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President Obama told a group of Hispanic journalists today that his re-election campaign could win over Latino voters just by showing them clips from Republican debates.
"I don't think it requires us to go negative in the sense of us running a bunch of ads that are false, or character assassinations," Obama said, as reported by Univision."It will be based on facts."
"We may just run clips of the Republican debates verbatim," he added. "We won't even comment on them, we'll just run those in a loop on Univision and Telemundo, and people can make up their own minds."
Our OnPolitics blog reports that the Obama campaign is using Wednesday's Republican debate to raise funds; OnPolitics is also providing coverage of the GOP get-together in Michigan.
In his interview with Hispanic journalists, Obama was particularly critical of Republican immigration policy.
From the Univision website:
President Obama says he is confident in his ability to win over Latino voters before next year's elections, thanks to some added help from his Republican opponents.
During a roundtable with Hispanic media in the White House's Roosevelt Room, Obama outlined his strategy for winning over a Latino electorate that remains supportive of him, but less enthusiastically so than in 2008. The president said he'll contrast his record with those of the Republican candidates on hot-button issues ranging from immigration, to the economy and healthcare.
Many political observers believe that drawing a sharp contrast with Republicans will require Obama to go negative, but the president said he won't have to use too harsh a tone to accomplish that.
"I don't think it requires us to go negative in the sense of us running a bunch of ads that are false, or character assassinations," Obama said. "It will be based on facts … We may just run clips of the Republican debates verbatim. We won't even comment on them, we'll just run those in a loop on Univision and Telemundo, and people can make up their own minds."
That's one of the strongest rebukes thus far from Obama against Republicans when it comes to their desire to chip away at his base of Latino support. And it underscores the president's eagerness to go toe-to-toe with his GOP opponents although the beginning of the general election campaign is still months away.
Obama and Democrats have long said Republican rhetoric against illegal immigration will sink their chances of winning over Latinos. During recent debates, GOP candidates Rick Perry and Mitt Romney have angrily sparred over the issue. And Herman Cain suggested during a speech that an electrified fence should be built between the U.S. and Mexico to keep out undocumented immigrants.
On the contrary, Obama repeatedly said during the 45-minute conversation that he supports comprehensive immigration reform -- a top issue for Latino voters. He also plugged his stalled jobs plan and touted his administration's efforts to reduce the cost of student loans; both of which he says would benefit U.S. Latinos.
"That's not to say the Latino community is going to think my administration is perfect. But I think they know where my heart is and they know the kind of America that I want to see for all of our children," he said. "The values and the vision I have is going to match up much more closely with where the Latino community wants to see the country going."
David's journalism career spans three decades, including coverage of five presidential elections, the Oklahoma City bombing, the 2000 Florida presidential recount and the 9/11 terrorist attacks. He has covered the White House for USA TODAY since 2005. His interests include history, politics, books, movies and college football -- not necessarily in that order. More about David
Follow the Oval on Twitter: @The Oval, @djusatoday.
Also contributing to the Oval: Richard Wolf @richardjwolf; Aamer Madhani @AamerISmad


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Peanut Crunch Cake RecipeRead Reviews Be the first to add a review
5 8 15
"Here's a recipe that dresses up a plain old box cake mix," says Sue Smith of Norwalk, Connecticut. "Peanut butter and chocolate chips add fun, yummy flavor to this yellow cake."
Recommended: 45 Recipes for Peanut Butter Lovers
- 1 package yellow cake mix (regular size)
- 1 cup peanut butter
- 1/2 cup packed brown sugar
- 1 cup water
- 3 eggs
- 1/4 cup canola oil
- 1/2 to 3/4 cup semisweet chocolate chips, divided
- 1/2 to 3/4 cup peanut butter chips, divided
- 1/2 cup chopped peanuts
- In a large bowl, beat the cake mix, peanut butter and brown sugar on low speed until crumbly. Set aside 1/2 cup. Add the water, eggs and oil to remaining crumb mixture; blend on low until moistened. Beat on high for 2 minutes. Stir in 1/4 cup each chocolate and peanut butter chips.
- Pour into a greased 13-in. x 9-in. baking pan. Combine the peanuts, reserved crumb mixture and remaining chips; sprinkle over batter.
- Bake at 350° for 40-45 minutes or until a toothpick inserted near the center comes out clean. Cool completely. Yield: 12-16 servings.
Originally published as Peanut Crunch Cake in Quick Cooking May/June 1998, p12
Reviews for Peanut Crunch Cake
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Reviewed Dec. 7, 2016
"Delicious and easy. Doesn't taste like a mix. My adult children ask for it for their birthdays every year."
Reviewed Apr. 12, 2016
"Excellent cake. My family enjoyed this immensely."
Reviewed Jan. 28, 2016
"chocolate and peanut butter: great combination. I love that it makes its own topping without frosting"
Reviewed Feb. 15, 2011
"Everyone likes the recipe. It's a nice change from traditional cake and frosting."
Reviewed Nov. 13, 2008
"If you love peanut butter you are sure to love this recipe. I have been using it for years and no one seems to get tired of it."

