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Andrea Weber
When did you begin dancing?
I started dancing when I was 4—a little itty-bitty thing—in the Stafford--Fredericksburg area of Virginia. And loved it from the beginning.
What kind of dance was it?
It was a mixture of ballet, tap and probably like an acro-thing, although I was doing gymnastics at the time as well. It just progressed for a couple of years like that. I took everything I could.
Were you drawn to one thing in particular?
Unlike other children, I didn't want to get rid of ballet at any point. I did competitions in tap, jazz and ballet. I knew that I needed to be doing ballet more, so I also supplemented [my training] with ballet classes at a stricter ballet school, and I did summer programs. I was drawn to ballet more than anything else, even though I loved the theatrical element of jazz and the rhythms of tap.
It's so easy to malign the competition track with Dance Moms and stuff like that, but what did that give you?
It was amazing. Well, it gave us all confidence. We were a family; we worked together. I had a wonderful group of friends. We grew up together. There was no competition among us. In a way, it was team spirit, which is strange for the dance world or an art form. I wouldn't trade any of that. And I know that I definitely saw some of the hard elements, the negative elements of that. It wasn't so much present in our school.
What did it teach you about performing, because you probably started when you were...?
Pretty young. I was probably 10. Naturally, I was already an animated child. I definitely learned how to be in front of a crowd and to choose moments onstage, and that kind of spontaneity. I don't think [competitions] are for everybody. I feel like I was very lucky because I got a lot of everything. I also participated in The Nutcracker, and I went to ballet schools, so I understood the whole discipline of what it took. I'd go back to this studio and understand that you had to work really hard to do well, and then leaving all of that and going to Juilliard—I have an appreciation for that. All of the kids that did performing-arts high schools and didn't have competitions, it all makes sense; it gave us each character at Juilliard. And we all had something to bring to the table from all of those many experiences as children.
Where were you studying ballet?
I would give the most credit to Lisa Avery, who has a school in Fredericksburg, Virginia, but I also did some programs with Washington Ballet and the Joffrey. I was actually the first group of kids to go to the Kirov Academy, which was the Universal Ballet Academy at the time.
The Moonies!
Yes. The Moonies. I only did it for a year; the Russian training wasn't for me. I loved being there and it changed my technique forever. I'm so glad I did it, but I got injured, probably from the excessive turnout—I'm not as turned out as other people. I went back to a regular high school and saw all of the catty stuff that high school brings, and I was like, Wow, I've had this other life experience where I'm 16 and I know I want to dance. I couldn't because I was injured and I was in a very competitive situation and people can't get along here. Why can't kids get along? [Laughs] It makes no sense. I went back home and was just like, Wow, okay.
How bad was the injury?
It was severe tendonitis. What had happened was I jammed my toe. It was actually a fluke situation where my toe was sticking out of my ballet shoe and I jammed it and then I just kept dancing on it—improperly—and developed such bad tendonitis in my ankle that I couldn't pli anymore. I just had no understanding that if I'd just taken time off—and that's such a long lesson to learn in the dance world, and one I still struggle with. But what was interesting from my perspective at that young age is that I felt like I was liked when I first got there, and then after my injury I had lost some sort of clout. I don't know if it was Russian or whatever, but I felt like I wasn't looked at anymore after the injury. I got very sad and I just had to go home. I felt like I shouldn't go home because I had this amazing opportunity, but I so wanted to go home. And making that choice was difficult. I actually remember the evening I made it. My dad was just like, "If you don't say anything right now, I'm bringing you home." I just felt like I couldn't ask to come home because it was this free ride to be in this prestigious school, but I was so sad because I couldn't get over this injury. It wasn't for me. Clearly. It was soon after that modern dance became a bigger part of my life. Going to Juilliard, I still was thinking possibly ballet. Because I excelled in ballet. But then I was like, I'm so tall. Doors open and close in a particular way, and I'm just so thankful now because Cunningham is where I would have wanted to be.
How did you learn about modern dance?
Juilliard. I had taken modern dance earlier than that at the ballet school, but not American modern dance.
What was the draw about Juilliard?
It was diverse and I've had a diverse upbringing. I didn't even think about going to another ballet school after the Kirov Academy because one of the things that was special was that I did have such a diversity of training. I was clear that I would like to go to a conservatory where I could still be dancing a lot, and there was also a discussion with my father about, "I would like you to go to a regular college." So we had a deal. I auditioned for CalArts and Boston Conservatory and Juilliard, and most of those were easy, but I also applied to regular universities. It was funny because I got into all of them, but my deal with my father was that if I got into Juilliard, I would go to a conservatory. It's such a hard life; it was a little bit of a struggle for my dad to say, "Go for it." And Juilliard was recommended to me by several people. I didn't know a lot about the program, but when I came to the audition, I was sold. The audition alone was so much dancing that I was like, This is where I want to be.
What was the audition like?
It's several classes: You take a ballet class, you take a modern class and then you do a solo. And then there's a cut. You do more—improv, more dancing, more class and then another solo. And then you find out. I did know I was going to get in; I could just tell by the end of the day that everything had gone so smoothly.
This was before Cunningham started being offered at Juilliard, right?
Yeah. It is really crazy. There are times when I've thought, I could've been so much younger when I got this job had I known about Cunningham. But I really wouldn't change anything that I've had to get to where I've gotten. Everything has just made me stronger and more diverse and I've gotten to meet so many incredible people. So I feel like I went to Cunningham at the right time.
Who did you dance with before?
I actually freelanced a lot with Ellen Cornfield and my good friend Charlotte Griffin, who I went to school with. She was my roommate and is solely responsible for me going to Cunningham actually. She kept pushing me to go to Cunningham. And I was like, "But it's so unemotional, Charlotte. I don't want to go to Cunningham." And she said, "I really think you need to go to Cunningham." She saw Derry Swan perform Way Station and possibly RainForest at ADF, and she was like, "This man loves tall, technical women, and you need to go there, and you're making up stories about what you think it is—you've never taken a class." So I took a class and I loved it. I was working primarily with Lila York. I was freelancing with a lot of little choreographers here and there and probably working with Ellen Cornfield the most out of those choreographers. But I was Lila York's assistant for four years. She would create material on me. It started with one gig. I went to Boston Ballet with her the first year, and then each year I would do more and more. She was creating her pieces on me, and then I would go to the ballet company with her and help her transfer the material. Her work is so step-heavy so for her to transfer all the material by herself was grueling; we had a great rhythm together. And by the end, I was also staging Celts, one of her ballets, by myself. I was kind of her rehearsal assistant and stager. But then there was this point where I was like, Okay I'm in my mid-twenties and I've done it in revearse. I'm a rehearsal mistress; I should be dancing. We finally talked about it. I remember I was at the Royal Danish Ballet with her, and there were all these injuries going on; there was actually a moment where they were going to possibly let me do a piece. And I was like, If I could do this, than why am I not doing this? And she understood. It was a hard moment because we had such a good rapport together, and financially it was great for me. It was such a great experience. I met all these directors and I even almost got a job at the Royal Danish as the modern assistant rehearsal director. I was like, I'm not even 28. I need to be dancing. And I had been taking classes at Cunningham. I tried to get a job in Europe, and I came back and became an understudy at Cunningham; it just happened naturally, once I had like broken up with Lila—I don't know. It felt like that, like a little bit emotional. [Laughs]
I knew you were connected with her, but I didn't know to that extent. Her work is so different from Cunningham's.
Yeah, and at first it was so funny because she was just like this big [York is small] and I'm this big and we were like, How is this going to work? But you know, actually she taught me how to be fast.
Did she?
I had always pushed myself because I'm tall, to dance quickly, and because of my tap training, I do think I have a natural inclination for rhythm, but Lila has quick, little feet. You know? Petit allegro, the [Paul] Taylor influence. I would be right in front of her, and she'd give me steps, and she'd have a video camera on and I'd have to do it. She's a big component of me being able to be a tall woman who can move quickly.
Did she just work with you?
She would sometimes get up and show me material. A lot of jumping. And then, there were always wild counts in her work—even though it was to music that would typically be in eights, she would break that down. So it would be like, Here's a six, a five and a 12. Her adagio work wouldn't be like that; it was much more abstract.
But it's interesting that you worked on something from the inside-out at such an early point in your career and then flipped it around.
Yeah. At Cunningham, I took classes, but I was working so much that I wasn't able to be consistent there. I would go off with her for weeks, months at a time, and I don't know. I knew I could put myself in the right place at the right time. I was working with Ellen; I had met Ellen through the Cunningham studios. And I do believe Ellen talked to Robert [Swinston] about me, so there was a little bit of an in there. And there was good timing. An understudy left, and he called me one day. I actually didn't really know he knew me so well, because I couldn't really take the early classes that often. Had I known better, that's the place where Merce would see you. Robert called me Fourth of July weekend and was like, "Come and take company class. I want Merce to see you. We have a spot open for an understudy." I became an understudy. And then about a year later, I found out that I was going to be hired. Rashaun [Mitchell], Marcie [Munnerlyn] and I joined in January of 2004.
What was your understudy experience like?
We were a good group. It was a little bit different then it is now—it was an ever-evolving thing. As Merce aged and traveled less, he worked more and more with the understudies to create material. Our group was kind of the first that he started that with. So it wasn't a ton of material. And it was actually hugely controversial at the time. So it was stressful and it was interesting because it did evolve. It was amazing just four years later to watch the group work with him on so much more material. I just felt a little bit guilty that we were working with him, even though it was what he wanted and how he wanted to work [with us] because the company was gone. At the time, it felt strange. It was totally scary to teach the company the material. I remember Cdric [Andrieux] was the first one I had to teach material to. Rashaun and I had learned part of a quartet—it was two duets, really. Derry and Cdric were doing this particular movement, and Rashaun couldn't come that day, and he had been an understudy for a while. I had to teach it on my own and it was just so nerve-racking; I was kind of mad at Rashaun. I don't know why he wasn't there.
How did it go?
It was fine, they were fine. They were nice. I ended up dancing so much with Cdric after Derry left that we became great friends. So it all worked out. You're just where you are, and being an understudy we all just looked up to the company so much.
Is that what was so stressful about it?
Yeah, I just couldn't imagine dancing with these people. I looked up to them so much. I thought they were all so beautiful and even though getting hired was something that I clearly wanted, you just don't expect it to happen. And it's been wonderful that the three of us have been on this journey together. Our group was the one that reconstructed Antic Meet. We had a good time doing that piece for children; it was really hysterical. We would do it for outreach [programs] for children, which is almost the best way for that piece to be performed, because they just find all of the comedy hysterical. Now the understudies have a lot more material. They do Summerspace, but Antic Meet was our baby.
Can you talk about what Merce was like during the process of the reconstruction of Antic Meet?
Similar to all the reconstructions. He wouldn't pay attention. He wasn't really interested. He'd be working on his new material all the time. Rolling his die and making notes and maybe glimpsing and then, you know, he would peek. And then he would work on it. And I don't know if Antic Meet was different than other reconstructions in that the movement is so specific. It's vaudeville and ballet and it's definitely a tribute to all these forms, whereas his other work is different. But I remember all his reconstructions, even for the company being that way. Second Hand—he just wouldn't watch it. And then he would start to take a peek and then he'd see something that he wanted to change. He worked with Rashaun a lot in the overalls solo. And played with timings. Even when we brought back CRWDSPCR, which was less of an older reconstruction, he changed timings and took out bits.
