text:
by Staff Writers
Washington DC (SPX) Nov 13, 2015
The way to increase the power and efficiency of magnetic fusion energy may be to risk running the plasma - hotter than 100-million-degrees C - closer than ever to the wall, according to new experimental results achieved by the first U.S.-China fusion research team.
The team is led by Dr. Xianzu Gong of ASIPP and Dr. Andrea Garofalo of General Atomics (GA) in San Diego. Using both China's EAST facility and the DIII-D National Fusion Facility, operated by GA for the U.S. Department of Energy, the team has investigated the "high-bootstrap current" scenario, which enhances self-generated ("bootstrap") electrical current to find an optimal tokamak configuration for fusion energy production.
Magnetic fusion energy research uses magnetic fields to confine plasma (ionized gas) heated to temperatures hotter than the Sun's core. This enables the ions to fuse and release excess energy that can be turned into electricity, harnessing the Sun's power on Earth.
The most developed configuration is the tokamak, and the team's work helps prepare for the 500-megawatt ITER fusion research facility that is currently being built in France by a consortium of 35 nations, including China and the U.S.
This joint U.S.-China experiment directly demonstrates the stabilizing effect of reducing the plasma-wall distance in tokamaks with high plasma pressure and large bootstrap current fraction, according to Dr. Gong, who said, "I think, in simple terms, these experiments may provide better physics and operation foundation for ITER plasmas."
The focus was on resolving the "kink mode" instability, a wobbling effect that reduces performance, by moving the plasma closer to the vessel's wall, Dr. Garofalo explained . Operating closer to the wall suppresses the kink mode and enables higher pressure inside the tokamak, the toroidal or doughnut-shaped steel-lined fusion device. This gives rise to "pressure-driven" plasma flows that maintain the confinement quality even with lower external injection of velocity.
"This is unlike any other regime," said Dr. Garofalo. "It's very risky to move the plasma that close to the wall. The chief operator said 'You can't do that anymore, you're going to damage the machine,' so it was a struggle to prove our theory was correct."
The gambit paid off. Moving the plasma closer to the wall removed the kink mode and enabled higher plasma pressure, which, in turn, makes the plasma less dependent on externally injected flow. This is important because in a tokamak reactor, such as ITER, it is very difficult and expensive to drive a rapid plasma flow with external means.
The team performed the most recent bootstrap exploration in DIII-D, following-up work on the record-setting milestone achieved at China's EAST tokamak, where GA scientists have also been collaborating. An ASIPP scientist Dr. Qilong Ren will deliver the invited talk on the topic of Magnetic Confinement-Experiments.
While fusion has been in the public domain since the 1950s and its advances have been achieved by teams around the world, this U.S.-China team is setting new milestones in global cooperation. For realization of magnetic fusion energy, global cooperation is needed, said Dr. Gong of ASIPP, who cited the EAST/DIII-D partnership as "an efficient and effective new model" for international science collaborations that benefits both partners and the field of study.
"We have made a very good start of international collaboration in fusion research between China and the U.S., and we are very proud to be a pioneer in this field," said Dr. Gong.
Abstracts: KI2.00004 Progress Toward Steady State Tokamak Operation: Exploiting the high bootstrap current fraction regime
Related Links
American Physical Society
Powering The World in the 21st Century at Energy-Daily.com
|The content herein, unless otherwise known to be public domain, are Copyright 1995-2014 - Space Media Network. All websites are published in Australia and are solely subject to Australian law and governed by Fair Use principals for news reporting and research purposes. AFP, UPI and IANS news wire stories are copyright Agence France-Presse, United Press International and Indo-Asia News Service. ESA news reports are copyright European Space Agency. All NASA sourced material is public domain. Additional copyrights may apply in whole or part to other bona fide parties. Advertising does not imply endorsement, agreement or approval of any opinions, statements or information provided by Space Media Network on any Web page published or hosted by Space Media Network. Privacy Statement All images and articles appearing on Space Media Network have been edited or digitally altered in some way. Any requests to remove copyright material will be acted upon in a timely and appropriate manner. Any attempt to extort money from Space Media Network will be ignored and reported to Australian Law Enforcement Agencies as a potential case of financial fraud involving the use of a telephonic carriage device or postal service.


text:
The West Side Spirit: Gay Marriage Bill Nears the Goal Line
Gov. Cuomo's push, plus public opinion shift, raises bill's chance of passage
By Megan Finnegan
Two years after the stunning defeat of a marriage equality bill in the State Senate, advocates and politicians are gearing up for another run at making same-sex marriage legal in New York.
Senator Adriano Espaillat, whose Upper West Side and Harlem district encompasses both liberal enclaves and more conservative, Catholic constituents in immigrant communities, has been a vocal supporter of same-sex marriage since his time in the Assembly. He said that while public support is important, it's not the most important factor.
"We shouldn't just depend on opinion polls. Very often the right thing has not always just been the most popular thing. If we were tied at the hip to a poll, we never would have passed civil rights or women's rights laws," said Espaillat. "Justice delayed is justice denied. This is a civil rights issue as well, for me. I'm an immigrant, so I know what discrimination is, and this is no different."
Click here for the full article by Megan Finnean at the West Side Spirit

subset: commoncrawl


text:
On February 29th, 2012 Martina wrote on the subject of Datadial,Internet Marketing,Legal and Financial,Technology.
New EU cookie laws – Will you be breaking them?
Those rascals in Europe have really done it this time. They have dreamt up the most insane law that will render any complicated website practically unworkable.
Their intentions were probably honourable but as the law is a mess but they are happening and YOU DO NEED TO TAKE NOTICE.
The law comes in on May 26th 2012.
There is a £500,000 max fine for non compliance.
It"s all about cookies
Why do cookies always come with consequences? If it isn't calories you're trying to avoid it's breaching someones privacy – you just can't win!
What are cookies? In short they are a method for tracking what you "do" on a website and where you go afterwards, how you got there etc. Most cookies are essential for a website to work. Some admittedly are a bit suspect and it's not entirely wrong to be doing something about them but the sledgehammer approachby the EU is not the solution we feel.
The new shiny piece of legislation is being enforced as a solution; a way to protect you from the prying eyes of the web owners.
We're not going to rewrite all the great articles out there already so here are pointers to finding out more about the Cookie Law
- Here's the official ICO site http://www.ico.gov.uk/
- Here's a nice well written PDF Click here to read the PDF on new EU Cookie Law's
- Just in case the above PDF is too much to bear, you can check out this informative video that breaks the new rules down in just under 3 minutes:
- Here are some examples on how to comply with the law and implement solutions on your site http://econsultancy.com/uk/blog/9202-eu-cookie-law-three-approaches-to-compliance
- Make the pain go away: For a small price these guys will tell you what to do and how to do it, and you don't have to learn anything legal. I think they will be busy this summer http://www.cookielaw.org/
Biting off more than they can chew?
Before you get collared by the EU police you can refer them to their own website which is used to announce the legislation and has been criticised for breaking the very same laws they intend to enforce as pointed out (and illustrated with pretty pictures) by the good folks at Code Blog here: "UK Government 'break' the law they imposed".
So, to summarise: This legislation will apply to nearly everything on the web, will probably reinforce the much dreaded "pop-up" and seems to be an overall nuisance.
Undoubtledly it will affect the big boys first. They, at the moment, are just playing a waiting game to see what everyone else does. Noone it seems is going to voluntarily prevent people using their website until the user agrees to their cookie policy.
In conclusion, you can choose to do the following:
- Implement the new functionality to comply with the law ASAP
- Delay the implementation as long as possible
- Ignore the law
What do you think?