subset: commoncrawl


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Choosing a course is one of the most important decisions you'll ever make! View our courses and see what our students and lecturers have to say about the courses you are interested in at the links below.
University Life
University Life
Each year more than 4,000 choose NUI Galway as their University of choice. Find out what life at NUI Galway is all about here.
About NUI Galway
About NUI Galway
Since 1845, NUI Galway has been sharing the highest quality teaching and research with Ireland and the world. Find out what makes our University so special – from our distinguished history to the latest news and campus developments.
Colleges & Schools
Colleges & Schools
NUI Galway has earned international recognition as a research-led university with a commitment to top quality teaching across a rang of key areas of expertise.
NUI Galway's vibrant research community take on some of the most pressing challenges of our times.
Business & Industry
Guiding Breakthrough Research at NUI Galway
We explore and facilitate commercial opportunities for the research community at NUI Galway, as well as facilitating industry partnership.
Alumni, Friends & Supporters
Alumni, Friends & Supporters
There are over 90,000 NUI Galway graduates Worldwide, connect with us and tap into the online community.
Community Engagement
Community Engagement
At NUI Galway, we believe that the best learning takes place when you apply what you learn in a real world context. That's why many of our courses include work placements or community projects.
Second Year Programme
Second Year BA Drama Theatre and Performance
In each semester, students take TWO course modules in drama, and choose one additional module from a list of options.
In the first semester, the course layout is as follows:
- DT205 Traditional Arts, Festival and Celebration Thursday 9-11
- DT203 Shakespeare in Theory and Practice (lecture) and Thursday 1-3 (practical class)
The optional modules are as follows:
- DT201a: Engaging with the Play Tuesday 2-4
- DT 201b – Introduction to Devising B Friday 2-5
- DT204 – Introduction to Playwriting – Tuesday 11-1
In the second semester, the core modules are:
- DT202 Global Theatre Histories Thursday 9-11
- DT207 Intermediate Performance: Beyond Realism Thursday 1-3
The optional modules are:
- DT206 Introduction to Film Studies (optional) Time to be confirmed
- DT208 Introduction to Directing for Theatre (optional) Time to be confirmed
- In addition students may participate in Yerma or Electra for credit (subject to successfully auditioning for roles).
In the first week, students should attend all of the optional modules (assuming that their timetables allow them to do so). On Friday 6 September, all students must email firstname.lastname@example.com, listing their chosen courses in order of preference (1, 2, 3). If students cannot attend any of the three courses due to subject choices, they must say so.
We will then allocate places based on students' preferences and their obligations to other subjects.
In the event that a course is over-subscribed, places on it will be allocated randomly. We will commit, however, to making sure that students who do not receive their first preference in Semester 1 will receive their first preference in Semester 2.
Please note that, as is common practice in all university departments, optional courses run at times that may clash with your other subjects. You must therefore check your availability against any other subjects. You may NOT sign up for a module if it clashes with a core module in your chosen degree subject.
This year there will be two student productions. Yerma will be directed by Max Hafler in Druid Theatre in February 2013, and Sophocles' Electra, translated by Frank McGuinness,will be directed by Charlotte McIvor as part of the university theatre festival in March.
Students will be entitled to audition for these productions in October/November. If they are chosen to participate they will be able to do the production for credit in lieu of one of their second semester modules.
Students who are not successful in audition may, if they wish, choose to be involved in the production in some other creative capacity such as stage management, assistant direction, etc.
Students who participate in these productions will be able to gain credit for doing so, in place of one of their second semester modules.
We will have more details about this in due course.
- 2 September – 2BA, Week 1. Classes begin.
- Tuesday 3 September, 11-12 – Playwriting Module (optional)
- Tuesday 3 September, 12-1pm E212. Introductory Session for second year drama. All students must attend.
- Tuesday 3 September, 2-4 BOI. Introductory Session for EN201a (optional)
- Thursday 5 September, 9-11 . Traditional Arts, Festival and Celebration Introductory Class (required)
- Thursday 5 September 1-3 BOI Shakespeare in Theory and Practice (required)
- Friday 6 September, 2-5 BOI, Introductory Session for EN201b. (optional)
- 12 October, Dublin Theatre Festival Visit.
- 28 October – bank holiday – no classes
- Friday 22 November - end of teaching for 2BA.
- Friday 29 November –Deadline for submission of all 2BA continuous assessment work.
- 2 December – 2BA Exams start.
- 17 December – All Exams end.
- 13 January – semester 2 teaching begins for all years
o 13, 14, 15- Yerma, Druid Theatre
- 10, 11, 12- Electra, Bailey Allen Hall
- 17 March – Monday bank holiday – no classes
- 4 April – semester ends for all years
- 11 April – deadline for submission of all undergraduate work.
- 15 April – exams begin for all years
- 17-23 April – Easter vacation – university closed (Easter Sunday is 20 April).
- 24 April – exams resume for all years
- 14 May – exams end for all years
Other dates will be announced during the year.
DT203: Shakespeare in Theory and Practice. Lecture (Tuesday 4-5 BOI). Workshop: Thursday 1-3 (BOI)
Prof. Patrick Lonergan
This module provides students with the practical skills needed to perform, read and stage Shakespeare's plays. Students form an understanding of historical approaches to Shakespeare and also consider contemporary staging techniques. Special emphasis is placed on Irish approaches to staging Shakespeare.
The course begins with an investigation of two of Shakespeare's best-loved plays, The Merchant of Venice and Othello. We will focus on the use of ensemble to perform Shakespeare, and there will be a special class on voice provided by Max Hafler. In the second half of the semester, we will work together towards the staging of key scenes from some of Shakespeare's plays. This work will be carried out in practical workshops in the BOI Theatre. In addition, we will have a weekly class that will be used to discuss Shakespeare's life and times – a process that will be aided by our reading of Stephen Greenblatt's Will in the World.
Required Reading
Stephen Greenblatt, Will in the World
William Shakespeare, The Norton Shakespeare Tragedies (ISBN: 0393931404) and the Norton Shakespeare Comedies (0393931412)
- Participation: 10%
- Mid-term monologue: 10%
- Final performance: 30%
- Final Essay: 50%
Week 1
Lecture 3 September: Introduction to second-year
Workshop 5 September: Introducing The Merchant of Venice
Week 2:
Lecture: Reading: Will in the World (chapter one)
Workshop: Building a story (Merchant)
Week 3
Lecture: Will in the World chapters 2 and 3
Workshop: Voice (Merchant) with Max Hafler
Week 4
Lecture: Will in the World chapter 4
Workshop: Verse and movement in Merchant and Othello
Students to be given short piece of monologue to prepare for week 6.
Week 5:
Lecture: Will in the World Chapter 5
Workshop: Monologue preparation
Week 6
Lecture: Will in the World Chapter 6
Workshop: Student monologues
Week 7
Lecture: Will in the World Chapter 7
Workshop: Preparing for scene work
Week 8
Lecture: Will in the World Chapter 8
Workshop: Allocation of students to groups for scene work
Week 9
Lecture Will in the World Chapter 9
Workshop: Scene work
Week 10
Lecture Will in the World Chapter 10
Workshop: Scene work
Week 11
Lecture Will in the World Chapter 11
Workshop: Scene work
Week 12
Lecture: Conclusion and distribution of essay topics.
Workshop: Final preparation for scene work
FINAL PERFORMANCES – Thursday 28 November (during study week).
DT205 Irish traditional arts: Festival, ritual and commemoration
AM 108, Thursdays 9-11
Verena Commins
This module explores festival, ritual and commemoration in traditional arts practice located primarily in the west of Ireland. Conceptualising the traditional arts and oral culture as a key inspirational impulse for all forms of contemporary Irish performance (from theatre to stand-up comedy), it engages in a critical way with festival, performance and commemoration and the traditional arts. It seeks to demonstrate linkages between historical and contemporary performance practice by an exploration of the development of practice through the lens of modern day engagement. This is examined by means of both practical and critical literary engagement. Recent and historic stagings of Irishness which rely upon the traditional arts as conduits of culture will be discussed. The particularity of the West of Ireland as a repository of traditional arts informs much of the deliberations throughout the module. Locating the course in festivities of the West creates an opportunity to examine an integral way in which Ireland defines and redefines itself through performance. Key arenas of exploration include the Galway Arts Festival, the Galway Theatre Festival, Baboró, Culture Night and the NUI Galway Arts in Action Programme. We will investigate contemporary performances such as those in Galway Culture Night 2013, Riverdance and more.
A further aim of the course will be to provide students with skills that will be of value for their studies generally, including performance reviewing, oral presentation, and essay writing. The course also involves students attending performance in a variety of areas, including theatre and traditional performance.
Week 1: Course Introduction: Critical perspectives of festival examined through the Galway Arts Festival.
Week 2: From An Tostal to the Volvo: performing Galway: Theories of festivity and festival
Week 3: Culture Night – whose culture?
Week 4: Traditional Irish music and festivity, from Belfast to Lisdoonvarna
Week 5: Performing informal rituals - the Session and ethnography
Week 6: Performing the West: Scoil Samhraidh Willie Clancy
Week 7: Traditional arts and commemoration 1: Waking the dead and the living.
Week 8: Traditional arts and commemoration 2: Representational art and traditional practice
Week 9: Staging Irishness 1: From Riverdance to Prodajig
Week 10: Performing St Patrick's Day
Week 11: Culture Economy: Performing community/the economics of performance. Macnas and the Galway Arts Festival
Week 12: Student presentations and review
Learning outcomes:
Students will
- Demonstrate critical engagement with the critical concepts of festival, festivity and ritual
- Have an understanding of how these concepts may be applied to Irish traditional arts practice and performance
- Have an understanding of how these concepts may be applied to performance practice generally
- Have a comprehensive knowledge of traditional arts festival and commemorative practice both historically and contemporaneously
- Develop advanced oral presentation skills through individual and group tasks
- Develop transferable skills through practical and critical engagement with the traditional arts
Module requirements and assessment:
- Attendance at all classes is required.
- Students will prepare and discuss essential readings/performances each week at class.
Assessment is as follows:
o Event review 1
In-class group presentation 10%
300 words 10%
o Event review 2 10%
In-class group presentation 10%
300 words
o Final assignment
o In class group presentation 10%
2,000 words 50%
due Thursday 28th November 2013, 4.00pm