How did you learn you got into the company?
Robert told us in the small studio. It was just kind of random.
You, Rashaun and Marcie?
No, Marcie got hired about a month later. Paige [Cunningham] and Ashley [Chen] had given their notice and I do believe Rashaun found out earlier than that day. It wasn't super formal. Robert brought us into the small studio and was like, "You know that Ashley and Paige gave their notice, and Merce will be hiring Rashaun and Andrea." And that was the moment I found out. I didn't really know how to react and you know, here are my friends—I was shocked honestly. Then, and probably I was the one who was like, Let's do this—but Rashaun and I were like, We should go in and thank Merce. And that was really strange because we were like, "Thank you!" And he was like, "Okay." That was very awkward. And immediately we were told to start learning new material.
Whose roles did you take over mainly?
It was a real mix. Right off the bat the Paige--Banu [Ogan] lineage. But there were some of Cheryl's [Therrien] roles that I got, like in BIPED and Fluid Canvas and Split Sides. Marcie got some of Paige's and Banu's roles. She does Banu in BIPED. And when Derry left six months later and Julie Cunningham came on, I feel like Julie, Marcie and I split Cheryl's, Paige's and Derry's parts. If there was something new [added] to Event material, then I would get the part that Derry had done, because I was the tallest girl. I tended to get the tallest-girl part.
How tall are you?
I'm 5'8." I look taller than that. I believe Derry was taller. It may be proportions. I have my dad's legs. It's like I have no torso. [Laughs]
What are some pieces that are really close to your heart?
Suite for Five. I got to do the orange girl right when I joined and then, six months later, Derry left and I got Carolyn's part, the yellow girl. I was doing this with Cdric. And I think that was a moment—I was so terrified, yet so excited and I've always felt a closeness to the material, the kind of classic Cunningham technical material. I've always felt like it fit me. And it's taught me so much, just about breathing. I remember when I was first doing it at the beginning of the duet, I would hold my breath and Cdric would just be like [Exhales] and he'd look at me and I'd be like, Oh right, I have to breathe to do this part. I mean it's an endless challenge. It's one of those pieces where it's always hard, but it's always amazing. Derry told me, "It's so amazing to rehearse this piece and it's so scary to perform it." It's so stark and pure. I've always loved doing the Way Station duet for Event material, which is also Derry's part with Cdric. A lot of balancing and relev. And Merce fiddled with that. He played with the balances for me. And he would always shift material. Not all of someone's material when they inherited things, but he would definitely have his eye on something and shift it a little bit for the newcomer, and that was a moment where he played with the material on me. So I always felt like that was special. BIPED is just incredible to do, and the same thing with Ocean. That was Banu's part in Ocean. For me, Ocean was the most well-rounded piece I ever got to perform. By the end I just felt like I got to do a little bit of everything. You know, come out spinning in a solo and do a slow trio and then come jumping out at the end. It's just such an epic journey.
I do love it.
And it broke my heart because I got injured in the dress rehearsal at the Quarry [Rainbow Quarry in Waite Park, Minnesota in a presentation of Ocean by the Walker Arts Center], so I didn't get to do that run. I tore my calf. My knee had been bothering me for a while, so I was weak in that area, but then the cold weather—I just got a tear and couldn't do the run. We're going to do a bit of Ocean from the beginning of the Armory. I love that Robert chose to bring back a little Ocean.
Do you think other things have been left off this tour that you would have liked to have seen or danced again?
I understand why everything was chosen. It's shown the longevity of the work, in that there's so many pieces from so many different decades, and especially the older work and the smaller, double-cast work. I would have liked to have seen at least another piece from the '90s, Scenario. I can't speak for anyone, and I obviously would hesitate to do that, and I know that it was really important to bring back Antic Meet and RainForest, but I just have such a love for the work that happened in the '90s. That company and those epic pieces. We've done a MinEvent of Scenario, but not the whole piece in its entirety. If I could have picked one, it would have been Scenario with costumes, with the floor, with everything. Some of us even know 75 percent of it. I love Ground Level Overlay, but I did get to perform that. I love Beach Birds. But I would say Scenario. There's just something about that decade, the refined dancers and everyone got to dance in a lot in those pieces. It's interesting because we have so much double-cast now that you either do a whole bunch one night or you don't do very much. The fun thing about Roaratorio is that we're all onstage and we get to dance a lot.
What were your experiences of working with Cunningham? What was he like in the studio?
You were on your toes because you didn't know who he was going to spot. You know, you think he's looking at one person and he's not. He'd do that in class, too. I mean, you could stand right in front of him and he would see a person in the corner over there. And if there was a new person taking class and they were interesting to him, he would say something. He would pull someone aside and work on something, and it was always something you wouldn't think. There would always be the obvious things—something went wrong in a section or we'd run the entire section over again or the timing was off and we'd have to do that. But it was those moments where he would pull you aside and be like, "You know, do this entrance and lead everything from your elbow." And it was always the smallest statement, one sentence even. Or a couple of images or something like that and it would just change your track a little bit. And then the new work, where he would direct you to go next was so special. His word for the double duet in XOVER, was "savage." And then in Nearly Ninety, it was just like, "Okay, Andrea, I'm going to have you be still almost the whole piece" and how do you manage that? He was amazing to work with. "Just take your right foot and step over your left foot" would all the sudden thread into this chain of material and you'd have a solo, and it took only a matter of minutes. It's those eyes in the corner seeing the bigger picture, and you forgetting that he was seeing the bigger picture. For a choreographer, he trusted his dancers. He loved the individual; he trusted us with his work—he'd give you a lot of room for a while, especially as a newcomer. And you'd have to do an entrance over and over again—there was kind of an initiation in that way—but the fine-tuning, he let you find your way and it was okay to stumble and get back up again and try again. And in the way he would take on the characteristics of each of us individually and just shift the work. It was fascinating. I loved watching it happen to other people and watching that person evolve in the moment.
What was he like while creating Nearly Ninety?
For a big part of it, he worked with the understudies while we were away and 80 percent of that piece was created on them. So there was definitely a time where I was a little bummed.
You're such a nice person.
[Laughs] And it was corresponding with us bringing back Ocean for the Quarry and at that time I had this knee--calf thing going on and it was also the summer and during the summer I have had some knee problems because of the humidity. So I remember being very overwhelmed. You want to look good when he's creating a new piece, because you want him to give you material, and I'm trying to deal with Ocean, which was a big piece for me. I was not feeling great in my body. And I was bummed because I was like, Okay well, there are a lot of sections with four people and there are four RUGs [Repertory Understudy Group] and that kind of thing. But then it started to evolve because the piece wasn't finished, and there was a duet that he gave Rashaun and me that was created on the understudies, but they transferred the material to us and it was so very different. He had a traditional sense of partnership—the woman being supported by the man—and this was a case where we supported each other for the whole duet. I wouldn't have wanted to do this with anyone but Rashaun. We've always worked really well together since we were understudies, but we didn't necessarily get to do so much with each other because I was partnered up with Cdric and he was partnered up with some of the smaller women. After Cdric left, Rashaun and I got these opportunities; it was almost like Merce always saw more, you know. And he gave us this treasure that goes differently every night we perform it, because we're both on one leg the whole time supporting each other. I remember the day he was like, "Learn this material." And it took us a very long time to manage it and figure it out. And I remember we did this photo shoot and it was with Merce, and we were doing material from the duet and it was like our rehearsal with him. We finally got this moment with him in the space where we just did it over and over and over again for the camera and it became ours. And he was like, "Yes, oh, this is better, this is getting better," and we let go of some of the things that they had taken on as the understudies. And then he started creating a little more material. He finished the last 20 percent of the piece or whatever. And he actually wasn't even using the computer anymore. I got a couple of things from him. So I feel like I had maybe less material in Nearly Ninety, but everything was very special. And there was a small solo and a trio I do with Daniel Madoff and Rashaun that he created on the spot for us.
How did he create that?
He did some of the material in class and he pulled me aside and said, "Andrea, remember this—this is for you." He used to do this where he would pick material from class and give in to someone. He did that with Melissa [Toogood] for her solo. I held onto the material for like a week or two, and then he was like, "Oh, do you remember this material?" And he fiddled a while with Daniel and Rashaun, and we figured out this trio and it was created on the spot for us, and I treasure it.
Can you describe it?
I come out very slowly and then they come out and catch me and it's all off-balance. I'm usually on one leg twisting and they're pulling me off my leg, twisting, and it kind of circles and moves forward. And then they let me go and I do the slow material again. We do another pattern of this weight-shifting, twisting arabesque movement. It's a little harder for them; it's definitely where I get to feel pretty and taken care of and they're supporting me the whole time. You know, it was really funny with the solo material: With mine, he was really like, "Cross your right leg over your left and go slowly around" and it took maybe five minutes to create it. And then he was like, "I think socks might be a very good idea." And I was like, "What are you talking about Merce?" And he was talking about the Quarry and it was going to be cold. It was like he just like realized that socks would be a good idea. And I was kind of like, Well, are we done here? Do you want me to do it again for you?
That's pretty funny.
Yeah. It was hysterical. It was so Merce to just like, you know, also be kind of funny and thinking about the weather...
The practical side.
The practical! I left the room and I was like, That was really weird.
He was the kind of choreographer that you would interact with?
I definitely did. I would go up to him and say hi and give him a hug. I think I made him laugh. I really liked him. I liked to know how he was doing. I loved that he loved plants; I love plants. And actually, there was one summer where I grew way too many tomatoes and I brought him a tomato, and we had this whole tomato thing where I would like check on his tomato and he'd talk about the tomato when actually he didn't know it was a tomato for a really long time—he thought it was a potato and then a strawberry.
So you brought him a plant?
A plant. I definitely would talk to him about little things and he made me laugh and I think he thought I was odd. I would talk about the weather and nature with him and stuff like that. I miss running into him because you'd sometimes leave with him on the elevator and you would talk about like the funniest things—because he didn't need to talk about the day or your dancing or any of that stuff. It wasn't about that.
What would he talk about?
I remember one time he was like, "Oh, I met Dylan's dad." And I'd be like, "Okay! That's really awesome." And I remember one time, we were talking about the Beijing Olympics and I was like, "Did you see the choreography?" The masses of people, I think, bothered him a little bit, just this militant togetherness. He wasn't quite as impressed as I was. [Laughs] He always surprised me with his opinion of things.
You spoke earlier about how he could see the overall picture, and I'm guessing that could be what's missing the most now. Could you talk about that?
I think that's where it falls on us. And when he was ailing, he did have a few moments where he told us these things. He would say, "Remember why you came to dancing and that you love dancing. It doesn't give anything back," and just that we're individuals and that we need to hold onto that. I think that the continual pushing, that way that he was able to guide each of us and push us in a new direction and challenge ourselves is what we are responsible for bringing to the work now. And hopefully we'll get the opportunities to transfer that in master classes and in staging the work later. It's also just a fact that he could change things and none of us are at real liberty to do that, so that whole element of making a choice, which he was so fond of—and the choice could be different and it could even be different among people in a unison phrase. It's like how do you manage that kind of openness that he'd have? That's a real dilemma. Is it any of our right to be able to do that? When you have a double-cast part, I really miss how he would treat them like two pieces. That it would be okay for two people to do things slightly differently, but managing that in our rehearsals is very delicate. Jamie [Scott] and I share a part in RainForest and we just decided to watch everyone who ever did it, and then we made our own choices about it, and in the rehearsal space some of it reads and some of it doesn't, and Robert is there to try to guide us in that experience. But that's where I miss him so much, because I have no idea what he would say or how he would want me to do it. Crazier or calmer? Or find the stillness?