text:
Would you like to save as your currency permanently or for this visit only?
Not 5 star resort but the manager and staff made you feel that way! Largest hot tub I've ever seen! Older place but again staff were awesome!
I liked not being at the hotel. The shower pan literally had holes in it where you could fall through. They didn't replace towels. The bed may have had bed bugs. The TV does not have basic cable channels like ESPN. The continental breakfast was locked down whenever I went to get breakfast, first attempt was at 630am, second at 730am, I gave up. The outlets don't all provide power. The wifi indicates you are online but is slower than dialup technology from the 1980s. This was literally the worst hotel I've ever stayed in...the only reason I stayed was because everywhere else was sold out. Don't stay at this hotel...especially not room 112
no elevator slowest internet west of the rockies so so slow that almost impossible to do much work slow wifi internet
Beds were comfortable. Great locations, close to many things. Staff was really nice Old tvs, not many channels to choose from. No microwaves.
just was very awesome, loved the hot tub ,and rooms pillows
good free parking. comfortable bed, nice continental style free breakfast door was A LITTLE TIGHT TO OPEN probably a little wd 40 would help
Relatively cheap. Decently clean, not extremely horrible, but not pristinely clean. The office closes at 10:00 PM. You would think they were operating a restaurant and not a hotel with those hours.
The second room I was in was large, had a comfortable bed and a seating area with a sofa to relax in. There was a fridge, but no microwave. It took 4 attempts to get me a room with a working door. The first room tried 3 times with keys that wouldn't open the door. The housekeeping staff tried to let me in with the passkey, and even that was giving her trouble. We also couldn't close the door from the outside. Once in the room, I would be trapped there without a key to let me back in. After a few hours, they finally settled me into a second room. It advertises free wifi in every room. My new room was literatlly next to the office and I was unable to access wifi for most of my trip. If I lay a certain way on the bed and hold my laptop just so... it might connect for a bit. It advertises free breakfast every morning. Breakfast was toast and coffee. For a few dollars more per night, one could stay at a Motel 6 or a Travelodge chain that has certain standards of cleanliness and basics provided.
The guy at the front desk was really nice. He told me where to go in the area You could hear everything through the walls! Footsteps above you and fighting at 5am.
The staff was friendly, even when we arrived at 11pm and had to ring the bell. I chose this hotel for the low price, but I think that cleanliness should always be an expectation that is met when staying at a hotel. I think this hotel should be called a motel. There were multiple strands of hair inside our bed; both the sheets and duvet. My boyfriend and I are pretty relaxed, and don't need a ton of luxury, but this was just not a nice place to stay.
I have stayed here previously. It appears they have made some upgrades to the appliances in the kitchen area and it makes a difference. The hot and cold water were reversed in the bathroom sink. Not a big deal, but kind of cheesy that they thought that was okay to,leave like that.
Very nice, large room, quiet. No carpeting. Hard to find. Small signage - very small parking.
Room was okay. Had a fridge and a microwave. location was pretty good near the down town area. No blankets for the bed. Thin sheets. Dirty bed. Dirty floor. Old and in need of a renovation.
No carpet. Very spartan room. No lamps. No where to put luggage/clothes. Seems like they tried to update this motel but more like lipstick on a pig. Seems to be more of a weekly motel which says it all. The women at the front desk seemed to be bothered to have to check us in almost to the point of being rude.
The location of the hotel. Away from the strip but not too far. The pool and Jacuzzi were nice as well. The kerig coffee that was offered in the main office was a plus.
The location was great, parking was free and seemed pretty secure. It seems like the owners live on site so they are always watching (I guess this is good for security purposes) The overall cleanliness needs work. Towels, sheets and floor were stained and dirty. Baseboards need to be repaired and cleaned. Also housekeepers should ensure the floor is mopped with a clean mop. The bathroom was very basic but the floor of the tub was peeling. The hotel was not even close to capacity and I called for a late checkout and was told no!
Location the staff watched our coming and going, we were visiting with other family members & staff came outside to watch them. The mattress caved in middle. We did not leave any valuables or money in room. Other tenants-- made sure the alarm for my truck was on. Will never come here again.
personal service, good value,location, good size rooms t.v. size
Great location and easy check in! With some repairs and new furniture this place could be fantastic!
The staff was friendly. The building is old but they update the rooms. Room was clean. The internet wouldn't connect. It even made it difficult to use your own data. The shower curtains were too short so when we showered the floor would be flooded.
The television didn't work properly and was replaced promptly by the owner. Great location away from the main drag and close to great shopping which we enjoyed. The hotel needs quite a bit of work inside and out. Too many things need repair or be replaced. Sure we knew that this wasn't a luxury hotel, but expected it to be clean and comfortable, of which it was neither.
Love the location. The friendly staff.
Absolutely nothing No carpet... Bad paint...hole in Ac unit... Missing shower head...and last but not least leaky roof onto bed
About the only thing that was half way decent about it was its location. The room reeked of marijuana and cigarettes. Three were never enough towels and when we asked for one more we were asked "why". I felt very uncomfortable leaving my belongings in the room because neither door had a proper lock. I don't feel I would ever stay here again . To be honest I don't think that I would ever trust Kayak.com for reservations ever again either. I've stayed at other establishments elsewhere with the same rating and I wasn't as disappointed with them at all. I feel as though I was misled , and I'm very unhappy .
Good deal. $39 + tax for 2 people per night. Located on the outskirts of Palm Springs, near shopping centers. Outdoor accommodations include: pool, jacuzzi and shuffleboard. Rooms are clean with extras include small fridge and cable TV. Be alerted that during my stay on 11/26/10 the hotel is under new ownership and is undergoing major renovations. Many rooms heaters may not work and some with possible shower plumbing issues. With some work though, could be a nice stay.
We stayed here for a wedding weekend. It was very easy to check in, and the customer service was great. I booked it at first because it was pretty cheap, close enough to the venue, and I had the option to cancel the booking up until a day before. Very accessible rooms. The pool was right outside the room. The hot tub was nice as well. It was not the most modern place but it had character and just felt comfortable. Would love a vending machine with snacks and not just drinks for late night munchies. There is a jack in the box near by but we did not want to drive, and it only has drive through open. But we could have been more prepared with snacks beforehand. I think it could be a little cheaper for the condition of the place, but, they have to stay in business and they are probably competitive prices for the location etc, and we payed it so all is ok.
The staff was very helpful The facility was in poor condition the first unit was dingy and the power did not work the door broke on the second room.
Small window Air Conditioner with very loud humming noise,.very low water pressure,sink was plug, remote didn't work, dirty carpet,no clock,no alarm. Low income type young people,loud all nite long, young girls hanging out in parking lot many cars driving in and out(illegal activity??). This was a dump. The worst hotel ever. Read above again!!!!!!!!!!!!!!!!!!!!!!!!


text:
Cameras / Gear / Photography
Leicas and other Leica Mount Cameras
Leica M Film Cameras
> Question on M3
View Full Version :
Question on M3
03-17-2010, 09:11
Just got my camera for a week. Can I shoot ISO 3200 film? The setting only has ASA 1300.
Graham Line
03-17-2010, 09:14
There's no meter in the M3, hence no linkage, so you can set the aperture and shutter speed wherever pleases you.
The dial on the backplate. if that is what you are seeing, is simply a reminder for film type and speed and controls nothing inside the camera.
03-17-2010, 09:14
The M3 is a manually metered camera and the disc on the back is only to remind the user of the film loaded.
03-17-2010, 09:15
You can shoot any speed film you desire. The dial on the back is just a reminder - it has no effect on the camera's functioning.
(Or, to put it another way - what they said)
03-17-2010, 09:21
You can shoot whatever ASA you want. The M3 does not have a meter, so use whatever meter you want and set it to 3200 and if the shutter speed and f stop are within that range, fire away.
If yo are talking about the MR Meter, it has 2 openings for ASA. The one on the right of "ASA" when the camera is facing in the shooting direction has ASA 3200.
It's actually 1600 where you are looking and the other side has 3200.
03-17-2010, 12:17
Thanks for all the information.
I have MR-4 meter too.
Vincenzo Maielli
04-12-2010, 08:34
Certainly, use the Leicameter MR or any other handheld exposure meters.
vBulletin® v3.6.8, Copyright ©2000-2017, Jelsoft Enterprises Ltd.


text:
Summit/IS takes on Jewison's The Statement
Summit Entertainment hasacquired international distribution rights to Norman Jewison's nextpicture The Statement starringMichael Caine, Jeremy Northam and Tilda Swinton. Sony Pictures Classics (SPC)has domestic rights to the film.
Restricted Content
Registration is required to read the entire article and to gain access to other restricted areas of the website


text:
Kurt Angle, Phillipe Nover, Dan Hardy, Ben Henderson, Donald Cerrone, Arianny Celeste and Natalie Skyy find themselves among the latest selections from the USA TODAY blog network:
• Kurt Angle on Lesnar, Olympics, TNA, WWE and UFC (The Fight Nerd) -- Alas, we can only speculate on the glory that might have been Kurt vs. Kimbo on Season 10 of The Ultimate Fighter.
• Manager says heart issues ran in Shawn Tompkins' family (MMAjunkie.com) -- The late trainer had an enlarged heart and major blockages in his arteries, according to Gary Ibarra.
• No longer the next Anderson Silva, Phillipe Nover returns to the cage (MMA Diehards) -- After an 18-month hiatus, the TUF 8 finalist returns to the cage at Hoosier Fight Club 8 on Saturday in Indiana.
• Know your martial arts: The history of wing chun (Pro MMA Now) -- Sticky hands may not work for the cage, but they can be pretty mean in the streets.
• Amadi: UFC's favoritism of Hardy not in line with expectations of the organization (MMA Torch) -- Would "The Outlaw" still be around if he weren't a British fellow with a mohawk and tattoos?
• Muddier waters: Lightweight logjam gets two more names at the top (MMAValor) -- Ben Henderson and Donald Cerrone elevated themselves.
• Sponsorship spotlight: Fight Chix, with Arianny Celeste and Natalie Skyy (MMA Diehards) -- It's a lifestyle MMA brand for women.


text:
Listen to free music by Shail Hada
Blip.fm is internet radio made social. It's easy to search for, play, and discover free music recommended by real people. Join today to create your own free station.
nutrishn The title song from the Bollywood movie I just saw. Totally sweet. ;-)
blaiq Do I have to say something every time?
Artists Like Shail Hada
Blip.fm DJs who play Shail Hada
Friends: MerchantCircle | Charity Blossom | Website Load Testing