Assessment event reviews will be drawn from attendance at a Culture Night event, Arts in Action events and Babaró and the Galway Theatre Festival. These dates will be finalised in class and tickets will be provided where necessary.
Helpful links:
Galway Festival listings: http://www.galwaytourism.ie/pgalway-events-calendar.html
English Department style sheet http://www.nuigalway.ie/english/documents/pg_stylesheet.pdf
Irish Traditional Music Archive http://www.itma.ie/
Academic Writing Centre at NUIG http://www.library.nuigalway.ie/support/academicwritingcentre/
Key Dates and events for this module
Galway Culture Night: Friday, 20th September 2013
Baboró: 14-20th October 2013
Galway Theatre Festival: October 2013
Arts in Action Programme: http://www.nuigalway.ie/artsinaction/
Contact details and office hours:
091 495046
Wednesday, 10am-12pm (or by appointment)
Room 201, Centre for Irish Studies
Distillery Road
Course Readings
All readings will be available on Blackboard
OPTIONAL COURSE DT201A: Engaging with the Play: Spring Awakening [trans Ted Hughes] Max Hafler
The course will look at how we engage with the text and work on character. We will explore questions like 'where do I begin when presented with a role in this play?' 'How do I discover the character?' 'How do I find the world of the play with the director and other members of the team to create a powerful believable world?'
The group is going to look at one play, Spring Awakening by Frank Wedekind [trans Ted Hughes] , to build skills and confidence towards a workshop presentation of scenes at the end of the course.
Primarily this is an acting class, but it is also useful if you are interested in directing. It will be almost totally practical. In addition to using Chekhov Technique, we will be looking at some basic exercises in Hagen Technique , a forensic exploration of reality. Students are advised to read both theory books.
Students must read Spring Awakening and be familiar with it. Know the story. As you read start to imagine the characters and maybe make notes about them. By week 6, I would like you to make a written response to the play , perhaps focusing on a particular element of research . If you take one of the more factual titles, please spend at least half of the essay on how what you discovered affects the play . 1900 in a provincial German town./Frank Wedekind's life./ Other plays by Frank Wedekind and comparing them to Spring Awakening./ The German Cabaret movement / Expressionisim in the Theatre / Stage History. / How I might direct this play and why / . How I might play a particular character in this play and why /. This will have a 2000 – 2300 word limit and will be submitted by week 6 . The most effective essays will be shared and put up on Blackboard. Pictures can be included when appropriate.
The workshop performance of scenes in the last class will need some rehearsal/preparation outside of class. There is no journal for this class. YOU NEED TO HAVE READ SPRING AWAKENING BEFORE YOU START AND BRING THE SCRIPT TO EACH CLASS.
It is not acceptable to miss sessions without a doctor's certificate or to be late. Working in theatre is experiential and attendance is vital. If there is an emergency and you cannot attend you must the course director know by email (firstname.lastname@example.com or phone 091 49 2631).
For this reason, Punctuality and development/commitment in class is going to carry 35% of the mark.
The written piece handed up in week 6 will carry 30% of the mark. The performance of 2 contrasting 6 minute scenes in groups of the final week using different character building techniques is worth 35%
SPRING AWAKENING by FRANK WEDEKIND TRANSLATED BY TED HUGHES. Faber and Faber.
ON THE TECHNIQUE OF ACTING BY Michael Chekhov. Harper Collins
RESPECT FOR ACTING by Uta Hagen. Wiley Publishing Inc.
OPTIONAL COURSE: DT201B Devising Theatre
Kate Costello
Devised theatre is a recent phenomenon and current preoccupation. Improvisation is part of the process of devising. All rehearsals are a process of discovery and devising. Improvisation and devising skills are essential tools to as a theatre practitioner and artist. This module will focus on international companies that are well known devisers and creators of their own work. By studying the different companies, it will become clear what methods they use and what tactics they employ when devising.
The aim of the module is to build an understanding of devising. Different devising techniques shall be explored throughout the module. Students will have a knowledge and understanding of different rehearsal processes and techniques. Students also have the opportunity to create and devise their own work, and present it in a showcase performance at the end of the module.
Reading List
Graham, Scott &Hogget, Steven – Frantic Assemble Book of Devising Theatre (Oberon 2009)
Alison Oddey- Devising Theatre (Routledge, 1996)
All classes commence with warm up exercises. Towards the end of the module the students themselves will devise and lead the exercises. It is important for the students to warm up their bodies and voices as the module is physical and requires the students to think on their feet all the time.
Dream Diary
This is contributed to weekly by tudents, and shared in class towards the end of each week. Every week the student will share a story that is inspired by a dream they have had during the week. The dream diary is used as a starting point for devising. The dream diary can also help when devising character. The invention of the characters dream can help discover unexpressed subtext.
The groups can try to imagine:
-the theme of the dream
-what kind of a character could have such a dream
-what kind of a genre would the dream require
-where could we locate these specific dreams in the play, at the beginning, in the middle or in the end.
The students must read a play that interests them. They have to find a scene that is the crux of the play. This will be used later on in the module as a means of devising. We will discuss this in the first week and decide on the plays to be chosen. I will recommend plays with large crowd scenes – e.g. Top Girls, Governor Inspector, Festen, Seagull. Thesescenes allow for the whole class to get involved in the process and learn from the different means of devising and improvising. Certain exercises that are explored in the class will allow the student to engage with the text on a new level.
Each student will document his/her work each week, what they discover through research, what they learn in class, and what inspires them throughout the module e.g. articles, images, sounds. This will be not be assessed at the end of the module. This is merely a record for the student to help them remember everything and write down what they learn in class each week. The students will be asked to document the devising process. Every week the performance piece will be developed, this process must be tracked by each student.
The Essay will be the main piece of written text for the Module. This final essay, along with the student's contribution to the course throughout the module, will determine the final result the student will receive.
Our play
Towards the beginning of the module the group will be asked to think about what inspires them, motivates them and encourages them in theatre. I will ask them to think about what type of work they would like to make. As a group we will discuss what issue we would like the piece to focus on and why they would like to explore this. Each week, the class will employ different devising methods to develop the performance piece.
The topic discussed in the class will be directly referred back to and applied to the piece of theatre we are making.
A date will be set for the final performance in the first week. The theatre will be booked and all students made aware of the busy rehearsal period that will occur before the performance.
Each student will be asked to write the biographies of different characters developed in class. We will then share these biographies, combine them and create new plot lines. We will look into relationships to begin with, then themes and events. This continues and a story/plot develops.
Theatre Companies
Each class member is given a Theatre Company to research. Every week a different student must share his/her research and educate the class on the particular company. The student will present the material they have researched. The presentation will not be about the biography of the company; it must deal with the devising processes used by the companies. The student will then be expected to lead the class in one of the company's methods.
The International companies that devise and will be researched independently are-
-Mike Leigh
-The Wooster Group
-Forced Entertainment
-Frantic Assembly
-Joint Stock
-Theatre du Soleil
-Pina Bausch
The students will also be asked to look into companies in Ireland that Devise. They will investigate who is devising and making their own work e.g.
-Anu Productions,
-Pan Pan Theatre,
-WillFredd Theatre,
-Moonfish Theatre ,
-The Company
There will be a number of companies in the Festival this year that will be presenting devised work. Students will be encouraged to attend work by smaller fringe companies that are making, creating and devising their own work.
On Sat 5th of October there shall be a workshop day as part of the Festival. A number of workshops will be held by local artists that deal with theatrical concept such as live gaming, performance art, bilingual performances. Students who wish to attend this workshop will be enabled to do so.
DT204: Introduction to Playwriting. E212, Tuesday 11-1
This twelve-week module will provide undergraduate students with a comprehensive introduction to the craft of playwriting. With guided writing exercises as well as detailed analysis of play scripts, this practical course will assist students in understanding and applying essential dramatic concepts.
Students are not required to be actors, but will be required to share their writing, their voices and their critical faculties to bring scripts to completion. Each two-hour session will include drama and writing exercises as well as textual analysis and group discussions.
Course Outline
Week 1: (note that in week one, this class only runs from 11-12).
What makes a play a play? The relationship between dialogue and action
Week 2:
Conjuring Up A World: Writing from the set or the space
Pentecost by Stewart Parker
Week 3:
Characters & Actors: Creating strong, believable characters
Trade by Mark O'Halloran
Week 4:
Objectives & Back Stories: Allowing characters to develop on stage
Howie The Rookie by Mark O'Rowe
Week 5:
Writing Workshop: Each student asked to present a 5-minute dialogue for class discussion and feedback.
Week 6:
The Third Man: Overhearing and the presence of the other: Moving from monologues/dialogues to a full cast
The Walworth Farce by Enda Walsh
Week 7:
A Time & Place for Everything: Exposition: How to place, hide and reveal information
Who's Afraid Of Virginia Woolf by Edward Albee
Week 8:
Writing Workshop: Students asked to prepare ten minutes of dialogue for feedback and discussion.
Week 9:
Earning the Moment: Structuring the scene and the play for full dramatic effect
Victory by Athol Fugard
Week 10:
Adaptation & Translation: Drawing on the work of other playwrights
Dunsinane by David Greig
Week 11:
Breaking The Rules: The Playwright in Contemporary Theatre Practice
Heroin by Grace Dyas
Week 12:
Final Draft: Polishing and Preparing Your Work
This may be a 'showcase' for students to read their work for other students, if of an appropriate standard.
Students will be required to produce twenty minutes of original dialogue – either an extract from a longer work or a one act play. Students will be encouraged to work towards completing a one act play to submit to the Jerome Hynes Competition in Semester 2. The module will include two writing workshops to assist in drafting, revising and presenting work in an appropriate format.