Well I was going to ask about that? Do you work with former dancers like Carolyn Brown?
Carolyn comes in a lot. Out of everything, she's coached me the most. I definitely know her opinions about that the most. For Antic Meet she came in along with Valda Setterfield and Gus Solomons [Jr.], and that was fun. It's always fun when someone new comes in, because it's a new approach. I can predict some of the things Carolyn would probably say to me just because you get similar things over time with anyone. It's always a real treat when Meg [Harper] comes in, because her perspective on the work is so different. She talks about intent a lot. That's really fun.
Because there's freedom in that.
There is and again, managing that is delicate because definitely Merce allowed that, but how much does a rehearsal director who's not Merce allow that? You know it's a very delicate thing. Merce did trust us in his work. Sometimes people come in to watch here and there, but less so the '90s generation.
That's too bad.
Yeah, I agree.
Why is that?
I don't know. We're not doing a whole lot of work from that time. I don't know. Trish [Lent] has been a big part of being around, which is great. She's of a similar time period, yet she has just a slightly different perspective, which is nice.
Why did you fall in love with Cunningham's work?
I've always loved technique. I think that's what Charlotte got from the beginning. Just that I was going to be challenged and love that excitement of finding success in the work. And I just find the work so human. There are no stories. You create your own. We have such human moments and interactions with each other onstage that are so real and we get that freedom to be in a duet with someone and have a really rich experience. There's so much joy in the work for me. I feel so privileged that I've gotten to work with so many different people being in the company for eight years.
It's true.
You know? It is. It really does look different than it used to. The way the energies of the company shift is really fun.
Do you have other plans?
I do want to keep dancing a little bit. I don't think another full-time position is really what I want to do. I would love to not travel quite as much at this point. But freelancing from this place is fascinating to me. So I would like to take on some gigs here and there, and I'm hoping that I'll get to stage a little bit of the work. And I just got an adjunct position for the January to May semester at Brown University.
Thank you. I feel very fortunate and excited. Just from all of the experiences I've had and all the people that have come into my life, I know that doors open and close for the right reasons and things come and that timing is everything. But I feel very fortunate this has kind of all happened, that I have kind of a cushion until August of 2012 to figure out what I want to do after that. So it's all very good.
So at Brown you'll be teaching—
Three classes. And it will be mostly Cunningham; it will be Cunningham-based and I probably will play a little bit with partial technique and a little bit of rep. I'm going to commute back and forth. I have a boyfriend here and I have an apartment here that I actually just bought, so New York is home. I'm very interested in botany, and I took a botany class last spring and I would love to maybe take a biology or another botany class. And I'm going to try to get my horticulture certificate from the Botanic Garden, so that's all in the scheming, too, and my sister and I have this long-term idea of having a wellness center together. She's in North Carolina and she's a nutritionist. I've gotten half my yoga certification. There's all these other little, like, itty-bitty buds. I feel like January through May is gonna fly by, you know?
Totally. That's so wonderful you have something right away.
I'm so happy about it. I mean some people are like, I need to take two months not do anything. A little somethin' is good for me and a little money still coming in is my way of doin' it. I'm also very lucky that I did do the freelancing, so I really know how it goes. Some of the company—
They don't know.
They don't know. And you know, they're just starting their careers, so it's a really very different for each of us.
And it's heartbreaking in a way, because for some of the younger dancers, where do they go?
They did the high part now.
You never say never in terms of finding someone as inspirational to work with, but that's hard to be optimistic about.
There are these different phases in the company. It's like the new, crazy energy and there's this amazing moment when you're in you prime and then there's, you know, dealing with injury and you're a little more mature and you're still good. And some of them are just so in this prime, and I am just so inspired watching them.
Like whom?
Jamie [Scott] and Melissa, the two of them I just can't get enough of right now. I just want to soak up this fearless moment for them in the work and try to send them lots of really good energy that they'll continue forward. John and Dylan—they're just really fun to watch.
What can you tell me about saying goodbye to Merce and that situation? Were you all aware of what was happening?
We didn't know exactly what was taking him. They were very quiet about what diagnosis he had, but that it was the end was very clear. I mean, there was the natural progression that he was teaching, but in hindsight you look back and it's like BAM happened and really only three months later, he was gone. But he was still teaching a bit in May and he did Dia: Beacon [Events] with us in May and then we went to Madrid and came back, and he was just much more frail. Like coming to the studio, they were concerned for his bones. So that limited [his time], and then the progression happened that he just couldn't come and there was a moment where they told us it was the end and it could be weeks and it could be a couple months, and it was like that. We went and we said goodbye. We were lucky enough to get to go and say goodbye and then he lived a little longer, and we got to say goodbye again. So the first time was extremely emotional. I've actually never done anything like that before. I hadn't even done that with my grandparents. I felt very adamant that I needed to tell him thank you. So I just went up to him and I was crying and I said thank you, I love you and he, typical Merce, he was like, "Well, thank you very much, that's so sweet." [Laughs] I was like, You are awesome; I love you! I love the way you just can simplify things in the profound way. And then the next time was a week before he died. We were going up to Jacob's Pillow. My very good friend was going to take a Bollywood class and she asked a couple of us if we wanted to go. So Melissa and Marcie joined us, and our group was really, really lighthearted. We'd already said goodbye to him and we were just chatting and he was doing really well and we kind of told him that we had taken this class, so the three of us got up in front of him and did Bollywood for him, and it was hysterical. I remember leaving laughing. It was joyful. We had a great ride going up to Jacob's Pillow and then he watched us one last time on Skype, and he passed on the Sunday after our show that evening. It was a really wonderful week to be up at Jacob's Pillow. I think we all were really clear about performing for him. I feel lucky because we said goodbye to him and then we got to see him again. And then we danced for him.
Do you think the company should disband?
That's such a hard one for me. I feel like there's so much that I don't know about the decision making, but I do get the sense that there's something fitting that it end this way and then perhaps it starts again in a different way. I think that to have one thing close and then reopen, it's seeing how we're going out and how he's finishing in all this is so grand, it's so big, it's so positive, it's so energetic. It's really beautiful. So somehow for everything that he built to end on such a high note? It would need to be reconfigured anyway.
So somehow this is fitting. And I know there's a lot to manage and I'm so not privy to those conversations. I know there's a lot of different opinions about it; it's also sad and terrible at the same time because we're this company that knows his work and in London, where they're just like yelling, "Bravo!" I've never had a curtain call like that before. The curtain came up and tears are rolling down our faces because the surge of energy just was indescribable. So then you're like how is it possible that the Cunningham Dance Company is going to do our final BIPED on December 23rd? It seems unreal, but I do actually also get it. I do. There does feel like there's something right about this too, and in a way good. It's going to live on.
You think so?
I mean it's definitely going to live on immediately in that other companies are going to be doing the work. I think that they are going to be special performances in groups of people who are going to be trained by Robert. I don't think it will ever be like this again. And it's complicated that way, because other companies have done it. But I miss Merce. I miss the master in the corner making his new work. And he was so about new work.
I think though the problem is the training.
Yeah, and that's a bigger conversation. I do think that the technique needs to be taught and that's where, frankly, they need to figure that out first. And that's why I say maybe this coming to a close and restarting there can be a more established thing—okay, Westbeth is going away, but maybe there's a way to reestablish the technique and we can truly be—all of us out there who worked with him—spreading the work and the technique more. Patricia Lent is really working on that. She's so open to empowering us all to be able to do that. It's really lovely.
After eight years in the company, what do you think of Trevor Carlson?
Wow! I did not see that coming. I've had a really good experience with him. I mean I've definitely seen his evolution in the moving up and I've had some hard negotiations with him because I was the AGMA rep for three and a half years. So there are moments of me being really jaded in the company and there were some hard struggles, but because of that, we are very good at communicating with each other. He, oftentimes, will use me as a helpful means to understand where we're coming from. I'm useful in that way because I have learned how to communicate with him. That, I would say, is one of the harder parts. We all have our strengths and our weaknesses, and I do really appreciate some of the ideas he's had. Dia:Beacon was one of my favorite things ever. And that's him. It's his ability to curate. Or come up with an idea and pass it to Merce to play with. I'm just going to always be thankful for that experience. And he said this: It was an opportunity to get the company to work with Merce again because he was working with the understudies so much on the new work. Dia:Beacon was an outlet for him to work with us again, and that was totally true that we got to work on these funny stages and Merce loved spaces like that. The museum is incredible. Dia:Beacon is up there—when you ask me about my favorite pieces, Dia:Beacon is up there.
I agree. And that idea of multiple stages is also the setting at the Armory.
Robert let us each pick one thing.
What did you choose?
Well Rashaun and I both picked the same solo, but we're double-cast in the Fractions solo, so we're gonna both do it at different times on different stages. I also get to do Way Station, as well. And a bit from Ocean. Some people asked to do something new.
What is the state of the company like?
Good. We're really supportive of each other. We're actually doing the thing: It was always a tradition to do a roast for a company member that was leaving. It started with Jean Freebury. I believe she did a solo thing for a person that was leaving, and then it evolved to the company participating and we'd spoof their material or whatever. So about a month ago, Rashaun looked at me and was like, "Are we gonna do end shows for everybody?" And I was like, "You're looking at me because you want me to coordinate it, don't you?" And he was like, "Yeah." So we have a little committee where a few of us are kind of in charge, and we decided to do two people at once, a senior and a junior, and I picked dates and I pulled each couple out of a hat in order to do it by chance. We've already done two of them on this last tour, but we're kind of toasting/roasting people by doing a little show for them. There are always hard moments in a company where maybe someone doesn't feel like they're being used, or people are going through personal things, or some people are not getting along, but definitely at the sixth month to go mark we are really for each other. I think we all want each other to go out into the world and have all the experiences, whether it be dancing or going back to school and becoming a doctor. We want for each other to have success and you know, there's a lot of joy and fun and laughter in the company.
So who do you dance for now?
Mostly Merce. But there are times when I dance for me, too—where there's no point to having insecurities now. So you wobble? Whatever. It was funny because when we found out we were doing this bit of Ocean, I was actually a little bit stressed about it. I was like, Well, I kind of let that go because I didn't get to do the Quarry. And the entrance that I'm doing is the first entrance, and it's all turning. Do I want to get my chops up to do this? Do I want to manage it? I'm really good friends with [former Cunningham dancer] Lisa Boudreau, and we were talking about it, and she was giving me some feedback about how I could manage it again. She said, "Yes, you want to do it." She's like, you're going to give your heart to it and you're just going do it because it's going to be so much better to do something hard and to have something to focus on. She's totally right. And I was like, She's not only right about this, but that's what my approach should be right now. I just want to put it all out there now.


