color," said B.K. Anthony, who drives a light blue SUV. "It looks junky."
For the record, Mayor Gray called the colors "funky."
: The multi-colored patterns of yellow and green OR red and white are – in the words of some D.C. councilmembers – appalling! And now two lawmakers say they will consider legislation to end the public vote so a new color scheme can be chosen. Councilmembers prefer a solid color like yellow or red to the striped patterns unveiled by the D.C. Taxicab Commission yesterday, which would have the final say on a color regardless of what the public picks. A survey conducted by Councilmember Mary Cheh on the state of the district's cab industry found that 38 percent of respondents want all-yellow cabs, 15 percent want red.


text:
Dr. Bromfield is Professor Emerita in the Graduate School of Education.
Marcia Bromfield
Professional Title: Professor Emerita
Areas of Academic Focus and Expertise: Support for beginning teachers; school/university partnerships
Area of Work and Concentration at Lesley: Field placement, field experiences and supervision
Representative List of Recent Courses Taught: ESPED 5100: Contemporary Perspectives in Special Education
Education: BA, Tufts University; MEd, Syracuse University; PhD, Syracuse University
Representative List of Recent Publications / Exhibitions:
Winter, 2013. Presented on "Beyond
Student Teaching: Collaboratively Creating Engaging Experiences for Pre-service
Candidates" at the 2013 National Professional Development Schools Conference
Prior to her retirement in 2016, Dr. Bromfield was the director of the Division of Field Placement and Professional Partnerships. Her areas of interest include establishing and supporting inclusive environments for persons with disabilities and preparing teachers to work in such environments; teacher collaboration; school/university partnerships, especially professional development schools; field experiences and supervision; induction support for beginning teachers. firstname.lastname@example.com
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DANOBATGROUP one of the first companies selected to participate in cre100do.es
25 de November de 2014
Category: Press Releases
DANOBATGROUP was selected during the Cre100do.es launch ceremony to be one of the first 15 companies to participate in the initiative. Cre100do.es is an initiative promoted by the Bankinter Innovation Foundation, in conjunction with ICEX and the Círculo de Empresarios, with the aim of helping Spanish companies to grow, and act as a motor for the national economy and the creation of qualified employment.
Over the next 5 years Cre100do.es will help 100 significant companies with a high potential to become large, through their innovation, competitiveness, productivity and internationalisation. The initiative will select 15 to 25 companies a year from sectors where their positive impact can have a multiplier effect, by applying criteria to evaluate their potential growth. Read more


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Synthesis: Will the Internet Destroy Us?
November 16, 2010
In the decade and a half since the commercialization of the internet, there's been no shortage of prophecies about how it will change our lives, for good or evil. Lately, these have focused on neuroscience, social media, and the wikification of everything. Read the full article here>>>


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'Speed bumps' need attention
It seems that the pen is mightier than the sword er phone. Re: Daily Record of July 28, page B2 stating that the Beall Avenue cross walks will be repaired this week July 30 after two letters to the editor on July 16 and July 23 from Lloyd Archer and the Rev. John Furno respectively. They complained about the sunken places in the crosswalks.
I had called Wooster Maintenance at 263-5235 on Sept. 21 and Sept. 23, 2011 regarding the (speed bumps) on the Madison Avenue overpass. (I made the second call because I'd not gotten a call back; didn't on the second call either).
I drove on Beall Avenue last evening, July 29, and the dips do need repair, but were easily avoidable. Compared to Madison Avenue, Beall Avenue is a piece of cake. Five rescue squads, Wooster Township, Fredericksburg, Apple Creek, Kidron, and Mount Eaton, each bring patients to Wooster Community Hospital via this road/overpass, and they each have various injuries or illnesses that certainly don't need the jarring that these bumps cause.
In addition, hundreds of people going to and from work in Wooster from the south or to the OARDC from the north have no recourse but to bounce over them since they are across both lanes. They should have been fixed when the extensive work was done on the concrete spans a couple of years ago. I realize the road is also State Route 302 and ODOT is partially responsible, but it is all in Wooster and it is their responsibility to see that it gets repaired.