Students will also submit a 1,000-word essay analysing a play (of their choice) as a playwright seeking to emulate this work. They will be required to answer questions such as the following: What were the objectives of this playwright? What effects did he/she seek to create? How does his/her technique achieve this?
Suggested Reading
Negotiating With The Dead by Margaret Atwood
Adventures in the Screentrade byWilliam Goldman
Playwriting: A Practical Guide by Noel Greig
How Plays Work by David Edgar
All other play texts will be made available to students during the term.
DT202 Global Theatre Histories Thursday 9-11
Maired Ni Chronin
This course will give students an introduction to the development of theatre in cultures across the globe. The course will examine theatre both in terms of its form and its function, and ask the following questions:
a) how did/does the relationship between the constituent elements of theatre (e.g. sound, text, image, movement, etc.) change and develop in response to changes in societies and cultures?
b) how did/does the purpose and content of theatre (e.g. ritual, commemoration, revolution, etc.) change and develop in response to changes in societies and cultures?
Students will be encouraged to interrogate their own cultural and historical specificity as theatre-makers by exploring the links between theatre expression and political, social and cultural structures.
The course will comprise both research and practice-based work. The research component will draw on Theatre Histories: an introduction by Zarrilli et. all. Students will be required to read relevant chapters from the book prior to class, discuss these in their research diary, and to engage in a discussion on the relevant topic in class. They will also be required to work on the development of two timelines over the course of the module. The first timeline will focus on the development of theatre in a particular region of the world (see sample list below). Each student will be assigned a particular region. The second timeline will focus on the fortunes of a particular element in theatre. Each student will be assigned a particular element (see sample list below). Finally, each student will be required to complete two essays (max. 2,000 words each) that address topics covered in the module.
The practice-based component is intended to give students an experiential understanding of the topics covered; each topic will be complimented by a workshop in which theatrical concepts will be applied in a 'scratch' way to a particular text/story, e.g. The Playboy of the Western World (see course outline, below). The intention is not to create a formal production but to explore the form and function of theatre, as highlighted in their research, in a practical and playful way. As well as contributing to the students' understanding of the topic, the practice-based component is also intended to build skills the students can use in their own theatre-making: the practical application of research, the use of 'scratch' methods to explore specific theatre elements and ideas, and the incorporation of practices of interrogation and reflection.
The assignments students are expected to complete are:
Research diary: Students are asked to read relevant chapters and to make notes for discussion in class in their research diary. They are also asked to take notes during the discussion in class.
Essays: Students are asked to write one essay over the course of the module
Timeline (regional): Students are asked to work on a regional timeline over the course of the module. This timeline will trace the developments in theatre in a particular region. Depending on the number of students in class, the list of regions may include:
a) Europe (the continent, including Russia)
b) Ireland & Britain
c) Japan
d) China
e) India
f) Africa
h) North America
i) South America
j) Middle East
k) Australia & South-East Asia
Timeline (elements): Students are asked to work on a timeline that charts the use of a particular element in theatre over the course of the module (drawing on Theatre Histories). Depending on the number of students in class the list of elements may include:
a) Sound (including speech, chant, music, noise, etc.)
b) Text (including dialogic forms, print, found documents, etc.)
c) Body (including movement, dance, gesture, costume, etc.)
d) Space (including staging, relationship between performers & audience, etc.)
e) Time (including celebrations, processions, festivals, durational performances, etc.)
f) Vision (including light, set, costume, etc.)
Week 0 Introductions
Student introductions and general discussion on theatre
Explanation of course outline, assignments & grading
Choice of text for practice-based activities
Discussion of tools for assignments
Week 1 Oral & Ritual Performance:
Research: how did ideas and beliefs around human existence shape theatre in primary oral cultures?
Practice: applying ideas of oral performance
Week 2 Context and Early Performance:
Research: how did social contexts shape the development of drama/theatre in primary oral cultures?
Practice: applying ideas of celebration/commemoration
Week 3 Aesthetics and Criticism in Early Theatre:
Research: what was theatre's relationship with its 'interpretive communities' in primary oral cultures?
Practice: applying ideas of meta-theatre
Week 4 Printing and the Professionalization of Theatre in the West
Research: how did printing affect the social status of actors and playwrights?
Practice: applying ideas of gesture and visual representations of performance
Week 5 Theatre and National Identities
Research: what was the relationship of theatre to its audiences 1900s?
Practice: applying ideas of audience involvement and control (Playboy riots)
Week 6 Theatre and Photography
Research: how did theatre respond to the effects technological developments had on societies and cultures?
Practice: applying ideas of scenic realism
Week 7 Theatre and Industrial Capitalism
Research: how was theatre used to critique the bourgeoise societies in the West?
Practice: applying ideas of sound and lighting (avant-garde)
Week 8 Theatre and Revolution
Research: how was theatre used to challenge or consolidate political power in the early 20th-century?
Practice: applying ideas of documentary and distancing
Week 9 Theatre and the Crisis of Language
Research: how did theatre respond to the the post-structuralist critique of Western culture?
Practice: applying ideas of textual deconstruction
Week 10 Theatre and Community
Research: how has theatre responded to the changing nature of community in an era of globalization?
Practice: applying ideas of intercultural theatre
Week 11 Overview and Discussion
CORE COURSE: Performance II: Beyond Realism
Lecturer: Dr. Charlotte McIvor
Moving beyond the realistic and naturalistic acting techniques developed in "DT 101: Introduction to Performance," this course provides an expanded engagement with physical experimentation and characterization techniques as part of an actor's working process through a deeper engagement with scene study via work on non-realistic and avant-garde texts. You will be exposed to a broader range of modern and contemporary authors, approaches and training styles within the context of Western theatre (primarily Irish, English and American texts with selected European works in translation) who push at the limits of "realism" as the cornerstone of a theatrical dramaturgy. By engaging with these dramatic texts and ideas via class exercises drawing on Viewpoints, contact improvisation, and other physical theatre techniques, you will discover alternative approaches to creating character and approaching the craft of performance more broadly beyond text-based models. Please note that this class will require high levels of physical exertion.
- Stephen Wangh, An Acrobat of the Heart: A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski.
- Anne Bogart and Tina Landau, The Viewpoint Book: A Practical Guide to Viewpoints and Composition.
- Phillip Zarilli, ed. Acting (Re)considered: A Theoretical and Practical Guide.
- Various plays to be assigned.
This course aims to provide students with the opportunity to:
- Engage with physical theatre approaches to characterization and staging;
- Experiment with working beyond realism in the actor's approach to engaging with modern and contemporary dramatic texts;
- Contextualize theories of the actor's craft in relationship to historical, political and social events;
- Explore the ethics, challenges and rewards of collaborative creative work.
You must dress in clothes in which you can move freely. You will be notified in advance if any particular class will involve strenuous physical exercise. Please notify me if you have any physical limitations/special issues that I should be aware of. Only water will be permitted in class. Please always bring a notebook and writing implement to class.
Each student will contribute:
- (2) Group Scene Presentations
- (6) Bi-weekly responses which engage reading and/or classroom exercises
- (1) Research Paper tracing the work of one prominent acting theorist, performer, playwright, director or school of training which challenges realism and naturalism as dominant theatrical forms
- Consistent and Fully Engaged Class Participation
A. Attendance and Class Participation 10%
Your engaged and active presence is vital to the success of this class. Theatre is an intensely collaborative art form that insists on total emotional and physical involvement at all times from all of its participants. This class will require you to work on several assignments in our and class in small groups with your peers, as well as be completely engaged in all group activities in class. Your work does not begin and end with your time on stage. Your cooperation will ensure your growth as an artist as well as a better experience for your peers, energy suffers when even one person "checks out." Engagement and maturity are absolutely expected at all times.
Please note especially that this class makes use of exercises and materials that may contain bad language, sexual themes and other mature material. If at any point during this class, you are uncomfortable with the material, please see me immediately. Nevertheless, an environment of decorum and safety will be maintained to the best of my ability at all times.
B. Scene One and Scene Two 20% and 20%
Scene One will be taken from the work of modern playwrights such as Samuel Beckett, Jean Genet, Eugene Ionesco and Harold Pinter among others.
Scene Two will engage the work of more contemporary playwrights such as Sarah Ruhl, Enda Walsh, Carol Churchill, Martin Crimp, Naomi Wallace and Caridad Svitch among others.
You must arrange access to the entire play from which your scene is taken and you will be responsible for reading it.
In addition to your two scene showings in class, you will sign up for a 30-minute office hour session to work on notes from your scene.
C. Bi-weekly Responses 20%
These bi-weekly responses will ask you to respond to in-class exercises and readings, as well as provide two reports of the plays from which your scenes will be taken.
D. Research Paper 30%
- This final 2000 word research paper will require you to trace the genealogy of one prominent acting theorist, performer, playwright, director or school of training which challenges realism and naturalism as dominant theatrical forms (ex. Jerzy Grotowski, Jacques Lecoq, Anne Bogart and the SITI Company). You will not only analyse the aims and techniques of these artists in relationship to your broader knowledge of theatrical trends such as realism and naturalism, but situate how their work responds to specific political, social, and cultural circumstances that impact their unique careers. Further directions on this assignment will be given in class.
- Introduction to Directing
- Film Studies
- Performance Project: Yerma
- Performance Project: Electra
Further details about these classes will be provided later in the year, as two of them are going to be taught by people who have not yet been appointed