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FCAT: The Evolution of Frame Interval Benchmarking, Part 1by Ryan Smith on March 27, 2013 9:00 AM EST
More To Come
While we were unable to complete our work with FCAT ahead of NVIDIA's embargo, we wanted to provide an article that at least gives a brief overview of FCAT, as FCAT is in many ways itself part two of a process we started yesterday with our article and analysis of stuttering on AMD cards.
FCAT, we believe, is the next evolution of frame interval benchmarking. Where FRAPS' coarse nature does not suffice, FCAT provides a clear picture of what's happening at the end of the rendering pipeline, giving us for the first time an automated, quantitative look at frame intervals, stuttering, and more. To be clear it is by no means a perfect tool, but as we have taken the time to lay out yesterday and today, compared to the beginning of the rendering pipeline, it is the end of the rendering pipeline that is more meaningful both for quantitative analysis, and ultimately for the users.
Speaking more directly however, FCAT is quite simply the frame interval analysis tool we have long wanted. It is the tool that will enable us to analyze stuttering, micro-stuttering, and more, in a manner consistent with our benchmarking methods and core beliefs in the scientific method. It's exceedingly rare that we say this, but we haven't been this excited by a new benchmarking tool in a very long time.
Wrapping things up, we will be following up this article next week with part 2 in our look at FCAT. In part 2 we will go into further detail about how to analyze the results FCAT generates, and what we're finding across a range of video cards and games, both in single-GPU and multi-GPU configurations. So until then, stay tuned.
88 Comments
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DanNeely - Wednesday, March 27, 2013 - linkYay for releasing software still using the visual studio default/placeholder icon. Reply
Guspaz - Wednesday, March 27, 2013 - linkDesigning a new icon as a software developer is one of the hardest things, man... Reply
Kevin G - Wednesday, March 27, 2013 - linkFCAT should have an icon of a fat cat. Reply
Jedi2155 - Wednesday, March 27, 2013 - linkI agree with this comment. Reply
xdrol - Wednesday, March 27, 2013 - linkYou deserve more likes, sir. Reply
mikato - Wednesday, March 27, 2013 - linkYeah, Cheshire Cat! Reply
rcarroll05 - Wednesday, March 27, 2013 - linkA picture of Garfield would work. A fat cat with an attitude. Reply
Gigaplex - Wednesday, March 27, 2013 - linkGarfield is protected by copyright Reply
mwildtech - Wednesday, March 27, 2013 - linkGood to see you guys are back in the game :) Cheers!! Reply
Veni - Wednesday, March 27, 2013 - linkDoes FCAT reveal instances when frame metering is taking place? The focus on the end of the rendering pipeline concerns me, as NVIDIA might be using frame metering to give the appearance of very smooth frame delivery without improving the user experience. Delaying "fast" frames to shrink the delay attributable to "slow" frames does not help the subjective experience; stuttering game-time instead of frame-time is no better for the user. Reply