text:
In Honorby Jessi Kirby
A devastating loss leads to an unexpected road trip in this novel from the author of Moonglass, whose voice Sarah Dessen says "is fresh and wise, all at once."
Hours after her brother's military funeral, Honor opens the last letter Finn ever sent. In her grief, she interprets his note as a final request and spontaneously decides to/b>/i>
- Overview
- Editorial Reviews
- Product Details
- Related Subjects
- Read an Excerpt
- What People Are Saying
- Meet the author
A devastating loss leads to an unexpected road trip in this novel from the author of Moonglass, whose voice Sarah Dessen says "is fresh and wise, all at once."
Hours after her brother's military funeral, Honor opens the last letter Finn ever sent. In her grief, she interprets his note as a final request and spontaneously decides to go to California to fulfill it.
Honor gets as far as the driveway before running into Rusty, Finn's best friend since third grade and his polar opposite. She hasn't seen Rusty in ages, but it's obvious he is as arrogant and stubborn as ever—not to mention drop-dead gorgeous. Despite Honor's better judgment, the two set off together on a voyage from Texas to California. Along the way, they find small and sometimes surprising ways to ease their shared loss and honor Finn's memory—but when shocking truths are revealed at the end of the road, will either of them be able to cope with the consequences?
Editorial Reviews
Lauren Barnholdt, author of Two-Way Street
"A beautiful, engaging journey with heart, humor, and just a pinch of Texas sass. Hands down my favorite contemporary of the year."
Sarah Ockler, bestselling author of Twenty Boy Summer, Fixing Delilah, and Bittersweet
"The story of Honor and Rusty's road trip offers moments of hilarity, potential romance, and spiritual awareness as the two travel across the desert to commemorate Finn's life...Readers will find themselves rooting for the two to see past their differences and get together. "
"[Honor and Rusty's] enviable roadtrip portrays the universe as resonant with beauty and responsive to personal grief, which is just what many teen readers need as they cope with the losses in their lives."BCCB
"A sweet and soulful summer romance that is worth the trip."
Publishers Weekly
"Fans of road-trip novels with plenty of heart . . . will love this journey, from unpredictable start to finish."
Product Details
- 9781442416970
- Publisher:
- Simon & Schuster Books For Young Readers
- Publication date:
- 05/08/2012
- Pages:
- 240
- Sales rank:
- 1,025,487
- Product dimensions:
- 5.84(w) x 8.36(h) x 0.88(d)
- Lexile:
- 850L (what's this?)
- Age Range:
- 14 - 17 Years
Read an Excerpt
In Honor
The snap of the first shot breaks open the afternoon. I squeeze my eyes shut and wait for the second one, ears strained against the silence. Seven rifles have come together as one, in salute of Finn. With the second crack, I open my eyes and focus on the youngest of the riflemen, who stands on the end. His gloved hands had trembled as he'd lifted his rifle, but now they are steady, firm. A third shot. Rifles are brought back to the shoulders of their bearers, and the general bends, fingers brushing the grass, and picks up three of the gleaming spent shells. I stand there, stiff as the troopers, while my aunt cries softly beside me.
The bugler steps forward and licks his lips before he lifts his trumpet. It occurs to me that I've never actually heard taps played in real life. As the first notes emerge, I try to be present in the moment, try to press into my mind what this moment means. My brother is dead. And this . . . this song means it's real. He's playing for Finn.
The bugler is dressed like the rest of the soldiers, but his face is softer somehow, gentler. Maybe because he holds an instrument instead of a gun. He keeps his eyes open as he plays, and he looks at the flag-draped casket the entire time, playing for my brother. And I want to tell him about Finn because, even though I can feel the emotion behind his song, I'm sure he never knew him.
Aunt Gina squeezes my hand so hard it hurts while she tries to muffle her sobs. I press my lips together, gulp back my own. One of us should. Finn would be proud of that. He always told me to look strong, even if I didn't feel it, because sometimes that's all you can do.
The troopers let the last notes of the song drift off and settle into the distance before they step forward for the flag. They lift it gingerly off the casket and fold it once, twice, before the general tucks the shells within the waves of red and white. Then eleven more folds, until all that's left is a rigid triangle of white stars on blue. The young trooper, probably my brother's age, hands it to the general for inspection.
The general is a somber man in his forties, dark hair peppered with gray. He takes the flag and steps forward, looking from my aunt to me. But his gaze settles on me when he walks across the damp grass, and now my knees weaken. I don't know if Gina has arranged this or if it's because I'm listed as Finn's only next of kin, but the general stops in front of me. His eyes speak of sorrow, and as he stands there, I wonder how many times he's had to do this in his career.
He recites words I hear but don't really listen to: "On behalf of the President of the United States, the Commandment of the Marine Corps, and a grateful nation, please accept this flag as a symbol of our appreciation for your loved one's service to Country and Corps."
As he talks, I am grateful that my parents never had to stand here and bury their son, but I mourn the fact a million times over that I'm here to do it alone. As soon as the flag leaves the general's hands and is in my own, I clutch it to my chest like it's Finn himself, and now I can't look strong. I didn't think I had it in me to cry more than I have in the last two weeks, but the tears flow immediately, and when they do, the general seems to step out from behind his uniform to grieve with me. We stand there, me locked within the circle of his brass and patches, and he means it as a comfort, but it's all rigid corners and stiff fabric.
I whisper "thank you," then pull back, and he squeezes my shoulders before letting go. Aunt Gina steps forward and puts her arms around me, and the general and his troopers fall away. Faces of people—my friends and Finn's, his teachers, coaches, classmates, our whole town—stream by, puffy-eyed and heartbroken, offering their condolences. When it's Lilah's turn, she doesn't say anything, but she hugs me hard and that says everything. More people come by us to pay their respects, and we stand there for what feels like an eternity, nodding, thanking them for coming, until they've all gone.
Aunt Gina excuses herself to talk with the funeral director, and I have a moment to myself. I don't want to look at the casket waiting to be lowered into the ground next to our parents, so I walk over to our bench, the one Finn and I would sit on when we came to visit, and I sit down, still hugging the flag to my chest. And that's when I see a silhouette I recognize, standing off some distance—one I didn't realize was missing from the stream of faces until now.
Rusty stands there looking like a grown man. He's in a proper suit and tie, his hair combed back, and he would look perfectly respectable if not for the paper-wrapped bottle dangling from his hand. I wonder who told him. I hadn't even thought of calling him, but then, I wouldn't have known how to get ahold of him anyway. He and Finn hadn't spoken since Finn enlisted, and it wasn't like we were friends anymore.
He'd come, and that meant something. Even if he watched from a distance. I want to walk over and tell him that him being there would've meant more to Finn than anyone else. That whatever differences they'd had were long forgotten. But when I get up, he raises the bottle to his lips for a long pull, then turns and walks away. Just like he did over a year ago.
What People are Saying About This
Sarah Ockler, bestselling author of Twenty Boy Summer, Fixing Delilah, and Bittersweet
"The story of Honor and Rusty's road trip offers moments of hilarity, potential romance, and spiritual awareness as the two travel across the desert to commemorate Finn's life...Readers will find themselves rooting for the two to see past their differences and get together. "
"[Honor and Rusty's] enviable roadtrip portrays the universe as resonant with beauty and responsive to personal grief, which is just what many teen readers need as they cope with the losses in their lives."BCCB
"A sweet and soulful summer romance that is worth the trip."
Publishers Weekly
"Fans of road-trip novels with plenty of heart . . . will love this journey, from unpredictable start to finish."
Meet the Author
Jessi Kirby is the author of Moonglass and In Honor. She lives in Crystal Cove, CA, with her husband and two children. Jessi is a former English teacher and librarian. Visit her at jessikirby.com.
Customer Reviews
Average Review:
Most Helpful Customer Reviews
See all customer reviews
The Writing: I know I said this about Kirby's first novel Moonglass, but it must be stated again: She is a great writer plain and simple! Kirby can take what other's seem to bungle, and instead wrap it up with poetic conciseness that keeps the story moving, the reader fully enveloped in the moment and all the while you feel as if you are cruising along at a nice easy pace. She writes in such a way that you truly believe the characters point of view and experiences. If she is describing grief, nervousness, the scenery on the road or what it's like to see a place for the first time, you feel like this must have been how Kirby felt in her own life to write with such a sense of authentic trueness. Her word imagery pulls you into a scene that is easy to visualize complete with emotion and the necessary details to keep you turning the page. As my 60-something year old retired father said when he read one of Kirby's novel "That girl's a professional alright". Family Is Where Your Heart Is: Kirby paints a picture of the older brother every girl always wanted-Someone who was always looking out for them, but not willing to make a big deal out of it; The kind of brother that every mother imagines her son to be when she finds out that her first child will be a boy-A defender of the family. I believe this aspect appeals to most of us out there either because we've always wanted that or never really had it. I also love that Finn and Rusty had their own family bond even though they were just friends. In life you don't always get to pick your family members, but true friends can more than make up for gaps left by the unfortunate events that can happen in life. This message is woven through out the book as Rusty and Honor's odyssey unfolds revealing a closeness that surprises them both. The Crush: The crush aspect of this story makes me so awkward and nervous, I might as well have had a crush on Rusty myself. I love the fact the Honor knows him all to well, but just can't help herself from letting her thoughts get the best of her. I love Rusty's cockiness mixed with the realization that this is not the 8 year old little sister that use to follow them around BUT that he still holds onto the respect he has for his best friends little sister.
I absolutely love Jessi Kirby. Don't hesitate to read this book. It really pulls on your heart strings.. and i was waiting every day for this book to come out since her first book Moonglass. Moonglass and In Honor have both found their way into my heart. She creates words for feelings, that really can't be described. I HIGHLY recommend this book.
A heartfelt story that could have gone predictible, but has some very engaging moments that set it apart from other contemporary YAs I've read.
Loved It! When I first heard of In Honor I had high hopes, there was just something about the concept that resonated with me. Than I read Kirby's debut novel, Moonglass, and was disappointed. I don't know if it was my mood that day or what, but Moonglass failed to impress me. After reading some of my giddy anticipation for In Honor faded. I shouldn't have worried. In Honor lived up to all my early expectations. I read it through in one sitting and was disappointed when the story ended. Kirby did an excellent job of creating interesting characters, sending them on an exciting road trip, and making sure there were plenty of sparks. There's also a titch of a mystery regarding what happened between the main character's brother and his best friend which does get answered. My only real complaint with the book was the ending, which I felt was bit abrupt. I wanted to know what was going to happen next and was disappointed. Guess I'll have to let my imagination take over.
We get started with the tragic death of Honor's brother, Finn. I found it quite interesting for the book to just start off as them being in the memorial of her brother who died while he was with the Marines in Iraq. I was kind of grateful that I didn't actually get to know Finn, or else I would have been in tears for his death. Anyways, Honor is the main protagonist in this book. After her parents death, Honor and her brother moved in with their aunt. I can see how close Honor and Finn were, and how his death strongly effected Honor. The last letter Honor got from Finn were two tickets to see famous popstar Kyra Kelly. Honor found it a job for her to actually go there, and tell Kyra about her brother. Honor decides to start her journey the next day, only leaving a note for her aunt about her sudden disappearance. Later, we get to meet Finn's old best friend, Rusty. Things start off kind of weird since it's been a long time since they last met. The next day, Honor finds Rusty drunk and blacked out, so she just decides to throw him in the back side of the car, and starts her long journey to California. I really liked how Honor and Rusty's relationship develops as friends. Finn means a lot to both of them, and I felt like both of them just needed to find that closure for themselves. Jessi Kirby really wrote a book that was cute, funny, and even emotional at times. Both characters felt so believable, and I felt like it was very easy to relate to them as well. Overall, I really enjoyed this book very much. The characters were very lovable, and funny as well. This book wasn't that sad, but it wasn't all fun either. Jessi balances the fun and seriousness very well, and I loved every moment of it. I would recommend this to all contemporary young adult readers out there. Can't wait to read more of Jessi Kirby's future books.
I really thought this book started out great. Unfortunately, I kept waiting for it to get happier or sexy with Honor and Rusty, but it just never did. Now, I am depressed from this book.
An Amazing story that had me laughing and crying all night! I picked up the book and didn't put it down till I had finished it. Made me cherish the relationship with my brother. The story is told with such detail it felt like I was in the car with them! A must read!
I want to read more of this book. I love it so much.
This book was very good. However, it was somewhat repetitive throughout the book.
One of the most boring and cliche books I've ever read.
Whats up? Im cool.


text:
The big news today is the launch of two new stocks - Kraft Foods (KRFT) and Mondelez International (NASDAQ:MDLZ), from what had been one company, Kraft.
Here's how to think about it. Kraft is getting the assets that might be good for you -- things like meat, and cheese, and mayonnaise. Mondelez is getting the stuff that is not good for you -- things like Oreo cookies and Cadbury chocolates.
Analysts are spinning both stocks like politicians. You've got to buy Mondelez because it has the international growth. No, you've got to buy Kraft because it has the profit potential.
In fact, the management of the unified company was putting its attention into the products that became Mondelez because that's where the profit potential lies. The key part there is Nabisco, which became one of the first big-name brands in the late 19th century with "the Uneeda biscuit in the airtight sanitary wrapper that made the cracker barrel obsolete."
That last line is a direct lift from Meredith Wilson's "The Music Man," but it's true. Nabisco was a key player in creating a single national market in the U.S., 100 years ago. And what worked then is working now on a global level -- the world is becoming one market in many ways, and what works in the U.S. can work in China with only minor tweaking.
Kraft, meanwhile, has been getting the short end of the stick. Proof lies in the success of a 2012 IPO called Annie's (NYSE:BNNY), which rose on the back of a "better" macaroni and cheese product, and is now moving into related areas like pizza. Its products are innovative and well-marketed -- a contrast to Kraft's own -- and that's why analysts are now pounding the table for Kraft. They figure that spinning-out Mondelez will force investment in and attention on brands like Velveeta that could take Annie's down.
If it were only that simple. Have you tried Kraft Mac-n-Cheese? Have you tried Annie's? Get back to me when you do.
What the analysts are saying is this all comes down to marketing. Analysts are telling you that marketing alone can turn Kraft around, so you should buy that potential, while Mondelez has succeeded as a marketer, so you should buy that reality. When you didn't want Kraft, you're supposed to want its offspring.
The bottom line is that Kraft is a speculation, and Mondelez had better prove it can deliver numbers before you put a dime in it. Don't buy the hype. Wait for the proof. Don't be stampeded into buying these companies until they demonstrate they are what is claimed. It's not like they're technology outfits. It's not like the stocks are going to run away from you.
Disclosure: I have no positions in any stocks mentioned, and no plans to initiate any positions within the next 72 hours. I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it (other than from Seeking Alpha). I have no business relationship with any company whose stock is mentioned in this article.