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Tech Brand Sends Bored People At Bus Stops Real-World Surprises [Video]
People who visited the Qualcomm URL on a poster were given rides in a Lamborghini and a dogsled.
How often do you pay attention to the ads that plaster bus stops? Telecommunications company Qualcomm rewarded people who took the time to visit the 'Born Mobile' URL on posters with various surprises.
They claim to have created the "best bus stop ever" as part of their interactive marketing campaign. When those standing at the bus stop visited the mobile site, the fun began.
One person checked out the URL on a poster that asked "In a hurry?" and was rewarded with a Lamborghini ride. Another who visited the link on a "Seen it all?" ad got to ride in a dogsled pulled by huskies.
A man who went to the site after spotting the "Bored?" poster was surprised when a bus filled with clowns, musicians, jugglers, and dancers showed up at the stop. You can check out the surprises in the video below:


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Luokat : Luksusravintolat, Illalliset
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French cuisine with live music
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Precautionary Principle Power Grab
Precaution is now an established tenet of environmental governance, law, and public policy at the international, national and local levels. When it comes to pollution, toxic chemicals, genetically modified organisms, endangered species and climate change, the so called precautionary principle has become the guiding doctrine for timorous souls everywhere. But more than that, it is a codification of the idea that before anything new is allowed, it must be proven, beyond a shadow of a doubt, to cause no harm to anything in anyway, under any conditions, anywhere—period. It is "look before you leap" on steroids and a major legal weapon used by environmentalists and neo-Luddites everywhere to hamstring human progress. Raising angst to an art form, progress hating activists have managed to block needed energy and industrial expansion at a critical time in humanity's development.
The "precautionary principle" or "precautionary approach" is a response to uncertainty in the face of risks to health or the environment. According to the Precautionary Principle Project, a partnership between four international NGOs, "it involves acting to avoid serious or irreversible potential harm, despite lack of scientific certainty as to the likelihood, magnitude, or causation of that harm." Meaning, without overwhelming scientific proof that what you are doing will not cause any harm, it is not permitted. This is an implicit reversal of the burden of proof.
Nowadays, application of the precautionary principle has spread to other areas, forging a progress denying chain around the necks of people in developed and developing nations alike. Again, according to the Precautionary Principle Project, which concluded in December 2005, this is all for the good of mankind:
Uncertainty is not just ecological, but also surrounds the potential impacts of forces such as globalisation and decentralisation, effects of movements of global markets and trade regimes, and the effectiveness and utility of conservation measures such as protected areas, use of incentives, or strict regulatory approaches.
Such uncertainty underpins the arguments both of those exploiting resources, who demand evidence that exploitation causes harm before accepting limitations, and those opposing, who seek to limit exploitation in the absence of clear indications of sustainability.
This mode of thinking stems from the Wingspread Statement on the Precautionary Principle. The statement is named for Wingspread, the headquarters of the Johnson Foundation, which claims to be "a catalyst for environmental and community solutions." In other words, it is a NGO that promotes environmental activism. In January of 1998, a three-day conference was held at Wingspread. In attendance were a select group of concerned scientists, philosophers, lawyers and environmental activists, who reached agreement on the necessity of the Precautionary Principle in public health and environmental decision making.
Wingspread - Home of the Johnson Foundation. Racine, Wisconsin.
Attendees at the conference were drawn mostly from the ranks of like-minded groups. These included Greenpeace, Physicians for Social Responsibility, the Toxics Use Reduction Institute in Massachusetts, Britain's Centre for Social and Economic Research on the Global Environment, the Environmental Research Foundation, the Science and Environmental Health Network, the Environmental Network, the Silicon Valley Toxics Coalition, the Environmental Health Coalition, the Indigenous Environmental Network, and the Center for Health, Environment, and Justice. It's not hard to reach "consensus" when you gather a group of people who all share your values and views.
That trial lawyers are beginning to sniff around environmental issues, seeking fodder for law suites, is no secret. There are rumblings about legal claims over flood damage tenuously linked to climate change. Ridiculous charges are already flying over the recent earthquake and tsunami in Japan. The precautionary principle is different. Proponents don't wait for damage to occur, they urge prevention—a sort of a priori legal first strike.
All statements of the precautionary principle contain a version of this formula: When the health of humans and the environment is at stake, it may not be necessary to wait for scientific certainty to take protective action. And by getting this principle adopted as the foundation of ecological and environmental law, activists have a significant legal lever to use against any program, institution or corporation that draws their ire. The Wingspread Statement summarized the principle this way:
When an activity raises threats of harm to the environment or human health, precautionary measures should be taken even if some cause and effect relationships are not fully established scientifically.
If any scientists or "experts" can be found who express concern regarding an action that could impact nature, the precautionary principle says anticipatory action should be taken—the offending action must be stopped or prevented from happening at all. The primary effect is to halt innovation in its tracks by requiring absolute certainty that no harm will be done. As shown in the decision matrix below, the worst case scenario is assumed to be the default outcome.
The Precautionary Principle decision matrix.
Proponents of the precautionary principle are trying to smuggle in a default position: the environment trumps all other values. The key element of the principle is that it requires the taking of anticipatory action in the absence of scientific certainty. Note that, in the case of climate change, the trigger is not scientific certainty that CO2 emissions will have any impact on Earth's climate, or whether that impact will affect the environment in any measurable way. It is only the possibility that something bad might happen.
Since its first formulation, the precautionary principle has become embedded in international and national law. The World Charter for Nature, which was adopted by the UN General Assembly in 1982, was the first international endorsement of the precautionary principle. It later found UN endorsements in the 1987 Montreal Protocol and the 1992 Rio Declaration on Environment and Development. In 1997, Japan tried to use the precautionary principle to bolster its stand in a WTO dispute regarding the testing of agricultural products.
On the national front, the European Commission issued a Communication on the precautionary principle, adopting a procedure for the application of the concept in 2000. The Principle entered Australian Law by way of the NSW Protection of the Environment Administration Act in 1991, and has been key in several subsequent cases. The US Environmental Protection Agency is already using it to help guide new regulations on synthetic chemicals and, most recently, the agency's attempt to regulate CO2 as a harmful substance.
In 1999, at the annual meeting of the American Association for the Advancement of Science (AAAS; the publishers of the journal Science), there was a symposium titled "The Precautionary Principle: A Revolution in Environmental Policymaking?" During that panel discussion, environmental advocates and like minded academics insisted that a principle of ultimate precaution should trump all other considerations in future environmental and technological policy making. According to commentator Ronald Bailey, writing on reason.com:
The Wingspreaders and their followers on the AAAS panel want to apply the Principle solely to environmentalist concerns, but, in fact, their formula is essentially an empty vessel into which anyone can pour whatever values they prefer. It simply codifies a very risk-averse version of standard cost-benefit analysis; the Wingspread participants think that certain activities, such as manufacturing plastics or burning fossil fuels, are unacceptably risky. In other words, very conservative environmentalist values are being privileged over what, to other people, may be equally or more compelling values.
The precautionary approach can be adapted to fit many different agendas. Areas where the principle may hold legal sway include:
- Global warming or abrupt climate change in general
- Loss of diversity and species extinction
- Introduction of new and potentially harmful products into the environment, threatening biodiversity (genetically modified organisms)
- Threats to public health, due to new diseases and techniques (AIDS transmitted through blood transfusion)
- Persistent or acute pollution (asbestos, fluorocarbons)
- Food safety (mad cow disease, genetically modified food crops)
- Other new biosafety issues (cloning, artificial life, new molecules)
When applying the principle, it is recommended that society establish a minimal threshold of scientific certainty—the threshold of plausibility—before undertaking precautions. In practice, no minimal threshold of plausibility is specified as a "triggering" condition, so any hint that a proposed product or activity might harm health or the environment is sufficient to invoke the principle. Often the only precaution taken is a ban on the product or activity. Prudence transformed into a power grab.
Critics of the principle argue that it is impractical, since every implementation of a technology carries some risk of negative consequences. Proponents suggest the deciding factor should be that a new technology or invention is "necessary." Are computers necessary? How about cellphones, the Internet, heating & air conditioning, or microwave ovens? There are a lot of things we take for granted in life that are not necessary but life would be poorer without. Sometimes useful is enough, or just plain "cool." After all, nobody really "needs" an iPhone.
There are those who think the world was better off when there were far fewer people, and when our technology hovered at the Medieval level. These modern day acolytes of old Ned Ludd see the precautionary principle as a way to block technological progress while sounding reasonably cautious. "Look before you leap," they say, when in fact they want no leaping at all.
Whether they wish to save the environment, or restore mankind to a simpler, more natural state, precaution has become a smoke screen for "de-developing" the world. Think that is an overstatement? Think again. In the words of Jeff Howard, an activist and researcher for Greenpeace, "even the most fundamental of past decisions must be subject to re-examination and precautionary reform."
The precautionary crowd wants to create a political process that would eliminate technologies they disapprove of: nuclear power, pesticides, fertilizer, plastics, biogenetics, etc. This is how nuclear power, which safely and economically generates 20% of the United States' electricity while producing no air pollution, has been placed in stasis for 30 years.
Using precautionary principle arguments, eco-advocates bring law suit after law suit to block the building of any new nuclear power plant. Government bureaucrats join in the game with paralyzing volumes of red-tape and decades long environmental impact studies. Many precaution advocates call themselves Progressives, but the last thing they want is progress.
The precautionists would have us all live the simple life.
No one is suggesting that reasonable and prudent precautions not be taken with potentially dangerous technology. Genetically modified organisms need to be well vetted, and the range of permitted modifications restricted—technologies like the so called "terminator gene" should be banned. But to forbid all GM food crops as a blanket policy it flat out stupid. Genetic engineering has made possible drought and pest resistant grain crops that have helped raise third-world food production significantly while at the same time reducing pesticide use. The same goes for nuclear energy, nanotechnology, gene therapy and a host of other modern wonders.
Last year, a group of protestors disrupted the "Communication and Dialogue of Agribiotech Symposium" at Huazhong Agricultural University in China. Members of the group Utopia, which espouses nationalist sentiments and fancies itself the standard-bearer of the Chinese "New Left," claimed that genetically modified rice will suppress sperm levels and lead to "subjugation and genocide" in China. Naturally, the advocates use the precautionary principle to buttress their arguments. "It would pose a potential risk for China's food safety and sovereignty," says Fang Lifeng of Greenpeace's Beijing office (see "Activists Go on Warpath Against Transgenic Crops—and Scientists ").
Government officials are aware that there are risks in using transgenic crops. "China has been stricter with GM rice than any other country on any GM crop," says Huang Dafang, former director of Center for Chinese Agricultural Policy's Biotechnology Research Institute. Scientists acknowledge that no technology is foolproof and that the long-term effects of GM crops remain an open question. Yet they feel that the benefits outweigh the risks.
In 2008, with China experiencing widespread food shortages, the government backed an aggressive effort to pursue transgenic engineering. Over the past 15 years, Chinese rice yields have stagnated while at the same time use of pesticides and fertilizers has risen sharply. Scientists are looking to GM rice and other staples to raise yields and simultaneously curb the use of agricultural chemicals. The goal is to feed the Chinese people and improve the environment, but the irrational forces of far left eco-advocacy are having none of it. What would they prefer? Poisoned rivers and widespread starvation?
Where does the policy stop? Crossbreeding animals and plants can create dangerous new species (like "killer" bees), ban crossbreeding. Of course crossbreeding created most of our principle food crops and domestic animals. Drugs can kill people, no more clinical trials unless the drugs to be tested are totally safe. Except that means no new drugs at all. Airplanes occasionally crash, ban flying. Cars pollute and can have wrecks, ban the automobile. Certainly firearms can kill, ban them as well. Ban everything that can be harmful and the meek will indeed inherit the earth, and then rapidly die out.
Perhaps the ultimate application of the precautionary principle should be to sex. After all, there are some very nasty diseases that can be transmitted by intercourse. My suggestion is that all true believers in precaution stop having sex immediately, even protected sex, since prophylactics have been known to fail. This would have two salubrious effects: first, eco-activists everywhere could no longer enjoy sexual congress, depriving them of much pleasure—just payback for the misery they have inflicted on the rest of humankind; and second, not being able to reproduce will eventually purge our species of these pusillanimous precautionists—think of it as evolution in action.
Be safe, enjoy the interglacial and stay skeptical.
Book that takes into account these well-known problems
Those of you who might be interested in a discussion of the PP and its ethical basis that takes into account that, obviously, precaution always has a price may want to have a look at my new book The Price of Precaution and the Ethics of Risk: http://www.springer.com/social+sciences/applied+ethics/book/978-94-007-1329-1
Precautionary Principle
Thanks for the interesting post. One of the key problems with the precautionary principle, is that it is really not very useful, even in principle. The reason is that in order to apply the principle, there must be at least some preliminary assessment of the potential/anticipated/likely outcomes. I think you make a fair point that the environment is often smuggled in as an overarching value. That seems to make sense for those who share that value, but not for others.
I have noticed another, more fundamentally problematic, tendency. Namely, when describing the potential outcomes of action/inaction, the tendency to couch them in the gravest of terms. Indeed, the quadrant example you cite above does just that: Extreme Catastrophe, Large Loss of Life, etc.
However, the downside of a particular action could just as well be: minor nuisance. To simply state that the downside could be Armageddon does not make it so. And when couched in such extreme terms, the downside runs the risk of being a purely hypothetical irrelevancy. Thus, even before we have the ability to apply the precautionary principle, we need to engage in a preliminary assessment that at the very least assigns some reasonable range to the risk.
For example, on the climate change front, one could just as easily say that the downside to not curbing emissions is a minor nuisance, while the expense of doing so would cause untold financial harm. If we start from that preliminary assessment of the risks, we should definitely not take action to curb emissions. I think it should be obvious to all that this application of the precautionary principle is just as valid as its polar opposite. Unless there is some rational basis for the assignment of risks from the outset, the application of the so-called precautionary principle is pointless.
The bottom line is that it is impossible to apply the precautionary principle in any logical fashion without first grappling with the thorny and challenging questions of what the potential outcomes are and what the real costs and benefits are of specific approaches. At that point, you make a decision on the respective merits of the outcomes, not on some nebulous precautionary principle. It just is not that helpful of a concept.
Precautionary Principle
Many governments own billions of dollars of assets paid for by taxpayers. Governments discovered a long time ago that it is far cheaper to self-insure rather than pay enormous insurance premiums. For example, at a most basic level, for illustration purposes, if on average, a car fleet of a government suffers say 20 vehicle write-offs each year out of its fleet of 5,000 vehicles, it simply makes no sense insuring 5,000 vehicles. So a government doesn't bother with actual insurance because the insurance premiums for its fleet because the premiums would far exceed the cost of replacing the vehicles written off.
So if governments are prepared not to waste taxpayers money on actual insurance and adopt the principle of self-insurance, it does not then make any sense why they would want to adopt the precautionary principle over climate change, by spending obscene amounts of money on trying to stop something that nobody has proven is a problem, or that it is going to happen, or to what extent it is going to happen, let alone when it is going to happen. And based on today's available real-world observational data, the evidence suggests there is no problem with climate.
The argument regarding the precautionary principle is therefore flawed, illogical and baseless.
So if governments are
So if governments are prepared not to waste taxpayers money on actual insurance and adopt the principle of self-insurance, it does not then make any sense why they would want to adopt the precautionary principle over climate change, by spending obscene amounts of money
climate change, to the government, is only the means to an end, and that end is controlling vast sums of money and its flow. That and promoting social change that makes them look good to continue to get elected.
you dont think they actually care about anything more then that do you?
a ray of hope?
came across this today and im wondering if it is a ray of hope that we need. people ranking real environmental issues like pollution of drinking water at the top and "global warming" last.
one of my biggest fears with "global warming" hysteria was that it would overshadow real environmental issues like clean drinking water and such, and then when the bogus claims finally came to light people would be too burned out on all the environmental hysteria that the apathy would carry over.
And he went forth to plant
And he went forth to plant seeds of doubt in a garden of assholes.
Real environmental concerns
I couldn't agree with you more. I remember a time when rivers burned and city dumps spontaneously combusted. Flying into Denver or LA was like diving into a toilet, our lakes and streams were dying, and acid rain was killing the forests. There are real environmental concerns that do directly impact everyone's health and quality of life, but over-hyped claims of global warming are not among them. We here at The Resilient Earth are true environmentalists, working for a cleaner environment and a brighter future for everyone. To do that we must fight climate alarmist lies with hard science.