subset: commoncrawl


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Londonderry, Vermont
|This article is a stub. Help us to expand it by contributing your knowledge. For county and town page guidelines, visit U.S. County Page Content Suggestions.
Londonderry is a town in Windham county, Vermont. It was formed in 1780 in Vt., though the following competing claims for its origins are N.Y. 1770. It has used the following other name(s): Kent. The probate district for Londonderry is Westminster, while the court district is Windham. For more information, contact the town at 100 Old School St., Box 118, South Londonderry 05155. On the attached map, Londonderry is shown as 1 in Windham county.
For information about the state of Vermont see Vermont Family History Research.


text: This morning the Big Brother housemates will receive 3 Savage SS kits which they must fully assemble for their latest weekly task. The housemates will be given until Sunday to complete all 3 trucks using only the instructions provided in the kit. All Big Brother fans in Germany have the chance to win one of the trucks built by the housemates! Check out the official German Big Brother website www.bigbrother.de for your chance to win your very own Big Brother Savage!


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BREA, Calif. June 16, 2011 -- Suzuki is pleased to announce that the 2011 Boulevard M109R will now be available in black for the 2011 model year, in addition to the current Candy Indy Blue and M109R Limited Edition Glass Sparkle Black/Candy Max Orange.
The M109R is Suzuki's flagship Boulevard cruiser, and the most powerful cruiser Suzuki has ever produced. Boasting a 109-cubic inch (1783cc) Suzuki fuel-injected V-twin powerplant, the M109R pairs unrivaled torque and horsepower with exceptional handling and aggressive styling. The rear wheel wears a huge 240mm Dunlop rear tire - the largest ever used on a Suzuki motorcycle. The Boulevard M109R offers the most complete muscle cruiser package in its class.
The new color option will be available in limited quantities at authorized Suzuki dealers nationwide.
For more information, please visit www.suzukicycles.com


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BOULDER, Colo. – A Colorado gun accessories manufacturer that vowed to leave the state because of a new gun control law says it is now making some items out-of-state.
Erie-based Magpul revealed the move in a Facebook posting late Monday in response to a customer question. The posting said PMAG magazines, which can hold 10 to 30 rounds, are being made outside of Colorado for the first time. Sights are also being made elsewhere.
Boulder's Daily Camera (http://bit.ly/Zy85wI ) reports that the company plans to reveal more details, including a possible new headquarters location, after the National Rifle Association's annual meeting in Houston this weekend.
Officials and gun owners in various states, including Wyoming and Alaska, have tried to lure Magpul since Colorado passed a law banning magazines that hold more than 15 rounds.
Information from: Daily Camera, http://www.dailycamera.com/


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Kratos' red body paint is about as iconic a wardrobe option as any character we've seen this console generation, but it an interesting reveal over the weekend, former God of War lead David Jaffe has told how this very nearly wasn't the case.
The picture you see above was, according to Jaffe, what Kratos looked like "literally days before we announced the first game to the press". It was only then, at the 11th hour, that a team member saw what Diablo II's Barbarian class looked like, and raised the alarm.
Nobody on the team had spotted or been aware of the similarity between the characters until then, so things had to be changed "lickity fuckin' split!". For the better, too; as silly as Kratos can look dressed in nothing but paint and a permanent scowl, he would have looked even sillier doing a "Braveheart: The Strip Show" routine.
Kratos...as Smurf?!? [David Jaffe]


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Event Information
Date and Time
2626 Bancroft Way
Berkeley, CA 94720
"ON LOCATION" is a three-day conference with accompanying Pacific Film Archive film series examining the emergence and historical development of cinematic "location" in the first few decades of the twentieth century. Reflection on contemporary media practices has created intellectual curiosity about the idea of cinematic place as a historical phenomenon in all of its various manifestations. During the silent era, the location of filming moved from interiors to exteriors, and from low-tech production sites to studio cities. Whereas some national and regional cinemas became closely associated with natural location settings, others were identified with the manufacture of locations through in-studio simulations or the effects of montage, resulting in practices of "creative geography" in the widest sense. In turn, location-dependent genres such as the Western, the travelogue, the ethnographic documentary, and the city film developed specific attachments to place. Exhibition locations shifted from vaudeville theatres to nickelodeons to picture palaces and from urban centers to small towns. Hollywood's simultaneous development as a real and imagined place affected models for studio filmmaking and cinematic geography around the world. Such developments prompt numerous questions: How was the idea of "location shooting" developed alongside and sometimes in opposition to "studio set"? When and how did "location" emerge as a complex site of production, a lure for audiences, a generic rubric, and a guarantee of realism, as well as a site of artifice and fantasy? How was the cinematic articulation of a broad range of locations influenced by pictorial traditions such as the picturesque, landscape painting, and photography? What are the social and political implications of these varied sites of production and exhibition?
This three-day conference will feature plenary lectures by four prominent silent cinema scholars and concurrent sessions with lectures by thirty more from across the country and around the world. Attendance at the conference is free and open to the public, but pre-registration is encouraged.
An accompanying film series at Pacific Film Archive will present screenings of films that exemplify these concepts, beginning in early February and concluding with screenings Tuesday-Friday evenings during the week of the conference. Information about the series can be found at http://www.bampfa.berkeley.edu/filmseries/ and tickets for screenings can be ordered through the PFA box office.
Date and Time
2626 Bancroft Way
Berkeley, CA 94720