text:
Have Finance Questions? Ask a Financial Expert Online.
Thank you for your question, and thanks for using JustAnswer.com
The IRS will not hold back your information simply because you have back taxes
The information will be able to be used by your child to apply for financial aid
I am the grandmother of the child trying to get her dad's (who is my son) info. This is what he told her and the school has no record
of their info
When you fill out the fafsa you put that information in
I guess she had to wait to get it from him. And now he is saying itis filed and
all the school has to do it go to the IRS and get it
His wife also told me the IRS would not release the info
No, when you fill out the FAFSA you enter in that information. The school does not receive anything from the IRS
and her hands were tied
So, your son would have to give his daughter that information, and she would put it in her FAFSA application
If her father lost the information, all he needs to do is request a transcript from the IRS by calling 1-800-829-1040
So, I guess he is just giving her the run around
Getting a transcript of the info is something that can be done
Yes, you can get a transcript but the taxpayer would have to be the one to request it
the school wouldn't request that information
OK...thank you, XXXXX XXXXX been very helpful. At least we might can get
him to get the info
Glad I could be of help. Please let me know if you need anything else, and please take a moment to rate my response as "Excellent" so that I may receive credit for assisting you today


text:
Megan and Liz in-studio
Megan and Liz stopped by G105 studios on April 18th 2012.
They talked with Tyler about their big break, their opportunity to open for the iHeartRadio music festival and even covered a One Direction song!
Congratulations to Megan and Liz for winning the Macy's iHeartRadio Rising Star Contest and performing at the 2011 iHeartRadio Music Festival!
Click Here to see photos from the live in-studio performance!
Megan and Liz talk about their big break and perform "Old Skool Love"
Megan and Liz discuss their new album, answer some questions from Twitter and cover One Direction's "What Makes You Beautiful"
Megan and Liz perform "Are You Happy Now?"
Want to see more? Follow us on Twitter!


text:
Crafts for Kids and Adults: Favorite Pastimes
People are being affected by our economy's severe downturn on every level. Rising fuel costs have impacted everything from the price of groceries to the cost of getting to work everyday. Joblessness is up and the discretionary income is down. But some of the most telling signs of the times are the changes in the way people spend their leisure time. We've all read media reports about the trend away from vacations and toward 'staycations,' where people stay at home instead of traveling. Along the same lines, there's a significant trend toward finding recreational activities that can substitute for more costly alternatives. What are the emerging trends? Crafts for kids, quilting, and gardening.
As for adults, two trends are emerging. Just as knitting and sewing enjoyed a resurgence during the past decade, the latest 'old world' pastime to hit the big time is quilting. Although it looked as though the art of quilting was on the endangered list, hobbyists are bringing it back to life and enjoying the detail and craft involved in making a quilt. As a result, there is a wealth of helpful new books on quilting projects, including how-to books, quilting patterns, and quilting designs.
The other emerging trend for adults is gardening. Since people are spending so much more time at home, they're finding that gardening is a great way to inexpensively spruce up the yard and get an unparalleled sense of satisfaction.
The recent resurgence of interest in crafts is not only a matter of economics. It's also a reflection of people's new environmental sensibilities. The concepts of reduce, reuse, and recycle are the cornerstone of crafting. Tidbits laying around the house can be put to use in crafts for kids, pieces of fabric can be put together to make gorgeous quilting designs, and some types of waste can be composted and used as fertilizer in gardening. Save money and save the planet? It's a winning combination!
To learn more about subjects like crafts for kids please visit the web site at: http://www.NaomiFrieszinfoproducts.com
For more information and informative related articles and links about this subject matter and content, please visit Majon's Crafts | Hobbies | Art Supplies directory: http://www.majon.com/directory/crafts-hobbies-art-supplies.
About the Author
+Chris Robertson is a published author of Majon International. All Rights Reserved. Copyright 2014 (Sun Aug 03 2008) Majon International. Majon International is one of the worlds MOST popular internet marketing and internet advertising companies on the web. Visit their main business resource internet marketing web site at: http://www.majon.com


text:
"Yes still vegetarian and I plan to stay so. I grew up an a vegetarian home, but my parents always encouraged us to try new things even meat if we so desired (although in retrospect I don't think that this would have extended to unclean…"
93 members64 Comments 16 Likes
Ashton has not received any gifts yet
Welcome, Ashton! Glad you could join us. :D
Please consider joining a group to meet people and talk about anything that's on your mind, Hang With Friends.
© 2017 Atheist Nexus. All rights reserved. Admin: Richard Haynes. Powered by


text:
Guernsey win first tournament in style
Guernsey 219 (Frith 109, Prevost 53, Aamir Waheed 3-35) beat Norway 110 (Barton 51, G Rich 4-22) by 109 runs
Guernsey duly completed a clean sweep, winning their fifth game of the ICC European WCL Division Two Championship by comprehensively beating Norway by 109 runs at KGV. Their total of 219 was dominated by two individual performances – Jeremy Frith scored his second century of the tournament, while skipper Stuart Le Prevost made 53. Frith scored 109 from just 107 balls, striking 13 fours and three sixes, as he shared in a match winning stand of 131 with Le Prevost.
The stand took 140 balls, with Le Prevost's 53 occupying 77 deliveries. At 186 for 3 with 14 overs remaining, a total of 280 looked on the cards, but a dramatic collapse saw them lose seven wickets for 33 runs.
Aamir Waheed (3 for 35), Shahbaz Butt (3 for 37), and Aram Dawood (2 for 22) were shared the wickets for Norway. But any thoughts that the batting failures could be costly were quickly dispelled as Lee Savident (3 for 8) ripped through the Norwegian top order to leave them reeling at 29 for 4. A fifth wicket stand of 57 between Will Barton (51) and Shahbaz Butt (23) gave Norway some hope, before the spin combination of Gary Rich (4-22) and Jeremy Frith (2-22) saw them dismissed for 110 in 38.1 overs.
It was a much deserved win for Guernsey, who played the most consistent cricket all week.
Israel 222 (Gutman 73) beat Germany 166 (Gutman 4-20) by 56 runs
A fine allround performance from Israeli captain Herschel Gutman has led Israel to their first ever win over Germany as they ended their ICC European Championship Division Two campaign with a 56-run win.
After winning the toss and choosing to bat first, Israel started their innings steadily but then lost wickets, reaching 51 when the danger-man Eshkol Solomon was the fourth wicket down in the 14th over. This brought Herschel Gutman to the crease and he played what was very much a captain's innings.
He put on 66 for the fifth wicket with Gabriel Schachat and 74 for the sixth wicket with Josh Evans, playing the dominant role in each of those partnerships. Gutman was eventually out for 73 with the score on 194, and the tail put on 28 more runs to help Israel finish on 222, bowled out with one over to spare.
Germany's reply started badly, with the Israeli opening bowlers reducing them to 9 for 3 in 5.4 overs. But the fourth wicket pairing of Andre Leslie and Tarun Rawat recovered the innings, putting on 103 together. Leslie was out having scored 39, and Rawat followed him five overs later having scored 54.
Once those two were gone, the German reply lost its impetus, and the game drifted towards its inevitable conclusion. Gutman finished with 4 for 20 to complete his allround performance and Germany were bowled out for 166 with one ball to spare, Israel winning by 56 runs.
Despite their defeat today, Germany still qualify for Division Eight of the Pepsi ICC World Cricket League by virtue of their win in the head to head match with France. That tournament is due to be played in Kuwait later this year.
France 282 for 6 (Ayyavooraju 90, Malik 81*, Sadhwani 2-54) beat Gibraltar 139 (Farrell 35, Akbar 3-10) by 143 runs
France ended their tournament on a winning note following a thoroughly professional display against Gibraltar at College Field. France's solid batting performance was highlighted by a brilliant knock from the talented Arun Ayyavooraju (90) and a destructive innings of 81 from the explosive Shahid Malik. Malik's 81 occupied just 36 balls and contained 6 sixes and 5 fours, as the Gibraltar bowlers wilted in the heat. Arun Ayyavooraju was more circumspect, content to play the anchor role – his innings of 90 took 144 balls and included 8 boundaries.
There were useful cameos from Usman Khan and Waseem Bhatti who both scored 21 in the French total of 282 for 6. The wicket-takers for Gibraltar were Karan Sadhwani (2 for 54), Iain Latin (2 for 62) and Vickram Khatwani (1 for 57).
In reply Gibraltar got off to a decent start with Ian Farrell (35) and Karan Aswani (29) adding 62 for the first wicket. Both were dismissed in quick succession by Shahid Malik (2 for 23), before they pressed the self-destruct button. They suffered no fewer than four run-outs, as the sharp French fielding put them under increasing pressure.
Ali Akbar (3 for 10) wrapped up the tail as Gibraltar were eventually dismissed for 139 despite some late resistance from skipper Christian Rocca (20).
The win gives France six points, but they finish third below Germany by virtue of the fact that they lost their head to head encounter.
Liam Brickhill is a freelance journalist based in Cape Town
Comments have now been closed for this article


text:
Stay Connected
Posted on August 22, 2013
By Holly Walker
It's always good to be in the know, and here at Tyler, there are lots of ways you can stay up-to-date. Here are just a few:
The College's Facebook page is a great way to interact with the College and with your fellow students. It also is a good place to go to find out about fun events and activities, important dates, student successes and much more. What makes Facebook work? You. We want to hear from you, so post your photos, tell us about your experiences, and ask questions. Like us at www.facebook.com/johntylercc.
The College uses Twitter for quick reminders and updates. It's a great way to get quick messages about what's happening at Tyler. Follow us at www.twitter.com/johntylercc.
Tyler Alert
Tyler Alert is a system that allows the College to send urgent text messages and e-mails about emergency situations and about closings and delays due to inclement weather. It's a voluntary system, so you must sign up for it if you want to receive these messages. Just go to www.jtcc.edu/tyleralert to get started.
Photos are a fun way to show what's happening at Tyler. Want to enjoy the Commencement ceremony or Scholarship Celebration Night? Interested in seeing what happened at the Fool for Art festival? Curious about a student activity? Check out www.flickr.com/johntylercc, and take a photographic tour of what's going on at Tyler.
Experience events, learn about a degree program and hear from our students – you can do all this and more when you explore our YouTube channel at www.youtube.com/johntylercommcollege.
And, don't forget – one of the best ways to stay connected to Tyler is through our web site. From program curriculum, financial aid information and student clubs to news, important dates and online publications – jtcc.edu is a great resource for all students.
Follow Us
Get More Information:
College Relations
Holly Walker, Public Relations Manager