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David Levenstein Goldsilverworlds.com June 19, 2013 Gold prices have failed to hold above the key resistance level of $1400 an ounce even though the fundamental driving forces behind the precious metal have not changed and as the global monetary system remains as precarious as ever. While some investors may think they are getting wealthier... »
Archive for June 19th, 2013
Own Physical Gold as Governments Destroy Wealth and Squander Tax Payers' Money…"you had better prepare yourself now"
Bye-bye 5th Amendment! Supreme Court Decides: Anything You Don't Say Can and Will Be Used Against You
Daisy Luther June 19th, 2013 The Organic Prepper SHTFPlan.com Everyone knows that when building a police state, it's vital to strike a few Constitutional rights off the books. Now, we can add the right to remain silent to the graveyard of the American justice system. How can you expect the people to be properly... »
DHS trains for U.S. militia with 'Uncle Sam' hats
Forget Islam: Exercises focuses on fictional 'Free America Citizens' group AARON KLEIN WND.com June 18, 2013 While two brothers reportedly motivated by Islamic fundamentalism were carrying out the Boston Marathon bombing, the city was hard at work planning a mass casualty terrorism-training exercise in which the perpetrators were American militiamen whose logo includes Uncle... »
Ron Paul: Dollar Will Collapse, Gold Will "Go To Infinity"
Former congressman says that precious metals will literally become priceless Steve Watson Prisonplanet.com June 19, 2013 Appearing on CNBC yesterday, former Congressman Ron Paul warned that if the US continues on its current course, the dollar will collapse, and gold will literally be priceless. "Eventually, if we're not carefully, it will go to infinity,... »
China Is Literally On The Brink of An Unprecedented Systemic Collapse
Investmentwatchblog.com June 19th, 2013 PBoC refused to inject liquidity into the market Short-term interbank lending rates surged 200 basis points to an all-time high of almost 8% on Wednesday after the PBoC refused to inject liquidity into the market. "The only explanation is that the central bank wants to send a warning signal to... »
Drones Are Used For Domestic Surveillance, FBI Director Admits
by Tyler Durden ZeroHedge.com 06/19/2013 Not sure if this one fits with the "fairness doctrine" or the "inconvenience" paradigm (where the government is here to protect you in exchange for ceding all those pesky constitutional amendments), but moments ago yet another "conspiracy theory" become fact when the FBI director Robert Mueller admitted to the... »
Banks Poised For Gold & Silver Turn As Central Planners Panic
KingWorldNews.com June 19, 2013 With the Fed decision taking place, and continued volatility in gold and silver, today John Embry complained about kitco's "gobbledygook" reporting, and he stated that central panners are panicking, which is why Bernanke is leaving the Fed. Embry also spoke with KWN about physical gold demand, what the Chinese are... »
Foreign Soldiers On Base Today
BeforeItsNews.com Tuesday, June 18, 2013 I have retired from the military medically some 20yrs ago so I do not know what is the "NORM" today. I have used my base privilages since retirement to go to the Exchange and Commisary. I have NEVER in all those years seen foreign paratroopers meandering around the exchange.... »
TWA Flight 800 Investigators Claim the Official Crash Story Is a Lie
By Dashiell Bennett | The Atlantic Wire News.Yahoo.com June 19, 2013 A new film claims the official government report on the crash of TWA Flight 800 in 1996 is an elaborate fabrication, but the most shocking part of the story is that charges are being leveled by some of the very investigators who put... »
SteveQuayle.com Jun 18, 2013 Steve you might want to use this for your Q alerts. My wife talked to her cousin in Venezuela for over an hour today. The cousin potrayed horrific conditions , martial law,food rationing, hyperinflation and death squads . A can of coffe on the blackmarket goes for $80 US,her son... »