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Hordes of scribblers and photographers race back from Austin, Texas each year to capture South by Southwest in blogs, magazines and newspapers, desperate to get their words and pictures out before the rest of the unlucky bastards (i.e. 99 percent of the non-attending world) grow fatigued by the numbing sameness and overwhelming amount of "I was there! You weren't!" coverage.
The magnitude of the festival (a couple thousand bands across five days) certainly justifies a spectrum of voices. In fact, you'll notice more than half a dozen well-written, legitimately interesting/unique SXSW blogs here on Reverb.
But few outlets in general write about anything except the music. While it's not a huge chunk of the festival, the comedy offerings at SXSW and other indie music festivals have exploded in recent years, warranting their own examination.
Of course, I'm biased. I've attended SXSW the last couple years (this was my fourth overall) mostly to do research for a book on DIY comedy and music, based on this Denver Post article from Nov. 2006. I still try to catch bands that have inflamed my musical organs over the preceding months (Land of Talk, Bon Iver, Evangelicals, Helio Sequence), but the increasing amount of stand-ups, improv types and sketch comedians excites me far more than most rock shows do these days.
Maybe it's because people like David Cross, Eugene Mirman, Maria Bamford, Brian Posehn, Tim & Eric, Patton Oswalt, Morgan Murphy, Todd Barry, Earles & Jensen and others are filling the same flavor hole that music once did (and still occasionally does), affording me new ways of chewing on the world's absurdities, shredding logical boundaries left and right, and channeling the ethos and energy of punk rock into painfully hilarious nuggets of truth.
To be sure, what I'm calling "indie comedy" is not the largest or most diverse scene out there. Comedy nerds like myself that weekly devour Adult Swim and SuperDeluxe offerings tend to notice the same several dozen people (mostly white dudes) popping up at these fests. And if you live in L.A., New York, Chicago or Seattle you're also likely to see the same handful of comedians at shows like Comedy Death Ray, or touring indie music venues in general, or releasing albums on music labels like Sub Pop, Drag City and Matador. In other words, overlapping with the indie rock sphere in a way that implies an inexorable, blessed blend of the two.
I could go on, and will in my book (shameless plug: due out later this year on Speck Press/Fulcrum). But for now I'll focus on the offerings at this year's SXSW. I suspected the trickle would only grow to a strong, golden stream for 2008, especially since the union was semi-legitimized least year at a panel devoted to the subject. Jon Wurster, Aziz Ansari and others popped up at day parties at Emo's, absurdist Adult Swim duo Tim & Eric and MTV sketch show Human Giant performed to a packed house at Friends, and David Cross and other comedians hosted the Mess With Texas day parties, curated by Chunklet editor Henry Owings.
Me, enjoying a bratwurst from Best Wurst on 6th Street last year.
This year, however, found comedians scattered in every mother-lovin' direction, from one-off shows by Michael Showalter (MTV's "The State," Comedy Central's "Stella") and Matt Besser and Matt Walsh (Upright Citizens Brigade) to full-night offerings at Esther's Follies and the day-long Mess With Texas 2 party at Waterloo Park.
I stumbled into Esther's late on Friday, March 14 just as prank call duo Earles & Jensen were taking the stage. Earles is a swarthy, sleepy-eyed writer from Memphis, Tenn. and Jensen is a Mets cap-and-jacket-clad New Yorker. Together they craft some of the funniest, sharpest, oddly un-cruel prank calls this side of Neil Hamburger. However, their stage act could use a bit of polish.
While never awkward or botched, the conversational, gently-teasing bits merely acted as setups for the inevitable pre-taped calls that crackled softly over the speakers. Without the requisite experience to exude authoritative stage presence, they kept themselves from being a highlight of the evening (although many of their calls killed).
New-ish face Reggie Watts, however, easily projected confidence and deft timing during his set, incorporating beatboxing and a synthesizer into his dizzying music-comedy act. The Seattle comedian has lately been garnering deserved notice on the scene, so expect to see a lot more from him soon.
The sotted maelstrom of humanity that is SXSW.
New York comedian Leo Allen, a friendly, self-deprecating dude that toured a couple years ago with "The Daily Show's" Demetri Martin also popped up, but his set lacked the energy or timing to push it over the "ehh…" mark. I've seen him do better, and probably will again.
Since many of these cutting-edge comedians are alumni or unabashed devotees of HBO's brilliant "Mr. Show," it was unsurprising to see lots of their ilk around. The Fun Bunch — the duo of Scott Aukerman and BJ Porter (a.k.a. the minds behind Comedy Death Ray) slayed the Esther's crowd with a verbal argument bit that escalated into a "clothes off" fist fight and ended in the two guys kissing, mostly naked, on stage. I'd seen the pair test the bit at Comedy Death Ray in L.A. three weeks prior, and the lack of variation on their initial experiment proved how laser-honed their instincts are.
"Mr. Show" and VH1's "Best Week Ever" regular Paul F. Tompkins brought his suave, hilarious monologues (click here for a review of his Friday set at the Oriental Theater), while metal hero Brian Posehn provided arguably the night's best-received set, cobbling his act from new observations and bits of his stand-up CD, "Live In: Nerd Rage." His intentionally awkward material, which often mocks his freakish size and appearance, went over well with the drunken (but polite) crowd. Weed jokes never hurt, either.
Jonah Ray at the Mess With Texas 2 party.
I failed to make it next door to the Velveeta Room where more comedians were performing, but did chat with Posehn and Andrew Earles (of Earles & Jensen) for a bit before and after their shows. Nice dudes, they were, although both seemed justifiably distracted.
The next day at Waterloo Park was the Mess With Texas 2 party, an all-day fete that takes place outside the official festival offerings. The party attempted to condense into one day/area what previously took place over three days last year at a much smaller (and virtually impossible to get into) venue.
My friends and I showed up just as Matt Walsh was leaving the comedy stage (they thought he sucked — I didn't really catch any of it) and just in time for up-and-comer and SuperDeluxe regular Jonah Ray. He peppered his bits with references to hipster catnip like Neutral Milk Hotel and the Courtney-killed-Kurt theory, the crowd quickly eating out of his hand.
The hot, crowded, dust-ridden park ($3 for a bottle of water?!) nominal sight lines and quiet sound mix likely prevented more souls from seeing/hearing the goodness, especially when larger crowds gathered for marquee acts like Janeane Garofalo. Her wit and experience were nearly sabotaged by her omnipresent self-deprecation and nervousness, which found her jumping from subject to subject schizophrenically and barely following through with punchlines. Unsurprising but spot-on political jabs and limited crowd interaction rounded out her jumbled set.
Host Matt Braunger (an L.A. regular who also emceed at the previous night's festivities at Esther's) provided needed, welcome links between comedians, his slightly tipsy, confident segues translating into cool breezes for the audience.
The last comedian I caught at Mess With Texas was Todd Barry, whose employs dry understatement to slip burning slivers of awesomeness into your brain stem. Barry's material was familiar to anyone that has caught his recent round of talk show appearances or listened to his new CD, but it went over surprisingly well in the increasingly antsy, sweaty crowd.
It's impressive for any comedian to hold the attention of more than a few dozen people, but when that group is composed of hundreds of drunks that have been on their feet in the sun all day, every day for nearly a week, it's a feat rivaled only by the more energetic musical acts of the festival like Monotonix or Dark Meat. It's unsurprising that more festivals around the country (Bonnaroo, Coachella, Noise Pop, Sasquatch) are jumping crotch-first into the comedy tent. That they can still procreate is a bonus.
John Wenzel is an A&E reporter for The Denver Post, co-editor of Reverb and editor of the Get Real Denver blog.


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A short while ago, it was mentioned to me, by a professional who has years of experience working with mentally disabled children, that one of my granddaughters thinks in Black and White.
When I first heard the term, I didn't realize that Black and White Thinking was an actual personality disorder but, according to various Internet websites, Black and White Thinking (sometimes called Splitting) is when a person sees things only in extremes – if something isn't perfect then it must be terrible, if it doesn't feel brilliant then it must be stupid, if someone isn't fascinating then they are boring. There are no grey areas.
I also discovered that Narcissistic Personality Disorder often goes hand in hand with Black and White Thinking and often exhibits through the following traits:
- Believing you are superior to others
- Craving power, success, and beauty
- Being overly jealous, and convinced others are jealous of you
- Coming across as single-minded, or unemotional
- Expecting to be perfect in everything and setting unrealistic goals
- Having fragile self-esteem and being easily hurt
- Trouble forming or keeping relationships
- Disregarding those you believe are inferior to you
- Confused when others don't always agree with your ideas or plans
- Disregarding or failing to recognize others' emotions
- Craving constant admiration
- Taking advantage of others
- Exaggerating or lying about your achievements
- Finding it almost impossible to be wrong
- Believing you are special above others
- Becoming angry when you don't receive the attention you feel you deserve
Narcissistic personality disorder often exhibits the same features as someone who simply has a strong personality but is defined by the person's need to be constantly on a pedestal far above anyone else or their feelings, whereas strong personalities are devoid of that character trait.