text:
Courses of Instruction
Theatre (THTR)The terms indicated are expected but are not guaranteed. For the courses offered during any given term, consult the Schedule of Classes.
THTR 101 Introduction to Acting (4, FaSp) Study of genres, terminology, and disciplines of acting; fundamental techniques necessary for performance; scene study from contemporary plays.
THTR 110 Dramatic Analysis (2, Fa) Actors work on the text: analysis in rehearsal of scripts drawn from contemporary realism for dramatic characterization. Corequisite: THTR 115, THTR 120a, THTR 140a.
THTR 115 Movement I (2, Fa) Basic training for the actor's body for expression and communication. Awareness and control through mind-body techniques. Corequisite: THTR 110, THTR 120a, THTR 140a.
THTR 120ab Acting I (2-2, Sp) Basic principles and techniques of acting through theatre games and improvisation. Introduction to contemporary texts, basic characterization and cold reading techniques. Open to B.F.A. majors only. Corequisite: a: THTR 110, THTR 115, THTR 140a; b: THTR 140b.
THTR 121abx Fundamentals of Acting (2-2, FaSp) a: The elements of the actor's imaginative skills. b: Continuation of THTR 121a. Not available for credit to theatre majors.
THTR 122 Improvisation and Theatre Games (2, max 4, FaSp) Individual and group exercise to free the actor physically and emotionally and to stimulate creativity, imagination, and self-expression.
THTR 124abx Character Acting (2-2, FaSp) a: Concentration of imaginative processes which develop the individual characteristics of a dramatic role. b: Continuation of THTR 124a. Not available for credit to theatre majors.
THTR 125 Text Studies for Production (4, Fa) Focuses on the questions, artistic choices, methodologies, and approaches of an actor/director/designer in the preparation of a production score prior to rehearsal.
THTR 130 Introduction to Theatrical Production (2, max 4, FaSp) Introduction to the non-performance areas of theatrical production (administrative, design, and technical fields) through hands-on participation in USC productions.
THTR 132ab Art of Theatrical Design (2-2, FaSp) a: A guided student exploration of the fundamentals of applied design elements and their use as creative tools in the design process; b: Development of the artistic process and theatrical design vocabulary of the individual within the environment of collaborative storytelling.
THTR 140ab Voice I (2-2, Fa) Physiological mechanism of voice: breath control, phonation, resonance, articulation of language for the stage; expressive use of stress, intonation and rhythm. Corequisite: a: THTR 110, THTR 115, THTR 120a; b: THTR 120b.
THTR 152 Introduction to Scene Study (2, FaSp) Application and consolidation of the skills, knowledge and techniques acquired in the study of fundamentals of acting encountered in THTR 101. Prerequisite: THTR 101.
THTR 181ab Modern Dance (2-2, FaSpSm) a: Techniques of modern dance; elements of dance composition. b: Advanced techniques of modern dance; elements of choreography and production.
THTR 182ab Advanced Modern Dance (2-2, FaSpSm) a: A continuing study of modern dance skills toward an advanced level of competency. b: Advanced technique and composition.
THTR 183abcd Ballet (2-2-2-2, FaSpSm) a: Beginning techniques of classical ballet consisting of basic barre and center work; basic body and arm positions, port de bras, allegro and elementary adagio. b: Intermediate techniques of classical ballet with intermediate barre, adagio, allegro combinations and pirouettes; development of a working knowledge of ballet terminology. c: Advanced techniques of classical ballet; emphasis on clarity and precision with execution of movement. Study of beats, tours, advanced adagio and allegro, grand combinations, pointe-work. d: Elementary to intermediate level ballet technique en pointes for women and men; conditioning and barre exercises; variations from classical and modern ballets.
THTR 184abc Jazz Dance (2-2-2, FaSpSm) a: Beginning techniques and practice of jazz dance. b: Continuing study in the techniques of jazz dance. c: Advanced techniques of jazz dance: advanced warm up, rhythmic and isolation exercises, turns and advanced jazz sequences or combinations.
THTR 185 Hip-Hop Dance (2, max 4, FaSpSm) Elements of Hip-Hop dance, including technique, movement, musical rhythm, tempo and phrasing required to develop the skills needed to perform this unique dance form.
THTR 188ab International Style Ballroom Dance (2-2, FaSpSm) Representative ballroom dances: waltz, slow foxtrot, tango, and quickstep. a: Beginning. b: Intermediate. Graded CR/NC.
THTR 189ab Tap Dance (2-2, FaSpSm) a: Basic tap rhythms developed into elementary dances with progression of time steps and other combinations of sound. b: Continuing study of tap dancing including more complicated rhythmic patterns and combinations; polishing technique; combinations to varied music and introduction to advanced steps and combinations. Prerequisite: THTR 189a or departmental approval.
THTR 195 Theatre on Film (4, FaSp) Introduction to the theatre and its relationship to society through major plays in film versions. Separate screenings to be arranged.
THTR 201 Introduction to the Theatre (4, Sp) Gateway to the majors and minors in theatre. Introduction to and exploration of the creative elements of theatre art: playwriting, acting, directing, and design of scenery, lighting, and costume. Research on a selected area. (Duplicates credit in former THTR 100.)
THTR 210 Theory and Practice of World Theatre I (4, Fa) A multicultural and transnational examination of the history, theory and practice of theatre from its origins to the age of Shakespeare and Zeami. (Duplicates credit in former THTR 310.) Recommended preparation: THTR 125.
THTR 211 Theory and Practice of World Theatre II (4, Sp) A multicultural and transnational examination of the history, theory and practice of theatre from the Renaissance to the 19th Century. (Duplicates credit in former THTR 311.) Recommended preparation: THTR 125.
THTR 212 Theory and Practice of World Theatre III (4, Sp) A multicultural and transnational examination of the history, theory and practice of theatre from the late 19th century to the present date. Recommended preparation: THTR 125.
THTR 215ab Movement II (a: 2, Fa; b: 2, Sp) a: Training of the actor's body with focus on development of precision and strength. Prerequisite: THTR 115; corequisite: THTR 220a, THTR 240a. b: Training of the actor's body with focus on mask work for the development of precision, strength and expressiveness. Prerequisite: THTR 215a; corequisite: THTR 220b, THTR 240b.
THTR 216 Movement for Actors (2, FaSp) Training and practice in the coordination of the physical apparatus of the actor utilizing various movement techniques through improvisation.
THTR 220ab Intermediate Acting I (2-2, FaSp) Continuing development of imagination leading to an increased range of dramatic expression through the formalized text of William Shakespeare. Prerequisite: THTR 120b.
THTR 222 Stage Make-up (2, FaSp) Principles of stage make-up materials and skills allowing the actors to enhance their features and techniques for moderate and extreme aging, injuries, and character roles.
THTR 230 Communicating Theatrical Design Concepts (3, FaSp) The visualization and communication of design ideas through free-hand and mechanical drawing, including orthographics, isometrics, perspective, shades and shadows, plans, sections and elevations.
THTR 231ab Costume Construction (3-3, FaSp) Historical survey, theory and practice in construction of costume, emphasis on period and style. Recommended preparation: THTR 125, THTR 201.
THTR 232 Stage Lighting (3, FaSp) Theory and practice of theatrical lighting design including electricity, radiant energy, refraction, reflection, absorption, chromatic variation, and electronic controls. Prerequisite: THTR 131.
THTR 236 Stage Sound (2, FaSp) Basic audio engineering science, how sound is measured, basic transducers and signal flow. Operation of recording and playback equipment used in theatrical sound design/mixing.
THTR 240ab Voice II (2-2, FaSp) Development of the voice using material which explores the techniques of Shakespeare and his contemporaries. Prerequisite: THTR 140b; corequisite: a: THTR 215a, THTR 220a; b: THTR 215b, THTR 220b.
THTR 241 Methods and Materials (2, FaSp) Cutting-edge and traditional methods and materials that enhance both the planning stages and realization of the theatrical design.
THTR 252ab Intermediate Acting I (2-2, FaSp) a: Polishing the actor's skills through analysis and class performance of scenes from plays. b: Continuation of THTR 252a.
THTR 280 Dance as an Art Form (4, FaSpSm) Gateway to the minor in dance. Concepts of art exemplified in dance; origins and evolution of classic and contemporary dance forms; elements of art criticism applied to dance productions. Required attendance at dance concerts and art exhibits.
THTR 282 Activities for Professional Preparation: Dance (1) Fundamental movements and composition in modern and aerobic dance; study of popular social dance forms; teaching and evaluation methodologies; course and class planning.
THTR 285 Elements of Dance Production (4) Theoretical aspects of creativity, choreography, accompaniment, dance notation, and production; application in individual and group composition. Lecture, 2 hours; performance laboratory, 6 hours.
THTR 295 Theatre in America (2, max 8, FaSp) Current state of American theatre, through a study of acting, playwriting, criticism, stage design, lighting, and dramatic styles.
THTR 300 Introduction to Modern Drama (4, Fa) An investigation of the ideas, forms, genres, and thematic concerns of modern drama. Equal emphasis is placed on the plays and their historical contexts. (Duplicates credit in former THTR 200.)
THTR 301 Greek and Roman Theatre (4, Fa) Examines the function of theatre, production and acting conventions, and the drama of classical Greece and Rome. (Duplicates credit in former THTR 213.) Recommended preparation: THTR 125, THTR 201.
THTR 302 Shakespeare in His World (4, Sp) The plays and theatre of Shakespeare, the influences on his work and his contemporary world. (Duplicates credit in former THTR 214.) Recommended preparation: THTR 201, THTR 210, THTR 211.
THTR 305ab Directing (4-4, FaSp) Examination of basic directorial principles. Pre-production analysis and rehearsal procedures; relationship of the director to actor; integration of technical aspects of production. Prerequisite: THTR 305a before b.
THTR 313 Comedy of Manners (4, Fa) Study of the development of Comedy of Manners, with primary focus on Restoration Comedy of Manners. Recommended preparation: THTR 201, THTR 210, THTR 211.
THTR 314 Advanced Topics in Modern Drama (4, Sp) 20th century realism and the avant-garde. Recommended preparation: THTR 201, THTR 210, THTR 211.
THTR 315ab Physical Theatre I (2-2, FaSp) Actor training anchored by rigorous physical movements. Activities include comedy, clowning, juggling, and mask work. Open to B.F.A. Acting majors only.
THTR 316 Advanced Movement for Actors (2, FaSp) Advanced physical training for the B.A. actor utilizing various movement techniques through improvisation. For B.A., Theatre (Acting) students only. Prerequisite: THTR 216.
THTR 320ab Intermediate Acting II (2-2, FaSp) Further development of range and breadth of performance skills with emphasis on texts of heightened language and style. Open to B.F.A. acting majors only. Prerequisite: THTR 220b; Corequisite: a: THTR 315a, THTR 340a; b: THTR 315b, THTR 340b.
THTR 330 Scene Design I (4, Fa) Historical styles, methods, and dramatic analysis for scene design as applied in contemporary practice. Recommended preparation: THTR 130ab.
THTR 331 Costume Design I (4, Sp) Historical styles, methods, and dramatic analysis in costume design as applied in contemporary practice. Execution of costume designs for assigned works. Recommended preparation: THTR 231.
THTR 332 Lighting Design I (4, FaSp) Historical styles, methods, and dramatic analysis in lighting design as applied in contemporary practice.
THTR 333 Stage Management I (3, Fa) Basic skills, including assembly of prompt book, blocking notation, and organizational and communication procedures applied in theatre production.
THTR 335 Scenic Construction (3, FaSp) Technology, organization, and operation of the theatrical scene shop centered around the proper and safe use of tools, the choosing of materials, and methods of construction. (Duplicates credit in former THTR 131.)
THTR 336 Introduction to Sound Design (3, FaSp) The art and techniques of theatrical sound design. The use of music and ambient sound in theatrical presentations. Design elements as metaphor.
THTR 340ab Intermediate Voice (2-2, FaSp) Extended development of vocal freedom and range, acquisition of articulate speech. Enhancement of vocal power and resonance, techniques for performing with a dialect. Open to B.F.A. Acting majors only. Concurrent enrollment: THTR 315ab, THTR 320ab.
THTR 341x Voice for the Non-Theatre Major (2, Fa) Designed for the non-theatre major focusing on the range, color, texture, and projection of the human voice in a variety of situations. Not available for credit to theatre majors.
THTR 342ab Basic Voice (2-2, FaSp) a: Examination of the individual voice centering on resonance, tone, flexibility, and support through dramatic selections for transmitting meaning and emotion of character. b: Continuation of THTR 342a.
THTR 343 Musical Theatre Audition (3, FaSpSm) Designed to give students confidence and integrity for auditions in musical theatre. Choosing appropriate material and preparation for the audition and performance. Audition required.
THTR 352ab Intermediate Acting II (2-2, FaSp) a: Building and sustaining character in drama. b: Continuation of world drama. Class performance and critique. Prerequisite: THTR 252b.
THTR 354 Acting Shakespeare (2, FaSp) Basic approach to the acting and analysis of the highly formalized texts of William Shakespeare. Prerequisite: THTR 101; recommended preparation: THTR 252b.
THTR 365 Playwriting I (4, FaSp) Essential elements of playwriting through weekly assignments, students' initiative, occasional productions of scenes, and extensive classroom analysis.
THTR 366 Playwriting II (4, FaSp) Continuation of the work begun in THTR 365. Prerequisite: THTR 365.
THTR 380 Historical Approaches to Dance (4) Roles of dance in pre-technological societies; development of classic and romantic ballet from medieval, baroque, and renaissance periods to contemporary forms.
THTR 385 Choreography and Performance (4) Aesthetic concepts in dance and related arts; integration of concepts in choreography, performance, and production; philosophical bases of dance criticism; critical analysis of performances. Lecture, 3 hours; performance laboratory, 3 hours.
THTR 388 Senior Seminar in Dance (4) Synthesis of principles, philosophy, and history of dance, culminating in senior individual project.
THTR 390 Special Problems (1-4, FaSp) Supervised, individual studies. No more than one registration permitted. Enrollment by petition only.
THTR 395m Drama as Human Relations (4) A focus on American ethnic and multicultural diversity from the perspectives of gender, race, and myth as revealed in plays, film, and other performance media.
THTR 396 God, Drama and Entertainment (4, FaSp) An exploration of money, power, sex and love in relation to secular and spiritual values represented by contemporary theatre media.
THTR 397 Theatre Practicum (1-4, max 12, FaSpSm) Substantive participation in productions sponsored by the school and supervised by the faculty.
THTR 403 The Performing Arts (4, FaSp) An interdisciplinary inquiry into the aesthetics of the performing arts. Examines a dramatic classic and its adaptation into musical theatre, opera, ballet, and film. (Duplicates credit in the former THTR 303.)
THTR 404 Acting Theory (4, FaSp) Examination of the theoretical foundations of acting as an art form through the reading of primary historical texts.
THTR 405m Performing Identities (4, FaSp) This course explores the live performance medium as a creative means of social redress and personal expression. (Duplicates credit in the former THTR 393m.)
THTR 406 Theatre on the Edge (4, FaSp) An exploration of the art of theatre at the edge of possibilities.
THTR 407ab Drawing and Rendering for the Theatre (2-2, FaSp) Drawing and rendering techniques appropriate for theatre designers. a: Drawing and drawing theory. b: Drawing and rendering. (Duplicates credit in former FA 407ab.)
THTR 408ab Dialects (2-2, FaSpSm) a: The study of standard American stage dialect using the international phonetic alphabet. b: The study of accents and regional dialects. Prerequisite for b: THTR 408a.
THTR 415ab Physical Theatre II (2-2, FaSp) Advanced Physical Acting focusing on principles of verbal/non-verbal improvisation and communication. Elements of textual analysis, including development of character mask and of the ensemble. Open to B.F.A. Acting majors only. Prerequisite: THTR 315b.
THTR 417 Stage Combat (2, FaSp) Introduction to safe and effective portrayals of violence for the stage. Training and practice of unarmed stage combat skills. Recommended preparation: THTR 216.
THTR 420ab Advanced Acting (2-2, FaSp) Contemporary material from plays and screenplays with an emphasis on individual challenges and problems. Open to B.F.A. acting majors only. Prerequisite: THTR 320b; Corequisite: a: THTR 415a, THTR 440a; b: THTR 415b, THTR 440b.
THTR 421 Effective Oral Presentation (2, FaSp) Developing and practicing performance skills necessary to give an effective oral presentation.
THTR 430 Stage Management II (3, Sp) Application of stage management procedures required in the professional theatre. Prerequisite: THTR 333.
THTR 431 Seminar in Theatre Design (2, FaSp) Research into the application of contemporary topics relevant to theatrical design within the diverse cultural environment of the greater Los Angeles area.
THTR 432ab Scene Design II (3-3, FaSp) Continuation of THTR 330. Evolution of scene design through analysis of script, environmental factors, and styles. Prerequisite: THTR 330.
THTR 433ab Costume Design II (3-3, FaSp) Evolution of costume design through analysis of script, environmental factors, and styles. Prerequisite: THTR 331.
THTR 434ab Lighting Design II (3-3, FaSp) Continuation of THTR 332. Evolution of lighting design through analysis of script, environmental factors, and styles. Prerequisite: THTR 332.
THTR 435 Advanced Theatrical Drafting (3) Drafting style and complex graphic communication. Emphasis on creating professional plates, developing an individual style and graphic problem solving.
THTR 436 Sound for Theatre (3, Fa) Introduction to electronic sound and sound reinforcement, including basic equipment, recording, editing, and show operation.
THTR 437 Scene Painting (3, Sp) Techniques, materials, and equipment of the scenic artist, including both historic and modern methods. Recommended preparation: paint and drawing experience.
THTR 438 Technical Theatre (3, Sp) Theory and practice of technical theatre. Emphasis is on technical problem solving and graphic solutions to technical theatre. Prerequisite: THTR 230.
THTR 439 Stage Properties (3, Sp) Organization, management, and construction of properties for the theatre.
THTR 440ab Advanced Voice (2-2, FaSp) Continuation of exercises related to the individual student for the stage. Open to B.F.A. students only. Prerequisite: THTR 340ab.
THTR 441 Advanced Sound Design (3, Sp) Advanced exploration of theatrical sound design theory and related technology; creative uses of music, sound effects, and audio equipment in modern theatres. Prerequisite: THTR 436.
THTR 442 Voice-over Acting (2, FaSp) Acting techniques, recording studio technology and editing for the field of voice acting and voice-overs. Prerequisite: THTR 342a or THTR 408a.
THTR 444 Applied Voice: Speech and Text (3, Fa) Intensive study of speech and voice regarding text, context, environment, dynamics, range, and accent. Recommended preparation: THTR 342ab.
THTR 452ab Advanced Acting (4-4, FaSp) Intensive investigation and performance of audition techniques. Scene study skills developed, including cold readings, first readings, rehearsal procedure, performance process, camera/taping. Prerequisite: THTR 352b.
THTR 458 Visiting Artist Workshop (2, max 4, FaSp) A workshop course taught by the visiting artist holding the George Burns chair. Course topics will be determined by the instructor.
THTR 459 Songwriting for the Musical Theatre (2, FaSp) Structure, character and intention in songwriting for the musical theatre. Writing for the voice and examination of how form follows content. Portfolio submission required.
THTR 465 Playwriting III (4) Analysis of a full-length play or its equivalent with continued production opportunity. Prerequisite: THTR 366.
THTR 466 Playwriting IV (4) Continuation of the work begun in THTR 465. Prerequisite: THTR 465.
THTR 468 Theatre in Education (4, Sp) Exploration of the theory and practice of theatre arts in the learning environment. Design and implement projects to support elementary and secondary education. Recommended preparation: THTR 201, EDUC 200.
THTR 471 Senior Showcase (2) Designed to provide the graduating students with an opportunity to select, prepare and perform for agents, directors and producers in film, television and theatre. Audition required. Open to Theatre majors only.
THTR 472 Professional Preparation for Actors (2, FaSp) Introduction to the skills, knowledge, and promotional materials that will enable the student to manage an independent career in the performing arts. Open only to theatre majors at the senior level. Recommended preparation: THTR 101, THTR 252ab.
THTR 475 Acting on Camera: The Collaborative Process (4, max 8) Acting students will learn to develop on-camera acting skills and to collaborate with student directors and cinematographers from the School of Cinematic Arts. Recommended preparation: 300-level acting course.
THTR 476m African American Theatre, Dance, and Performance (4) A survey of African American theatre and cultural performance traditions as a reflection of both African American culture and American history.
THTR 477 Theatre and Therapy (4, Fa) Explores theatre as a healing art form. Techniques include games, improv, playback theatre, Boal's and Moreno's drama therapy, and Jungian dream theatre to name a few. Work with incarcerated youth, gay/lesbian/bi teens, elderly, disabled and other populations.
THTR 478ab Theatre for Youth (2-2) a: Theory and practice of youth theatre, including development and rehearsal of mainstage productions. Emphasis on multicultural and bilingual pieces. Enroll by audition or interview only. b: Continuation of a, bringing developed pieces into production for regional K-12.
THTR 479 Solo Performance (4, Fa) A writing-performance workshop in which students write, develop, and rehearse original, autobiographical and character monologues and perform them at the end of the semester.
THTR 480ab Performance for Camera (2-2, FaSpSm) a: Structured to address the dynamics of acting in relation to film/television. Refining the students' understanding of the similarities/differences between acting on stage/film. (Duplicates credit in former THTR 480.) b: Continued exploration of acting for film/television. Furthering the student's understanding of the similarities/differences between acting on stage/film.
THTR 481 From The Border to Broadway (4, Fa) An investigation of the role that Latina/o plays and performances have played in creating and documenting a contemporary American experience of the theatre.
THTR 482 Choreography for Television (4) Creative choreography of theatrical dance for television. Emphasis on rhythmic analysis, versatility, composition, notation techniques, and stylizing.
THTR 483 Dance Performance (2, max 8, Sm) Preparation, rehearsal, and performance of experimental choreography in main stage repertory.
THTR 484 Acting in Television Commercials (2, FaSm) An on-camera, workshop-style introduction to techniques, perspectives and theories unique to performing in television commercials. Recommended preparation: a 300‑level acting or voice class.
THTR 485 Advanced Solo Performance (4, Sp) An advanced writing and performance workshop. Students will write and rehearse an extended personal monologue to be presented at the end of the semester. Prerequisite: THTR 479.
THTR 486 Creating Characters (4) A writing workshop devoted to the creation of living, breathing characters, exploring a range of techniques designed to develop authenticity.
THTR 487 Promotion for the Performing Arts (4, Fa) Introduction and overview of all aspects of marketing the arts including both non-profit and commercial organizations.
THTR 488m Theatre in the Community (4, Fa) Research and actively develop the theory of theatre as a moving political, social, economic and spiritual force of change within the local community.
THTR 489 Theatre Internship (2-6, max 12, FaSpSm) Practical experience in the entertainment industry.
THTR 490x Directed Research (2-8, max 8, FaSpSm) Individual research and readings. Not available for graduate credit.
THTR 491 Theatre Organization and Administration (4, Fa) Budgets, contracts, box-office procedures, public relations; personnel and executive policies of the school, community, and professional theatre.
THTR 492 Producing Theatre (4, Sp) Analysis of all procedures involved in producing theatre (commercial or non-profit) including legal and business guidelines and contracts. Prerequisite: THTR 491.
THTR 493ab Periods and Styles (2-2, FaSp) A survey of the influence of historical and cultural events on the evaluation of theatrical styles. a: Classical to Jacobean. b: Restoration to 20th century.
THTR 494 Raising Money for the Arts (4, Sp) Overview of fundraising techniques for non-profit theatre including grantsmanship, board development, direct mail soliciting, and money raising activities and events.
THTR 495 Experimental Theatre Workshop I (4, max 8, FaSp) Guidance and direction in the production of new and experimental plays for a public audience.
THTR 496 Experimental Theatre Workshop II (4, max 8, FaSp) Continuation of THTR 495ab. Enrollment by audition only.
THTR 497 Advanced Theatre Practicum (2, max 4, FaSp) Intensive participation in a production sponsored by the school and supervised by the faculty, to increase and develop artistic growth. Prerequisite: THTR 397.
THTR 498 Production Analysis and Performance (4) Investigation and analysis of the work of a major dramatist and his milieu; production of one of his plays.
THTR 499 Special Topics (2-4, max 8, FaSp) Studies in selected areas of theatre art. Intensive practice in role and script interpretation and its psychological relationship to the audience.
THTR 501 Poetry and Prose into Drama (4, Sp) Plays for the stage shall be written using public-domain poetry and prose as inspiration and source material, complemented with exploring poetry, prose, and varied dramas as context for the student writer. Students should be well-versed in literature, and have written in one or more genres. Recommended preparation: reading poetry and novels.
THTR 504 The Art of Collaboration and Ensemble (2, FaSp) An investigation of the role that collaboration plays in making ensemble work. MFA Actors will collaborate with MFA Dramatic Writers in creating an ensemble company.
THTR 505 Staging Community-based Theatre (3, Sp) Explores the theory and practice of staging community-based popular theatre, including Theatre of the Oppressed, street theatre, witness theatre, agit-prop and festival theatre events.
THTR 510 Writing the Short Drama (2, FaSp) The art and craft of dramatic writing. In particular exploring its dimensions with regard to character and story development in the ten minute play.
THTR 512 Studies in Dramatic Analysis (2, FaSp) A skill-based workshop that uses a historical survey of theatre texts to develop critical reading skills along two different tracks: Acting and Dramatic Writing.
THTR 513 Seminar in History of the Theatre (4) Bibliography, historical evolution, patterns, and techniques of the theatre from primitive to modern times.
THTR 515abcdef Advanced Movement (2-2-2-2-2-2, FaSp) Advanced exercises in movement for the use of the body in relation to the stage. Corequisite for e: THTR 480, THTR 540e, THTR 555, THTR 575; corequisite for f: THTR 520e, THTR 540f, THTR 597.
THTR 520abcde Advanced Acting (4-4-2-4-2, FaSp) Advanced training in acting skills; emphasis upon individual needs. Corequisite for e: THTR 515f, THTR 540f, THTR 571, THTR 597.
THTR 521 Engaging Community Narratives (3, Fa) Provides training for actor/artists who partner with non-actors in community-based theatre projects.
THTR 525 Seminar in Contemporary Theatre (4, SpSm) Analysis of trends, problems, and the work of major figures in the contemporary theatre.
THTR 526 Seminar in Dramatic Literature (4) Study and analysis of world drama best representing changes in philosophies, aesthetics, and tastes of audiences.
THTR 528 Seminar in Dramatic Analysis (4, Fa) Drama as a living art; reading, analysis, and discussion of plays which best illustrate principles of effective playwriting.
THTR 529ab Textual Studies for Performance (a: 4, Fa; b: 4, Sp) Close textual reading of dramatic texts as a fundamental tool for rehearsal and performance.
THTR 530 Seminar in Dramatic Criticism (4) Dramatic criticism from the classical Greek period to the modern.
THTR 533 Seminar in the American Theatre (4, 2 years, SpSm) History and literature of the American theatre from its beginning to the present day.
THTR 535 Seminar in Aesthetics of the Theatre (4) Aesthetic theories which apply to the art of the theatre; emphasis upon acting and play direction.
THTR 540abcdef Advanced Voice Diction (2-2-2-2-2-2, FaSp) Advanced individual vocal development and application to a variety of professional and performance circumstances. Corequisite for e: THTR 515e, THTR 575, THTR 480, THTR 555; corequisite for f: THTR 515f, THTR 520e, THTR 571, THTR 597.
THTR 541 Diction and Dialects (2, Fa) Fundamentals of speech, diction, dialects and accents, including work in the International Phonetic Alphabet.
THTR 544 Embodied Poetics (2, Fa) Explores the relationship between vocal and physical expression and the spontaneity of human impulse within the community-based context.
THTR 545 Visiting Artists Master Seminar (4, Sp) A workshop taught by a master visiting artist, concentrating on his/her specific expertise in relation to dramatic writing. Course topics determined by the instructor. Recommended preparation: reading or viewing the work of the visiting master artist.
THTR 550ab Seminar in Scene Design (3-3, FaSp) Theory and practice of scene design; an intensive investigation into the relationship of a script to the visual statement.
THTR 552ab Seminar in Costume Design (3-3, FaSp) Theory and practice of costume design; intensive investigation into the relationship of a script to the visual statement.
THTR 553ab Seminar in Lighting Design (3-3, FaSp) Theory and practice of lighting design; intensive investigation into the relationship of a script to the visual statement.
THTR 554 Visual and Spatial Relationship (2, FaSp) The illustration and understanding of how space can be used to add emotional undertone, contextual information and strong staging ideas to a production.
THTR 555 Directing Fundamentals (2) To provide the basic foundations for the conceptualization and execution of works for the stage.
THTR 556ab Directing (2-2) A seminar/workshop in developing and testing directorial skills: text, design, acting, producing, and communication with an audience. Prerequisite: a: THTR 555; b: THTR 556a.
THTR 558ab Design for Directors (2-2) Basic elements of scenic, costume, props, lighting, sound, and make-up design, as they apply to the art of directing. Prerequisite: a: THTR 555; b: THTR 558a.
THTR 567ab Studies in Playwriting (4-4) a: Extensive examination of playwriting, dramaturgical development process, and readings of work toward the completion of professionally promising plays. b: Continued extensive examination of playwriting, dramaturgy, development, and readings of work toward the completion of professionally promising plays.
THTR 568 Popular Theatre for Education and Development (3, Sp) Theory and practice of Theatre in Education and Theatre for Development as resources for conscientization and liberation of communities at the margins of power.
THTR 571 Professional Seminar (2, Sp) Introduction to the world of the professional actor.
THTR 572 Global Dramatic Writing (4, FaSp) "Tour" of non-European and non-European American cultures with regard to their dramatic subject matter and traditions.
THTR 574 Dramatic Writing Across Media for the Playwright (4, FaSp) Intensive overview of career paths for playwrights in a wide array of media as they exist now, and as new opportunities arise.
THTR 575 Creative Production Projects (4) Advanced creative projects for production with emphasis on theatre as a synthesis of the performing arts.
THTR 577 Theatre and Therapy for Cultural Fieldwork (3, Sp) Explores the theory and practice of theatre and therapy in the cultural fieldwork and community development settings. Recommended preparation: THTR 587.
THTR 578 Theatre of the Oppressed Theory, Games, and Techniques (4, FaSpSm) Basic theoretical foundations of game playing for populations at the margins of power. Recommended preparation: THTR 521, THTR 544.
THTR 579 Writing Culture (3, FaSpSm) Borrows from anthropology, popular/community-based theatre, cultural studies, and literature to provide an array of methodologies and approaches to artistic collaboration across cultures and difference.
THTR 586ab Applied Theatre Arts: Los Angeles Residency (2-2, FaSp) a: Academic and group process context for students' work in their chosen local internships to help students engage with communities as cultural fieldworkers. b: Supervisory, logistical, and theoretical container for THTR 589a. Engages students in their curricular experiences in the cultural field in partnership with their community-based organizations.
THTR 587 Liberation Arts and Community Engagement – Theory (4, Fa) Historical foundations of liberatory movements using expressive arts towards community-based goals of reciprocal and collaborative empowerment, civil rights, psychological or political freedom and justice.
THTR 588 Liberation Arts and Community Engagement – Praxis (3, Sp) Theory and practice of developing liberatory and Theatre of the Oppressed events, from first community contact to staged public event. Prerequisite: THTR 587.
THTR 590 Directed Research (1-12, FaSpSm) Research leading to the master's degree. Maximum units which may be applied to the degree to be determined by the department. Graded CR/NC.
THTR 591 Seminar in Producing Theatre (4) A seminar in the theories and processes of producing theatre (commercial and non-profit).
THTR 592ab Participatory Action Research for Community-based Theatre (a: 2, FaSp; b: 2, Sm) a: Examination of theories and practices of Participatory Action Research (PAR) to better understand its various forms in community-based contexts using theatre as the research mode. b: Implements the theories and practices of THTR 592a towards the creation of a summative research paper on the local and international applied theatre arts experience.
THTR 593 M.F.A. Project (2, max 4, FaSpSm) Credit awarded upon completion of project. Graded CR/NC.
THTR 594abz Master's Thesis (2-2-0, FaSpSm) Credit on acceptance of thesis. Graded CR/NC.
THTR 595ab Graduate Playwrights' Workshop (4-4) a: Development of thesis plays utilizing faculty dramaturgical support and involvement of student actors/directors. Includes readings with/without audiences. Simulates professional development process. b: Continued development of thesis plays in a simulated professional development workshop process utilizing dramaturgy and involvement of student actors/directors. Culminates in staged readings.
THTR 597 Theatre Practicum (1-4, max 12, FaSpSm) Preparation, rehearsal, and performance of dramatic works in main stage repertory.
THTR 598 Applied Theatre Arts: International Externship (2) Supervisory, logistical and theoretical container for students exploring cultural fieldwork in international settings. Prerequisite: THTR 588.
THTR 599 Special Topics (2-4, max 8) Studies in selected areas of theatre art.