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Pecos Valley Chiropractic and Pecos Valley Health & Wellness offer gentle chiropractic care, Vitamin Therapies and much more
"Welcome to our clinic!" says John Dalton, DC APC, FAACP. Pecos Valley Chiropractic and Pecos Valley Health and Wellness are located at 313 W, Country Club Road, Suite 5 in the Berrendo Medical Square Complex. Phone 575-625-0039 [auth] for more information.
Looking for the most experienced chiropractor? John Dalton, DC APC, FAACP at Pecos Valley Health and Wellness has provided safe, effective pain relief treatments for over 10 years. Whether you are suffering from a herniated disc, auto injury or simply need a body tune-up, Pecos Valley Health and Wellness is your solution. Give your body the health it deserves with Roswell's premier Chiropractic health care facility with gentle chiropractic care.
Joining the clinic is Loretta Sparkman, CNP. Her extensive expertise brings to the clinic the ability to do vitamin IV Vitamin therapies. Mrs. Sparkman is a well respected nurse practitioner who has joined our clinic, her office hours are by appointment.
Michael Shnapp has worked for Dr.Dalton for the last eight years as a chiropractic assistant. Michael's services include ultrasound and electrical therapy: Hot stone; Oxygen and Vitamin Skin Treatments by Echo2™; and Hyperbaric Oxygen Therapy Treatments.
Pecos Valley Chiropractic and Pecos Valley Health and Wellness services include:
• Weight Loss Programs The Clinic is expert in developing weight loss programs that utilize nutrition counseling, exercise counseling, chiropractic physical therapy and massage in order to help you shed pounds quickly and safely.
• Auto/Sports Injury Rehabilitation They will help you recover quickly with a personalized rehabilitation plan. They combine therapeutic massage, chiropractic adjustment and chiropractic physical therapy exercise to help you heal quickly and properly. Their rehabilitation programs not only bring healing to injury, but strengthen your body to prevent future injuries as well.
• Chronic Pain Relief and Pain Management whether it's their therapeutic massage treatments, or disc adjustment, Pecos Valley Health and Wellness is the proven expert in pain management.
• IV Vitamin therapies, such as the Myer's Cocktail. Feel good with vitamins and minerals that will help increase your energy and immune system. Nutrients are found in food, processed through the digestive system and the foods are broken down into their elemental vitamins to be utilized by all of the cells of the body. If the nutrients the cells require are not obtained through food or supplementation, and the body becomes deficient in necessary nutrients body processes break down.
• They specialize in Food Allergy testing and Bio-identical hormone replacement. Testing is done using the latest methods to accurate measure the levels of food reactivity to the body and a plan is given to help eliminate the issues. Hormone testing is done using saliva, blood and or urine. The results are interpreted and sent to a compounding lab so the hormone replacement protocol is tailored specifically for you.
• Hyperbaric Oxygen Therapy (HBOT) is breathing 100% oxygen while under increased atmospheric pressure. HBOT is a treatment that can be traced back to the 1600s.
We use the protocols developed by Dr Perlmutter, MD. This therapy was recently showcased by Dr. Oz. Call Pecos Valley Health and Wellness today to set up an initial examination so they can tell you what's wrong, what treatments will fix the problem, how much treatment will cost and how long your treatment will take.
Contact Pecos Valley Chiropractic, Roswell's most trusted health care facility, today at 575-625-0039 to find out what treatments can best restore your quality of life! Pecos Valley Chiropractic and Pecos Valley Health and Wellness are located in the Berrendo Medical Square Complex at 313 W. Country Club Rd., Suite 5. Clinic hours are from 8:30 a.m. to 12:30 p.m. and 3:00 p.m. to 5:30 p.m. on Monday, Tuesday, Wednesday and Thursday. On Friday they are open from 8:30 a.m. to 12:30 p.m.
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Yes, "Weinergate" Was the "News" Last Week
June 14, 2011 at 1:47 PM Leave a comment
If you watched cable "news" last week, you probably wondered: Is there anything else happening other than the Anthony Weiner scandal?
The answer is essentially no. Check out this graph showing how much time the cable "news" channels devoted to the Weiner story last week:
So, considering all the things that happen every day all around the world, the cables spent 33% of their "news" time talking about Anthony Weiner.
I think it's insulting.
Read more here at the Project for Excellence in Journalism.
Entry filed under: CNN / TimeWarner, Dumbed Down, Fox "News"/ Fox "Business" /Rupert Murdoch / Wall Street Journal, Gossip, Media - General, MSNBC, NBC, CNBC / GE (General Electric), Print Media, The "Liberal Media", The World, They Think We're Idiots/We ARE Idiots, This is News?.
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METALS-Copper eyes small weekly loss as stronger dollar drags
MELBOURNE, March 6 (Reuters) - London copper was set for a small loss this week as a stronger dollar broadly dented appetite for commodities, with traders saying it was still too soon after China's Lunar New Year break to accurately gauge demand in the world's top user of metals.
* Three-month copper on the London Metal Exchange had eased 0.4 percent to $5,810 a tonne by 0121 GMT, after closing little changed in the previous session. Prices were facing a weekly loss of around 1.4 percent, their biggest such decline in six weeks.
* The most-traded May copper contract on the Shanghai Futures Exchange slipped by 0.2 percent to 42,340 yuan ($6,757) a tonne.
* LME lead sank by around 1 percent, eroding gains of around 2.5 percent from the previous session, but still looked set to notch its biggest weekly gain since May 2013, at more than 4 percent.
* China plans to run its biggest budget deficit in 2015 since the global financial crisis, stepping up spending as Premier Li Keqiang signalled that the lowest rate of growth in a quarter of a century is the "new normal" for the world's No.2 economy.
* The number of Americans filing new claims for unemployment aid last week rose to its highest level since May, but economists dismissed the increase as weather-related and said the jobs market remained solid.
* European Central Bank President Mario Draghi outlined its quantitative easing programme at a press conference following a scheduled policy meeting. He left the door open for more bond purchases beyond September 2016. Continuación...


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Newbie searching for new craft ideas
Hi, I am from Ohio, and am a Stock Broker. I take quite a lot of interest in art works like sewing, crochet work, etc. I love to dedicate my weekends for Making Crafts, and constantly pick up new craft ideas from my surroundings.


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text: The company has offices in the United States and Germany. In the United States, Authentidate offers its patent pending content authentication technology in the form of the United States Postal Service® Electronic Postmark® (USPS EPM®).For more information, visit the company's website at www.authentidate.com Authentidate and Inscrybe are registered trademarks of Authentidate Holding Corp. All other trade names are the property of their respective owners. SOURCE Authentidate Holding Corp.


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Alastair Cook must have had Jack Johnson playing on an iPod inside his helmet when he went out to bat at Nagpur, he looked so relaxed.
The week before, playing for England A in the Caribbean, it was probably a case of "Sitting waiting wishing". But 164 runs and 403 balls later, he was definitely one of the "Good people".
I had not seen a lot of Cook, but nor had most people, apart from the Australians when he hit a double century against them last summer. The Indians certainly hadn't. They have now.
As a fellow left-hander and former England opener, from what I've watched in the First Test I was very impressed. His calm assurance was testament to a good temperament, and it showed he has the right stuff.
Cook has a good grasp of the basics for an opening batsman. He is patient and knows where his off-stump is. And he puts away the bad ball, so he doesn't get tied down by the bowlers.
Cook had had a fraught start to his Test career, arriving in India last Sunday just three days before the start, after two days in transit from the West Indies.
Yet he looked pretty unflappable for a man who had flown halfway around the world. When he arrived in the Caribbean, he wouldn't have dreamed he would be opening in the First Test of the India tour.
In the alien conditions you experience in India, it's always going to be tricky. But he would have put that to the back of his head and batted as if he was back in Essex.
The Indians will have done their homework on individual players but they wouldn't have had any videos of Cook. They tried him out with the short ball, which he dealt with very well. He showed that with the pull shot which brought him his first runs in Test cricket in the opening session in Nagpur.
Opening the innings is the best place to bat in the order on the subcontinent. When I toured India in 2001-02, I opened, whereas for the last four or five years of my England career I batted at No 3. And I found opening a real advantage.
If you get through the new ball you can get 20 or 30 runs on the board to start with, which allows you to acclimatise before the spinners come on. Unlike the middle-order players you don't have to come in and face the turning ball cold, without getting established first.
Making your Test debut is a different matter, of course. The step up from county cricket to the Test arena means you have to face more sustained periods of pressure, and from relative obscurity you are thrust into the limelight. But it seemed that it was not a daunting challenge to Cook, because he took the opportunity so brilliantly.
For an opener facing the new ball, the pitches on the subcontinent are flatter and slower than elsewhere. You are looking to get on the front foot more often than not, and not play too many cross-bat shots. If the pitch is not as true as you would want, you have to play with a straight bat, and he has done exactly that.
When you win the toss in India you know that the pitch will deteriorate, so you bat first and just dig in. In the first innings Cook hung around while some of his colleagues got out playing more aggressive shots.
In the second dig, he had to increase the tempo as he neared his century, for the good of the team in setting a declaration, and he gave a few chances as he tried to change gears. But that does not mean he is a stodgy player. It always gets my goat when they say that so-and-so is a more aggressive batsman than someone else, because you play to whatever the situation is. But having adopted a specific role, it is hard to switch just like that.
After setting out his stall against the pacemen, Cook handled the spinners very well. He looks like he has adopted Duncan Fletcher's approach to playing the turning ball, which is to make an early forward movement.
He was positive with his footwork, which is essential when facing spinners because it allows you to get to the pitch of the ball and smother the spin. And he played with soft hands, allowing the ball just to hit the bat rather than going at it hard.
He played spin with the bat in front of the pad, to narrow the distance between where the ball pitches and where you hit it. The bat kills the pace on the ball and it drops to the floor.
The Indians do that, too. So he is definitely on the right track.
Matches of multiple debuts are rare for England in these days when selectorial continuity could almost be the name of a faddish new religion. But circumstances dictated that there were three new caps in Nagpur: Alastair Cook, Ian Blackwell and Monty Panesar.
History suggests that such games do not lead to enduring international careers for all those involved.
The last time that England introduced three debutants was at the Wanderers, Johannesburg, in November 1999. Michael Vaughan, of course, was to flourish, Chris Adams played all five matches in that series but never again and Gavin Hamilton (left), who got two ducks in nine balls and took 0 for 63 in 15 overs, never played again. The most recent occasion in which England used four new players was August 1988 against Sri Lanka: Jack Russell (58 caps), Paul Newport (3), Kim Barnett (4) and David Lawrence (5).
In November 1951 in Delhi, England last had five new caps. Donald Carr, Nigel Howard, Dick Spooner, Fred Ridgway and Don Kenyon eventually played in 26 Tests between them.
DEAN'S GAME: Nimbus, the new rights holders for the broadcast of Indian cricket (at a cost of $612m (£348m) over four years) have chosen a new presenter for their coverage. Dean Jones, the former Australia batsman, is making his debut in the role. He has developed a following out here as a commentator and will remain forever popular because of the fighting 210 he made in intense heat at Chapauk while suffering from illness 20 years ago in the second tied Test. Jones has plenty to occupy him but yearns to coach (he has a level-four badge), perhaps in the English county game.
VVS WHO? The great VVS Laxman wandered into a press conference the other evening to muse on a Test in which he had hardly taken part. Erudite he was, too, until being briefly bamboozled by a question put with all the authority the inquisitor could muster. "Well, Wasim, what's it like to be back in the team after four years?"
Much justified scornful laughter at this mistaken identity: VVS for Wasim Jaffer. Unfortunately, dear reader, it was this reporter suffering mental aberration, no doubt at all the comings and goings of players. In came the English representative and immediately proffered his hand: "My name's Paul Collingwood, by the way." Still, next day Laxman, thoroughly confused as he was, succumbed first ball. A wicket for the Diary.
THE COACH PARTY: England have 16 players here and, including three security personnel and the imminent arrival of the new fast bowling coach, Kevin Shine, a support staff member for each. This has caused some consternation, mostly among those hankering for the days when non-players numbered a manager and a baggage man. Actually there is a glaring absence: three spinners in the party and no spin coach - unless one of the security lads is a level-three doosra expert.
HOWELL'S HISTORY: Ian Howell is umpiring in this match and deserves much credit for showing up. This is his fifth Test, and in his first at Port Elizabeth in 2001 he was party to the reporting, fining and suspension of six Indian players, including Sachin Tendulkar, for various offences. It led to an international incident. Maybe the fans have forgotten - or forgiven.
Stephen Brenkley
Cook showed an impressively calm temperament opening the innings, filling Trescothick's sizeable boots. Trusted his ability in a country where the game is a religion and his every stroke will be scrutinised.
He seemed fearless despite making his debut in a depleted side at the tender age of 21 on what is widely regarded as the toughest Test tour of them all - and after being summoned at very short notice from the A tour to the Caribbean.
He employs the "soft hands" that are essential to counter the turning ball in Asia, and plays spin with the bat in front of the pad instead of alongside it to avoid bat-pad catches. Eschewed cross-bat shots on a slow pitch.
Cook adhered to the tactic of coach Duncan Fletcher, the "forward press", taking an early step forward to help smother spin. Looked to get on front foot against the quicks, a necessity on pitches that lack pace.Reuse content