If the users of this road would take the time to either call or write, maybe something would get fixed. Obviously my two calls went unheeded, and yes, I left my name, number and I'm listed in the phone book.
I invite Mr. Archer and the Rev. Furno (who second Mr. Archer's motion) to drive on Madison Avenue and compare surfaces.
I hope my pen is as mighty as theirs.
Ronald J. Hercules
Time to take back the country
If someone offered me a billion dollars to vote for Obama, I wouldn't. I will vote for the Mormon, not the Moron.
Obama says that America as founded hasn't worked and capitalism isn't the answer. Tell that to Bill Gates, Steve Jobs or Martha Stewart. Tell that to Stan Welty, Woodrow Zook, Don Noble, Stan Gault or Herman Freedlander. I'll bet many Democrats have benefited from one or all of these people!
He said he will fundamentally change our country. We are the greatest country in the world why change that? We have the best military in the world why change that? We have the best health care system in the world why change that? People come from all over the world because our health care is the very best.
If he's created all these jobs, why are there more people unemployed now than when he took office? He says unemployment numbers are going down, but he is cooking the numbers by not counting people whose 99 weeks of unemployment are gone or those who have stopped looking for work.
He hasn't done squat for the black community where unemployment is at 14 percent. I thought he would at least be able to do something for his "fellow brothers." He plays the race card and has divided our country as never before. Anyone who criticizes Obama and his radical policies is automatically called a racist by the Democrats.
When he took office, he didn't support gay marriage. After consulting with his daughters, he now supports it. When did children become experts on gay marriage? Jay Carney, Obama's press secretary, said Obama is "evolving" on some matters but when Mitt Romney changes his position on a subject, he "flip flops." Talk about a double standard!
I am frightened for our country because I want to know when did our Republic need 45 czars who answer to no one but Comrade Obama. People, I didn't make this up. Your vote for Mitt Romney will remove dictator Obama and his 45 czars.
Go to YouTube and enter "53 Seconds That Should End a Presidency." This pretty much says it all. Let's take back our country and make Jan. 20, 2013, the End of an Error!
Sue Froelich
four years and counting....some imbeciles are still thinking this 40 something little known junior senator pulled the wool over the whole vetting process...lol...can't make that up....and our very own "JAY WALKERS" right here in ohio....just goes to show that you can't out run your IQ
Modern liberals are too scared to try and find out the TRUTH about Hussiens transcripts from college or his birth certificate, they will dodge the subject forever, they cannot handle any truth in any form. They copy talking points from leftist websites and act like they actually had an original thought in their silly little brain. Truth is all the American people want and the Libs cannot and will not try to even find the truth.
Which layer did they certify. Or, do you not believe the one released by the Baraq administration?
And all six layers of it. Which layer do you believe?
"Socialism is a philosophy of failure, the creed of ignorance, and the gospel of envy, its inherent virtue is the equal sharing of misery."
Rat,you are right,a house divided will fall.But that is the goal of this administration.And not to acknowledge that will help move it forward.
justanobserver,you are right to a point but without the money from the job provided by the 1% there would be no money.Government cannot make jobs and have no money except what is confiscated from it's people.If there is no money to confiscate what will happen?
Maybe we should demand ALL politicians in Washington release tax returns>I wonder why that isn't done?Does Harry have something to hide?Most likely he does as do many others.But right know the rule is ONE years worth of tax returns.Until that is changed anything else is extra.So lefties,get over it.If a millionaire hasn't paid taxes for ten years I would bet he would be audited,right?If not the IRS is not doing it's job.So let's get on with legitimate arguments and stop these attacks.HaHaHaHa I'm sure that will happen.Civility would be nice,in fact I think someone called for that a while ago.I can't quite remember who said it though.I wonder if any on the left could remind me please?
"A house divided against itself cannot stand." I believe this government cannot endure, permanently, half [Marxist-Alinsky campus radicals (psycho spoiled brats actually)] and half free.