text:
As a freshman legislator, U.S. Rep. Scott Tipton has been part of the
problem in Washington, committing himself to the Republican agenda of
limiting President Barack Obama's effectiveness in order to deny him a
second term. This is cynical politics at its worst, and we are ready for
new representation for the 3rd Congressional District that better
aligns with the values of the Roaring Fork Valley.
Fortunately, there is a dedicated and energetic candidate in current
state House Rep. Sal Pace, a Democrat from Pueblo. Pace has a
distinguished record in the state Capitol of fighting for middle-class
Coloradans and protecting the environment — he is a champion of a bill
that requires the state to do business with Colorado companies whenever
possible, and he has sought protections for more of the Centennial
State's wild lands. We expect him to carry these causes on to our
nation's capital, and we are pleased to hear the support he has
expressed for legislation that would curb drilling in the Thompson
Divide area west of Carbondale.
Tipton, on the other hand, chose not to take a position on the Thompson
Divide legislation, when asked about it earlier this summer by the Aspen
Daily News. He said it would be better to wait and see the breakdown of
opinions being gathered by other legislators who are researching the
issue. Tipton also took a curious position last year, when other members
of Colorado's congressional delegation penned a letter urging the
federal government to release funding for the Roaring Fork
Transportation Authority's bus rapid transit project. Instead of signing
on to support an important infrastructure project that creates jobs and
sustains the economy in his district, Tipton declined to endorse the
letter, saying he had issues with a minor budget line item in the
project that would provide bus riders with wireless Internet for the
long commute. These are not examples of the leadership this community
needs to move forward.
On important federal matters, such as Medicare, Social Security and
social policy, we trust Pace far more than Tipton. Pace is on record
against the Paul Ryan budget that would convert Medicare into a voucher
program, while Tipton voted for and remains a committed proponent of the
plan. Pace will defend Social Security from the ever-present
conservative desire to turn it over to Wall Street. He also supports a
woman's right to chose, and will never use same-sex marriage as a wedge
There also is a third-party candidate in the race — Pueblo entrepreneur
Tisha Casida. We enjoyed meeting with Casida, who brings a fresh
perspective to politics, and who is clearly passionate about making
government work better for the people. However, she also espouses some
radical libertarian proposals, such as turning over to the states
control of national forests and other resources that are held in trust
for all Americans. Her views on fiscal policy are interesting — such as
her desire to abolish the Federal Reserve and let states, and even
individual counties, coin their own currency. These views are far
outside the mainstream, and sound like a recipe for chaos. If Casida
truly believes in her convictions, we hope she can find another role in
government, and work her way up from there.
Given the sprawling and diverse nature of the 3rd Congressional
District, which encompasses most of the Western Slope, plus Pueblo, we
need federal representation that does not engage in obstructionist
politicking. We need an experienced legislator who understands that
protecting the environment and supporting middle-class families are
critical values to the district. One candidate fits the bill, while the
others fall short. We urge voters to support Sal Pace for U.S. Congress
on Nov. 6.