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A timely trade tree this week, since the Pirates are playing his current team. Right now he's the best power hitter in baseball: Jose Bautista. (click to embiggen)
Another player the Pirates reacquired after losing him in the rule 5 draft, Pittsburgh wasn't able to enjoy the fulfillment of Bautista's talent like they did with Bobby Bonilla. Talk at the time had the Pirates wanting David Wright instead of Wigginton which would have been a great get. Alas, that trade was pretty much a fail for the Bucs. I'm sure the Mets would love to have Bautista back now, as would the Rays, Orioles and Royals.
Filed under: baseball, Pirates, Trade Tree | Tagged: baseball, Jeff Keppinger, Jose Bautista, Kris Benson, Matt Peterson, Pirates, Robinzon Diaz, Trade Tree, Ty Wigginton | Leave a comment »


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Gohar Shahi's mystical pearls for truth seekers:
"In order to recognize God and to be able to approach the essence of God, Learn Spiritualism, no matter what religion or sect you belong to"
Please note that His Holiness Riaz Ahmed Gohar Shahi never claimed himself to be IMAM MEHDI. However, we disciples of His Holiness, believe Him to be the Messiah- The AWAITED IMAM MEHDI & Kalki Avtar, after the appearance of images of His Holiness Riaz Ahmed Gohar Shahi in the Moon, the Sun, the Holy Black Stone (Hijr-e-Aswad at Mecca, Saudi Arabia), Temples and at various other places. People belonging to different religions and faiths, have got spiritual benevolence and enlightened their hearts through His spiritual Grace.
We invite you to examine HIM. For research, contact us
A revolutionary message from HIS HOLINESS RIAZ AHMED GOHAR SHAHI to entire humanity:
A Muslim says that he is the best of all, whereas a Jew says that his status is better than that of a Muslim. A Christian says that he is better than both and even better than all the other religions because he is from the nation of the "Son of God" (Jesus).
But Gohar Shahi says:
His Holiness Gohar Shahi confirmed above image on Moon represents true image of Jesus Christ
Heart Meditation (Zikr-e-Qalb) from Moon
Many people have received the (spiritual grace of Qalb) meditation from the Moon. There is no condition of any religion. The method is: when there is a full moon from the East, look at it with concentration and when you see the image of His Holiness Riaz Ahmed Gohar Shahi on it, say ALLAH ALLAH ALLAH (three times) and you will be blessed with this spiritual grace. Thereafter, without any fear or reservation, begin the practice (of the meditation), as described in the book (The Divine Love). Believe (the fact) that the image on the moon has spoken to many people in every language. You can also try looking and speaking with it.
Some people think that the word ALLAH is a name given by the Muslims, but this is not so. click for details
What is Sufism? Watch this video to know more about it? Also you would find comments about His Holiness Riaz Ahmed Gohar Shahi by seekers of Divine Love, belonging to different religions and beliefs.
Famous Sufi Master Shaykh Hisham Kabbani meeting His Holiness Gohar Shahi in United States
Also visit the video section, which contains video collections of various programs in which His Holiness addressed to Christians, Hindus, Sikhs, Muslims and other communities at different occasions
The Religion of God (Deen-e-Elahi)
(some excerpts from the book "The Religion of God")
1. If you follow a religion but are devoid of the Love of God, then those that do not follow a religion but have the love of God are better.
2. Love is connected to the heart. When the Name of God Allah is synchronized with the heartbeat, it then travels through the blood to all the veins, reaches the spirits and awakens them. Then the spirits are rejuvenated and go into the Love of God.
3. Any Name of God in any language is worthy of respect but the original Name of God in the Semitic language is Allah. This (Semitic) is the language of the celestial entities. It is by this Name that the angels call upon God and it is attached to the Title of every Prophet.
4. Any individual who is sincerely searching for God, on land or in the sea is also worthy of respect.
5. Many Adams came into this world, at the same time and in different places. All the Adams were made in the world with clay from this world except the last Adam who is buried in Arabia. He was the only one made in paradise with clay which was also from paradise. With the exception of this Adam the angels did not bow down before any other Adam. Satan became the enemy of the descendants of this Adam.
6. There are seven types of entities in the human body. These are connected to different celestial spheres. They are connected to different heavens and are further connected with different functions within the human body. If these entities are strengthened with light they then resemble the person they are in and travel to many places at the same time. They can travel to the gatherings of Saints and Prophets and even talk to God and see God.
7. Every human being has two religions. The first is the religion of the body which ceases to exist after death. The second is the religion of the soul, which has existed since the beginning of time, the Love of God. It is by this religion that a human being is exalted.
8. Superior to all the religions is the Love of God and superior to all types of worship is seeing God.


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Don't miss the new i+s insider newsletter!
The Cala collection, designed by Joan Gaspar for Marset, was inspired by the simplicity of the artist's easel. It consists of a varnished oak structure, a white polyester shade and a Methacrylate diffuser. The lamp's shade is enclosed in a zipped Textilene sleeve, which filters the light and gives it a rich texture. Cala is available in three sizes (55, 65 and 70 inches), as well as an outdoor version suitable for wet locations.


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Inspired by the tragic tsunamis that hit Japan last year, Australian houseboat builder Matt Duncan decided to design and construct the ultimate life jacket. What he came up with was the Tsunami Survival Pod, designed to protect up to four passengers from rushing waters and tons of debris.
Made from the same materials he uses in his houseboats—spiral-welded steel, primarily—the pod is capable of enduring up to six tons of weight. But like a car, it also has strategically designed crumple zones to absorb impacts and protect the passengers. A set of rally-style moulded racing seats complete with five-point safety harnesses further prevents those inside from bouncing around, while bulletproof windows let reassuring light in for those who might be claustrophobic.
When completely sealed the pod has enough air inside for two and a half hours of survival, but inward-opening access panels let additional fresh air in as needed. It will set you back almost $8,900, but if you live in a part of the world that experiences tsunamis, that's probably a small price to pay for something that could literally save your life.
[Gold Coast via Popular Science]


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I can think of few hassles as devastating as dropping your cell phone into the sink or letting it take a tumble in the washing machine. These kinds of accidents happen all the time, often with the result of an expensive trip to the store for a replacement. But maybe that doesn't have to be the outcome. A couple years back, we offered some tips for reviving a wet phone, including the ever-popular "submerge it in a bowl of dry rice." But if you want a more robust solution, consider stocking a Bheestie Bag.
For $20, this moisture-absorbing bag of magic beads claims to be 700 percent more effective than rice, and faster than silica gel (which is what some other device-drying products use). All you do is remove your device's battery (if possible), drop the gadget in the bag, seal it up, then go to bed. When you wake up, your device should emerge dry as a bone--and, with luck, fully functional. (There are no guarantees, but water doesn't always mean a death sentence for small electronics. Once the moisture is gone, it should perk right up again.)
I haven't tried a Bheestie Bag myself, as I've managed to keep my phones and other gadgets from taking unintended swims. But the user reviews on Amazon (where the Bheestie sells for $18) are extremely favorable.
The catch, of course, is that you really need to buy one in advance, keeping it on hand just in case of water damage. Still, if you're the accident-prone type, you might be better off spending $20 now than hundreds later to replace your device.
Install an Old Laptop Hard Drive in Your Desktop
Reader Fred wants to know if a laptop hard drive can be plugged into a desktop PC. "The pin out appears to be the same," he notes, "but there is no separate power-supply connector."
Short answer: yes. Long answer: it depends on a few things. For starters, Fred, you neglected to tell me what kind of drive it is--IDE or SATA--or what kinds of drive(s) you have in your desktop.
However, you did give me a clue. Because there's "no separate power-supply connector," that means it's most likely a 2.5-inch IDE drive. (Newer SATA drives for laptops have the same interface and power connectors as their larger desktop counterparts.)
If I'm right, you can use your laptop drive inside your desktop--but you'll need an adapter. Fortunately, they're cheap; Newegg, for example, has the Rosewill RCW-616 Laptop 2.5" to Desktop 3.5" IDE Hard Drive Adapter Converter for just $5 shipped. It includes the necessary Molex adapter for connecting to your desktop power supply.
However, your desktop might not have a drive bay that can accommodate a 2.5-inch drive. If that's the case, there are adapters available.
Or you might consider an easier and more versatile solution: an enclosure that turns your old internal laptop drive into an external USB drive. That not only saves you from having to tinker around inside your desktop, but also gives you a drive you can easily use with multiple PCs.
Want to know more? I've covered this topic in "Recycle an Old Laptop Hard Drive."
If you've got a hassle that needs solving, send it my way. I can't promise a response, but I'll definitely read every e-mail I get--and do my best to address at least some of them in the PCWorld Hassle-Free PC blog. My 411: email@example.com. You can also sign up to have the Hassle-Free PC newsletter e-mailed to you each week.