What I dislike about Sue's letters and many of the exchanges on these discussion boards is the insults and name-calling. Why do we find it necessary to act that way to make our points. In my opinion, it gives the positions less credibility. As for bam's comments about the 1% creating jobs, he is probably right to some extent. However, I believe the other 99% create as many or more jobs. How, do you ask, do they do that? They spend money. If they have more money (able to earn more money or have reduced taxes) they are then able to spend more money. This spending creates the demand that then creates more jobs. When Congress talks about raising taxes on the wealthy do we really believe this will impact their ability to create jobs? We're talking about their personal income, what they are paid (like the rest of us) or earn on investments. Do we really believe that if Donald Trump's taxes are increased it is likely going to reduce the number of jobs he can create? Those buildings he is purchasing, etc. are coming out of his companies' operating funds, not so much his personal income. In fact, what is being asked in regard to tax increases is not unreasonable. We are simply asking that the 1% pay the same PERCENTAGE of their income, about the same as what most of us pay. Why should they have to pay a smaller percentage than the rest of us, just because they're rich?
Now, before you respond about small business owners being effected let me address that. I would expect that given Congress' great ability to create loopholes, they would be able to easily find a way to exempt or protect small business owners from the same impact that a multi-millionaire would face by adjusting the income tax percentage on the 1%.
As for the "socialist" argument/label, there are many countries that are socialist that did not turn out like Germany under the Nazis or the Soviet Union under Stalin. Countries like Sweden, Great Britain, France, Norway, the Netherlands, etc. operate rather well and don't seem to oppress their people. In fact, they seem to take pretty good care of their people. Have they had struggles over time, yes. We have and are ourselves right now. Is it expensive to provide the social programs the provide (that's code for do they have high taxes)? Yes, it is. They have decided it is worth that cost to assure that their people are taken good care of. Not that I want to bring religion into this, but, I find it ironic that a country of so many Christians who espouse taking care of one another (and most other religions believe that as well--we do have other religions in this country you know) seem so opposed to. . .taking care of one another. Sue is correct, we do have the best healthcare in the world--if you can afford it.
Respect is given because of the responsibility of the office.but at some point it must also be earned.I have the utmost respect for the office,I have NO respect for the occupant.
"I don't think Rat was responding to you grillmaster.I think he is fed up with thee hate speech"
which hate speech is he fed up with; his own or someone elses?
Like him or dislike him, agree with him or disagree with him, Barack Obama is still the President of the United States and deserves respect. I am dismayed at the lack of respect shown for the office, especially in this letter to the editor. For such as time as this, God has allowed Obama to hold the office of President. Americans can make their choices at the polls. Until then, we should find a more respectful way to voice our opposition.
I don't think Rat was responding to you grillmaster.I think he is fed up with thee hate speech always coming from certain poster's.I agree with you and have tried numerous times to get some to actually discuss issues but they refuse.I wish people would force the candidates to stop the negativity and focus on issues but that's not likely.It seems the dirtier it get in Washington the worse it gets in small town,America.That is sad to see but not likely to change anytime soon because some seem to feed on it.
When you don't even have a clue what form of government we are supposed to have it is no wonder you don't understand freedom, liberty or fairness. I can not understand how you can be so hateful to minorities that should be protected by a government by supporting a mob rule democracy. Plain and simple democracy is not the same as constitutional republic.
Rat, What are you talking about? Are you responding to my post? If so, it makes no sense since I did not espouse any religion (I would never do such a thing). My point was to leave such things (i.e. race, religion, gender, etc.) out of the mix. Listen to what the candidates have to say, then decide who you want for president. Plain and simple democracy in action. Nothing more, nothing less. I am done now since this should certainly be clear and simple enough for anyone to understand.
The whole problem is we do not want your Marxist/socialist religion shoved down our throats. You can believe anything you want but we are not going to let you violate the constitution just so you can shove you failed misery making beliefs on to others. This is supposed to be a country of freedom and liberty. Why do you oppose that? Or, can you not even comprehend what you ruling elitist masters are doing while telling you lies (that you constantly repeat) to try to maintain their power and wealth grabbing schemes.