text:
|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|DO NOT REPLY [Bug 4157] - javadoc errors
|Mon, 15 Oct 2001 02:07:01 GMT
DO NOT REPLY TO THIS EMAIL, BUT PLEASE POST YOUR BUG RELATED COMMENTS THROUGH THE WEB INTERFACE AVAILABLE AT <http://nagoya.apache.org/bugzilla/show_bug.cgi?id=4157>. ANY REPLY MADE TO THIS MESSAGE WILL NOT BE COLLECTED AND INSERTED IN THE BUG DATABASE. http://nagoya.apache.org/bugzilla/show_bug.cgi?id=4157 javadoc errors email@example.com changed: What |Removed |Added ---------------------------------------------------------------------------- Status|RESOLVED |REOPENED Resolution|WONTFIX | ------- Additional Comments From email@example.com 2001-10-14 19:07 ------- ------ Forwarded Message From: Dmitri Colebatch <email@example.com> Reply-To: email@example.com Date: Mon, 15 Oct 2001 09:17:05 +1000 To: tomcat-dev <firstname.lastname@example.com> Subject: Re: DO NOT REPLY [Bug 4157] - javadoc errors I've missed the lead up to this, so excuse me if this has already been discussed/discarded. The resolution of this bug (4157) is: "This is a deficiency in Javadoc, which is unable to resolve, or ignore, links to the JDK base classes." which is not strictly true. At the command line, javadoc has the the "-linkoffline" flag, which allows tags like @see to link to existing javadoc. In the command line version one could use something like: javadoc -linkoffline http://java.sun.com/j2se/1.3/docs/api . -d docs/ src/Test.java where in the current directory there is a file called package-list with one line "java.lang". Any links to java.lang packages would then go to sun's site. Obviously this is not idea, but may be an improvement on not having them resolved, and it would at least remove the build errors. I'm assuming the functionality is also easily acheivable through ant's javadoc task. People could then configure the offline link to their own copy of the javadoc to save bandwidth (o: I'm not familiar with the build system atm, but imagine this would be easy to do. If someone considers it worthwhile I'll happily do it and submit the patch. cheers dim
|View raw message