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Re: A new graphic user interface
> I only recently discovered that right-clicking in the Documentation
> gives an option to Open in New Window.
I am not sure I understand what you mean.
Right-clicking exactly where?
What new window do you get?
Mathematica 6+ documentation system is very efficient.
When I need to look it up I do:
F1 on a blank line/cell of my current nb and this brings up the main
page of the doc center in a new window
F1 right after a command which I need to learn better and this brings
up the command page of the doc center in a new window.
So in all cases a get a new window and I can quickly look up what I
That's why I do not understand what you mean by "right-clicking..."


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WHO reviews GSK H1N1 flu shot after narcolepsy link
By Kate Kelland and Terhi Kinnunen
LONDON/HELSINKI (Reuters) - The World Health Organisation is reviewing the safety of GlaxoSmithKline's Pandemrix H1N1 flu vaccine after a Finnish study suggested children who got the shot were nine times more likely to suffer from narcolepsy, a rare sleeping disorder.
Narcolepsy causes a person to fall asleep suddenly and unexpectedly. Its precise cause is unknown but it is generally considered to be triggered by a combination of genetic and environmental factors.
Researchers at Finland's National Institute for Health and Welfare (NIHW) said on Tuesday their research suggested it was "most likely" the increase they found in narcolepsy was a joint effect of Pandemrix and some other factor or factors.
The research, described as preliminary, was conducted by the Finnish national narcolepsy committee and published by the NIHW. It found an increase in cases of narcolepsy among children aged four to 19 years who had the vaccine.
GSK said it was aware of the research but believed it was "premature" to draw any conclusions. A separate investigation by European drugs regulators is already underway.
The WHO said further investigation was needed into any links between narcolepsy and Pandemrix, and it was working on this.
"WHO's Global Advisory Committee on Vaccine Safety (GACVS) is considering all available data relating to reports of increased rates of narcolepsy and is expected to issue a statement on its website within the coming days," it said.
WHO spokesman Gregory Hartl told a briefing in Geneva that the committee would hold a teleconference on Friday to discuss the data, which they received on Monday. Continued...


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Free personalized radio that
plays the music you love
Drowning In Ecstasy
Features of This Trackelectronica influences
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straight drum beats
upbeat lyrics
a repetitive verse
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layered electric guitar riffs
subtle use of staccato synths
synth riffs
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a synth-electric sonority
dominant use of riffs
prevalent use of groove
and many other similarities identified in the Music Genome Project
These are just a few of the hundreds of attributes cataloged for this track by the Music Genome Project.show more
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Ready Set charger, Vodafone will have them in stock this month. In a trial program conducted last year, mobile phone users with the Ready Set charger spent an average of 14% more time on their phone. The charger will be sold by the same salespeople who push mobile phone credit and SIM cards in the area. The Tanzania area is one of Vodafone's fastest growing markets as millions of customers are signing up for mobile phones without ever having a landline. And many people in the area use mobile payment applications to save and spend money instead of opening a back account.
The original model of the Ready Set charger had a handle so that vendors could carry them around. But so many salespeople carried them on their heads, that Vodafone redesigned it to have a more comfortable curved base instead.
source: Telegraph via Textually.org


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Richa Anirudh
by: BlotCanvas • 51
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by: BlotCanvas • 51
This is the official mobile application of Richa Anirudh.
RICHA ANIRUDH is a primetime news anchor and one of the leading and most loved faces of Hindi television news. Over the years she has lent her inherent and natural credibility to every issue that she has discussed on screen, making her a figure of sorts, for almost all important news events in the last six odd years that she has been in the world of television news. But in her case, this goes beyond news and extends to views, analysis and most importantly includes the sincerity that has no parallel while communicating to the viewer. Zindagi Live is one such example where the 'emotional connect' of the presenter has turned the show into an intense powerhouse of emotions. Her biggest asset is that she seems to stand by every word she says, hence she easily connects with people, over a variety of issues and even wider strata of people.
In 2004, Richa Anirudh was selected among the 12 best anchors of next generation across Indian news channels by Pitch magazine and in 2005; Ekta Mission honoured her with 'Best Anchor's Award'.
In 2010 Richa was awarded with the Amity Media Excellence Award for the Most Promising Young Female Journalist.
Her Show Zindagi Live on IBN 7 has thrice won The best talk show award by indiantelevision.com and twice zindagi live has won the Ladli Media Award for gender sensitivity given by UNFPA.
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This is a discussion on b16 crx hatch vs stock 05 wrx within the Comparison: WRX vs World forums, part of the Community - Meet other Enthusiasts category; Originally Posted by Flat 4 No doubt a great power/weight ratio, but it's still FWD, and torque-steer is gonna be ...
remember DSM wheelhop???? Caused the wipers to turn on. LOL I hated that ****. But stiff motor mounts eliminated that real quick.
92-95 civic hatch more like 2000 lbs
i know a guy that has a crx with a turbo ls in it and it beats wrx all day
LS=b18a/b 130-140 bhp
the motor is completely stock when it blows he just slaps another stock ls in
because it is not built for turbo is why it blows
wrx alot nicer alot less problems


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We have seen Bo Pelini chew out his fair share of player during his time at Nebraska but I can't remember any situation where a player gave it back to him. Daimon Stafford had enough of getting yelled at and decided to fight back dropping at least 3 "f-bombs" on Coach Bo.
Stafford made up for it by getting a big interception early in the quarter but I can't imagine there are that many worse ideas than cursing out your coach, especially if your coach is Bo Pelini.
(h/t lost lettermen)


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Inukshuk Pro Food Group Buy
Our family recently received "Vader" a 6-month GSD. His breeder/trainer fed him Inukshuk Pro 32/32. His energy, coat, breath, everything was great. After researching the food I have decided to keep him on it. The only problem is that it currently can only be ordered by the pallet.
I live in central California and would like to order a pallet. Is there anyone interested in forming a group to have a pallet shipped to CA?
I will call Inukshuk on Monday and post the exact cost. In the meantime if anyone is interested please check out their website inukshukpro.com and especially watch the videos.
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Vintage Plasticville Lot of 4 Stations Church Tower
- Sold for: Start Free Trial or Sign In to see what it's worth.
- Item Category: Toys, Dolls, Games & Puzzles
- Source: eBay
- Sold Date: Nov 01, 2010
- Channel: Auction House
1950's vintage Plasticville --Church - Switch Tower - Ranch House and also a Littletown Plastics Ralroad Station Some small parts maybe missing -- as found. Come with the original boxes which have been taped alot-- I have a couple other autions with Plasticville - you can combine shipping with and get all 3 auctions. Thanks for looking.


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Went out last Monday with a friend from my unit and we got 12 Resident Canadians. We went out Thursday night in the reminents of the tropical storm and got 7. I even got my first band for the year! Waiting to get the info. on the goose.
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