Ah, Rat, cutting and pasting the vitriol as usual. Do you not tire of spouting the same old regurgitated vicious comments? Always throw in NAZI, if you want to inflame people. You are so predictable, it is sad.
As far as Ms. Froelich's letter is concerned. There are numerous errors, but I will not address those since they are par for the course. I will ask though why Ms. F. feels compelled to mention religion and race in her letter? Ms. F. immediately points out that Romney's religious beliefs are Mormon. Later, she mentions race. As I see it, we are all Americans. Any reference to race, gender, religion, etc. is plain and simple prejudice. None of that matters. We are all in this together. We all need to work together to solve our problems as a nation. Divisiveness is the reason we have so many of the problems we face today.
Why can we not simply recognize that these are two Americans running for the office of president? They have different views on how to solve our country's problems. We, as concerned citizens, need to hear what the candidates have to say and determine for ourselves for whom we will vote. If the candidates, letter writers, and commenters on this site concentrated on this fact, the country might have a chance to proceed with some bipartisan cooperation and dignity.
Bam, your giving buzzy to much credit, he will never be able to comprehend this. He is like the rest of the Marxist/socialist loons, just repeats what he is told to say and do. They are simply not capable of thinking and doing for themselves, that is why they like their Marxist/socialist enslaving masters so much. And, that is why they strike out in fear at the slightest talk of freedom and liberty.
bam, you must be talking about Donald duck,he is pretty quacky like the rest of right-wing teaparty people.
Let's see buzzy,why do i know the top one percent makes the jobs....Hmmm,let's think about that......Hmmm,I don't know to many poor people running a business and employing people....Hmm I don't know to many middle class folks in a position to start a business and do much hiring.So that leaves the 1%.(That is your number and all the loons from OWS which the Presidents party wholeheartedly supports.)So let's see how the 1% is responsible for most of the jobs.Let's look at the Donald....Now I would assume Donald is in the top 1%,right?So he decides to buy a building,(or a golf course) and being it is for sale or going out of business he will most likely need to remodel,rebuild or whatever,I would assume that he will need to hire people as he can't do the work himself.Now is that jobs he created?Or is it simply a contractor that is hired and HE creates the jobs?Either way it is the 1% creating th jobs in SPITE of the Obama administration trying to squash him.So that is just a simple lesson for the simple mind.Now buzzy,YOU PROVIDE CITATION FOR ANY OF YOUR BULL,LET'S START WITH HARRY'S CLAIM THAT YOU HAVE EMBRACED ABOUT ROMNEY.CITATION PLEASE.Of course you have none,you are just trying to instill hatred in every post.
It seems, the Democrats, "progressives" and leftists are trying to put whites in bondage to them and government the same way they re-enslaved blacks.
The only thing racist about Sue's letter is what anyone against Obama policies is called.And why is that?I wonder why someone would vote for a person because of skin color?Why would a black man vote for a black man simply because he is black?Or not vote for a white man for the same reason?Why would a white, left, commentator (entertainer?) call someone who objects to Presidential policies (Or lack thereof) racist? Why and who ALWAYS brings up racism?Why is the left ALWAYS complaining about racism but always to blame for it?Why do seemingly intelligent people call people of color who disagree "uncle Tom"?Why is it so important for some to promote hatred?Why can't we all just get along and agree to disagree?Why will the loons attack this post?Think before you vote,THIS WILL BE THE MOST IMPORTANT ELECTION IN OUR LIFETIME!!!!!
Can't stand the truth when you get slapped with it so you start accusing others of being just like you. Nobody wants your Nazi like Marxist/Socialist tyranny crammed down our throats.
It's a shame how people get brainwashed by watching fox news, I feel sorry for these people.If teaparty and rightwing republicans get control it will put our great country back many years. Just look what they want to do womens health-care and what they are trying to do to unions. One of these days we will have another civil war,rich against the poor. The only good paying jobs for the poor will fighting for the rich because they never had to fight any wars.I think old Mitt would like to be called MASTER ROMNEY, with the 99% percent being slaves to the 1%.