text:
Discover New Music: Lenny Kravitz - 'Sex'
Lenny Kravitz fans can now listen to the first single off of his forthcoming 10th studio album titled Strut, with 'Sex' being the lead track.
"This is one of my favorite tracks on the album. It was recorded with minimal instrumentation, guitar, bass and drums. The strength of the groove comes from the sparse production which creates space," Kravitz tells Billboard.
For fans that want the song now, they can get a free download of the single when you pre-order the album on iTunes.
Also on the horizon for Kravitz fans, is a 2014 tour, which is rumored to begin in the UK, according to Billboard.
Source: billboard.com, kpopstarz.com


text:
MandM Direct is one of the UK's leading fashion and sports retailers selling your favourite top brands - Bench, Firetrap, Timberland, Fred Perry, adidas, Nike, Puma, Henleys, Berghaus and loads more, all with savings of up to 75% off UK recommended retail prices.
Ratings guide
All Feefo reviews are gathered anonymously from genuine customers. Read more about how our review system works.
Deliver at tat day when expected
Brilliant its the best online shopping
Top quality, never let me down


text:
MADRID Jose Mourinho returned to Spain to frustrate surprise semi-finalists Atletico Madrid as his ultra-cautious Chelsea secured a 0-0 draw in a dreary Champions League first leg at the Vicente Calderon on Tuesday.
Atletico, through to the last four of Europe's elite club competition for the first time in 40 years, dominated the defence-minded 2012 winners and pushed hard for a goal but failed to carve out an advantage ahead of next week's return leg at Stamford Bridge.
Back in the Spanish capital for the first time since quitting Atletico's city rivals Real at the end of last season, coach Mourinho set out to thwart the home team rather than attack them and the result means his side will be slight favourites to advance to next month's final in Lisbon.
The Londoners lost goalkeeper Petr Cech when he fell heavily and hurt his right elbow in the 15th minute but neither his replacement Mark Schwarzer nor Atletico keeper Thibaut Courtois, on loan from Chelsea, were genuinely tested in a drab affair.
Home captain Gabi, who was booked and will be suspended for the return leg along with Chelsea midfielders Frank Lampard and John Obi Mikel, said he and his team mates were unhappy with the result.
"Atletico wanted to win the match at any cost but they defended very well," midfielder Gabi told TVE. "We knew they wouldn't want to concede a goal and I think Atletico played a much more attacking game.
"It leaves a bad taste in the mouth but the tie is still very open and we will go to Chelsea and try to win."
There was another cracking atmosphere before kickoff at the 55,000-capacity stadium next to the Manzanares river where the fans have been flocking to enjoy what is easily the Madrid club's best season in almost 20 years.
Diego Simeone, coach of La Liga leaders Atletico, deployed an attacking formation with Diego Costa leading the line supported by Raul Garcia, with Diego and Koke providing the creative impetus just behind.
Mourinho, by contrast, had containment in mind, with former Atletico captain Fernando Torres alone up front and defender David Luiz in a holding role in a five-man midfield.
The Portuguese had instructed his players to sit back and try to catch Atletico on the break and they were happy to let the home side have the ball in a first half short on entertainment.
Chelsea were forced to make an early change when Cech was knocked to the ground by a tumbling Raul Garcia at a corner and he was helped off clutching his right arm, an injury that will keep him out for the rest of the season.
Australian Schwarzer, 41, making only his second Champions League appearance, became the oldest player to feature in the knockout phase.
With almost the entire Chelsea team behind the ball, the hosts managed only one shot on target before the break, a weak Diego effort, and the visitors none.
Midfielder Mario Suarez flashed a long-range drive narrowly wide in the 34th minute and Costa had a volley well blocked by Cesar Azpilicueta but otherwise there was little goalmouth action.
The second half was a similarly cagey affair and there was more bad news for Chelsea in the 73rd minute when captain John Terry limped off after turning his ankle at a corner.
Gabi forced a decent save from Schwarzer in the 76th minute and Costa had a chance with a header late on as Atletico pressed for a goal.
Chelsea, though, held out reasonably comfortably and their players looked much the happier at the final whistle.
"It's a positive result," said their Spain full back Azpilicueta. "We knew it would be a difficult atmosphere.
"We fought hard and tried to keep the ball but the important thing is that we have the second leg at home. The players we will be missing are very important but we will fight to win."
Real Madrid entertain defending champions Bayern Munich in the other semi-final first leg on Wednesday.
- Reuters