National Socialism (common short form Nazism, German: Nationalsozialismus) was the ideology and practice of the Nazi Party - for those who were never taught what NAZI means.
You'd be surprised to find out how many people don't know the NAZIs were Socialist like the Democrat party today.
Teach people what NAZI means. They should know. That way they'll understand why the Marxist/socialist control freak, left wing hater are so dangerous. Hitler, a socialist control freak, hated too, too! We ALL know how that ended.
I'm glad people like Sue write these letters. The undecided voters read that stuff and say I don't want to vote for the same person that a person like Sue and bam votes for.
I see Sue is back with another letter full of lies and hate. Bush had more czars than Obama. But I bet Sue didn't write a letter to the editor on that "problem". http://www.factcheck.org/2009/09/czar-search/
Lying haters like Sue and others who agree with her are the problem not Obama.
What is destroying this country is people who don't know and can't face the truth, thus enslaving yourself and others through your Marxist/Socialist hatefulness of others.
Sue Froelich's letter is hateful and THAT is what is destroying this country. Calling names and using untruths is not productive.
I'd like to know when the Democratic Party EVER supported the interests of Blacks. Last I heard, they were the party of slavery, secession, segreation, and socialism. None of these actions or policies have been helpful to the black population.
This is what racist do when hit with the truth. Show their vile hatred.
In response to Sue Froelich letter, I think it is a very racist letter,we are all brothers and sisters in my book. You can tell by the tone in your letter how you feel towards people of colar and it is people like you that plays the race card and can't stand having a black president. The biggest race card is the one the republicans play the rich against the poor .
Good letter Sue,unfortunately the left will call names and repeat the left talking point lies.They are not intelligent enough to learn and have their own opinions,they need help deciding.They don't understand that Obama has broken every promise he made before the 2008 election and he will do it again.They don't comprehend that this country is being systematically dismantled by this regime.They don't understand that the so called 1% are the ones who make the jobs.They don't understand that government can't run a business.They don't comprehend that shutting down every coal mine in the country will,beside putting millions out of work,cause them to shut down their battery cars,air conditioners,cell phones etc.(NO electric therefore your car cannot get recharged).They don't understand that Obama has lied from the start and will continue with the lies.Anyway it will be fun to watch the rants from buzzy,dman and the other loons.Undoubtedly they will be personal attacks,that's the way they loons work.No substance just accusations.


text: TNW have provided this great info-graphic on Chinese language and how this tough-to-learn dialect may soon start to rule the World Wide Web. Using data provided by Internet World Stats it is worth noting that this language is the second most used on the internet with over 32% penetration, runner-up to English with 42%. Focus on the growth section to see how quickly this language penetration has grown.


text:
Just bought 06 Grey Silver WRX last night!!
oh man, this car felt much stronger and smoother than both my friends's 05 WRX
I am in love with it, it made me excited everytime I see it
I have couple of questions
first...what do you guys recommand every morning start up? Do u wait at least 3 minutes or just when tempurature start to getting up? How about when after 30 minutes driving on the freeway, when park the car, do I need to let the car sit for a minute before I turn it off??
I never owned a turbo car before, I had integra, crv and some other imports, so I would like to make sure how to properly daily maintain my car since it didnt mention in the owner's manual
What is the speed recommanded to drive on the freeway during break in? I have heard people told me to go under 65 or some says I can go as high as I want as long as dont go over 4000 RPM
How about vary the rpm? This is how I do it, everyday I drive to work about 30 mins one way, so I will keep my speed at around 65-70 and every 3-4 minutes I will down shift to 4th gear, so the rpm will rise and I kept to drive for about a minute and shift back to 5th
am I doing the right thing??
sorry for reading my long first post
I am very proud to be a Subaru owner!
oh and nice to meet everyone, see ya all soon