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Litchfield voters approve $27 million budget with 1.5% increase
LITCHFIELD >> Voters passed the $27 million 2013-14 town budget in a referendum Tuesday.
The total tally on the ballot, which was a simple 'yes' or 'no' vote, was 555 yes and 161 no. Voting was held at Litchfield Firehouse, Bantam Borough Hall and Northfield Firehouse from 6 a.m. to 8 p.m. There are 5,992 registerd voters in Litchfield.
"I'm very proud of the folks in the community who voted to support a very good budget," First Selectman Leo Paul said, noting that the budget took a lot of work by the education, selectmen and finance boards.
The $27 million 2013-14 budget is a 1.5 percent increase over the previous fiscal year. The Board of Education budget accounts for $15 million, the town-side budget for $8 million and $3 million is tabbed for debt service. The Board of Finance tentatively scheduled a meeting for Wednesday night to set the mill rate for 2013-14.
The referendum process was started after a Board of Education member circulated a petition for it. The process is expected to cost the town between $8,000 and $10,000. Signs encouraging residents to vote 'yes' were seen around town. Several parents also gathered at the post office to encourage people to vote.
Board of Education member Elizabeth Fabbri gathered 220 signatures, 20 more than required, on the petition.
Fabbri's concerns stem from the night of the town meeting, when the Board of Finance, in response to public outcry, re-allocated $32,000 for a world language teaching position that the Board of Education, after much debate, had decided to cut.
Parents had spoken out against cutting this position throughout the budget process, culminating at the town hearing when a bevy of parents and their children again spoke to how vital World Language is to young students.
"What I feel happened during this budget year was that the BOF exercised poor judgment when it essentially forced earmarked funding to a line item on the BOE budget," Fabbri said in the email. "That is NOT the charge of the BOF."
The finance board added the money back into the education budget that night, but does not have the power to choose where that money be spent. That is the charge of the education board. At the following education meeting, the board voted 6-1 to use this money to restore the position. Fabbri abstained from voting.
Fabbri left the Republican Party shortly thereafter and has registered as an independent.
In her email, Fabbri said placing the funding back into this line item was "shortsighted." She said she worries about several items that aren't accounted for in the budget, the largest of which is food service, which Superintendent Deborah Wheeler projected could cost the district between $50,000 to $70,000 next year.
Fabbri and other members of the education board also spoke out about the quality of this reinstated program at the May 1 education meeting.
In an email, Board of Finance chairman David Geiger said that the BOF made clear to the public that it could not affect any line item in the Board of Education budget, but that they did add $32,000 back so funding would be available if the education board wished to keep the World Language program at Intermediate School.
"For Litchfield, $32,000 represents less than two hundredths of one percent of the town budget, therefore property taxes would hardly be affected, either way," Geiger said via email.
Geiger said that the finance board proposed another lean budget increase this year.
"A vote by Town Meeting or referendum is part of the approval process, the taxpayers really decide," he said.
Gayle Carr, also a Board of Education member, told the Register Citizen on Monday that she is concerned as a board member and as a citizen. She questioned Fabbri's intentions with this referendum. Carr noted that Fabbri voted in support of the budget when it was over a 2 percent increase, but now has petitioned to say it is too high at the current 1.12 percent increase.
"Logically it makes no sense in light of her prior actions," Carr said. "And she shouldn't get away with it because not only is it costing almost as much as the entire library budget that she voted to cut. But, we have a town hall form of government in Litchfield. We didn't need this expense."
Carr, who noted that Fabbri is the chair of the curriculum committee, said that if Fabbri doesn't like the curriculum, she should rewrite the curriculum, not cut the program.
"Once she took over as the head of the curriculum committee she has been on a warpath to cut that program," Carr said. "Every year people come out."
Carr said she was shocked to find out that the question on the petition was identical to the 'yes' or 'no' vote at the town meeting.
"None of it makes sense and no one is calling her out on this," Carr said. "Somebody has got to expose this for what it is."
Reach Ryan Flynn at 860-489-312 extension 345.


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[Letter from Sam Houston to Joseph Ellis, June 12, 1847]
Description: A letter from Sam Houston to his friend Joseph L. Ellis of Grand Cane at his plantation "Pleasant Lawn." Discusses Judge Worsham, the health of the Houston family and neighbors. This letter is purported to be a hoax and forgery, as multiple copies exist.
Date: June 12, 1847
Creator: Houston, Sam
Item Type: Refine your search to only Letter
Partner: Denton Public Library


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Concertina style flower pot stand, constructed from metal. 66cm length x 22cm wide x 49cm high.
All Bluecross-Shop and Suttons products should reach you in perfect condition, just as they left us. If you are dissatisfied in any way with their condition on arrival, please let us know within 14 days. We are only liable for the cost of the goods as quoted on the website plus the cost of delivery if the goods are faulty.
Order By phone: 0344 326 7067 Customer Services: 0333 240 0799 (Monday to Friday 8.30-5pm) Address: Bluecross Trading Company Ltd, Woodview Road, Paignton, Devon, TQ4 7NG
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We've known since August, but now It's official. At a meeting today, GM announced to their network of Buick dealers the new mid-size sport sedan from Buick will be none other than the Regal.
The North American Buick Regal was replaced in 2005 by the Buick LaCrosse, built using the same W platform. The final 2004 Buick Regal rolled off the assembly line on June 1, 2004. Now it would appear it'll be back and as we told you back in August when Lutz let slip this tasty piece of news to Scott Burgess of The Detroit News, it'll be the same as was launched in China in November 2008 based on the Opel Insignia. More details as we get them. [Twitter]


text: 'Caps back from Africa - 24 Hours March 23, 200912:00AM PDT Previous Next By BOB MACKIN A stronger team is the legacy of the Vancouver Whitecaps' "soccer safari" to Tanzania, according to veteran striker Charles Gbeke. The Whitecaps returned home from the March 6-18 training camp in East Africa where they battled to overcome the sizzling southern hemisphere summer heat. It became a bigger challenge when they played most of a 3-0 loss to Young Africans FC on March 9 shorthanded after a questionable obstruction red card to Tyrell Burgess in the second minute. "I think they had to do anything to win," Gbeke said. "That red card was fishy, I don't think we deserved it." The referee was fourth official when the Whitecaps edged Simba SC 2-1 on March 12 and not assigned to the scoreless tie with the Tanzania national team on March 14. "For us it's not about results, it's about team bonding," said Gbeke, an Ivory Coast native. "Spending two weeks together brings the team together." New Whitecaps' midfielder Ansu Toure said Tanzania rekindled memories of his childhood in Liberia. He was glad the club could give young residents of a Dar es Salaam orphanage a reason to smile by donating jerseys, balls, school supplies and tickets to the March 14 match. "A lot of kids in Africa are going through that problem," Toure said. The Whitecaps resume training Monday and meet the University of B.C. Thunderbirds in a Tuesday friendly. Regular season begins April 11. Previous Next


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A workshop was held for members and partners of the Palau National Invasive Species Committee (NISC) from March 26-28, 2013, with the purpose of drafting a strategic action plan (SAP). Workshop participants initially carried out a review of the goals and objectives of the previous NISC action plan (2007-10). The goals were then revised, and a new goal, Goal 6, was adopted, to ensure that activities in the plan are adequately resourced.
The purpose of the National Invasive Species Strategy is to minimize the harmful effects of invasive species on the environment and society of Palau through coordination of efforts at all levels of Palauan society, and to facilitate cooperation with neighboring countries and the Pacific Islands region to prevent the movement of invasive species.


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We know that a supportive business environment is key to helping your company thrive. Learn more about what DIFC has to offer, from easy set-up processes to an enabling infrastructure and a variety of office spaces.
DIFC FinTech Hive continues to lead the innovation agenda in financial services through its latest digital cohort
30 Nov 2020
The DIFC is more than just a world-class financial centre. Explore the district beyond the office, from a carefully curated collection of retailers, to a diverse range of art galleries and some of the city's best restaurants.
DIFC Art Nights returns for the 10th year
17 Nov 2020
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Stay up to date with the latest news, announcements and insights from across the Centre by visiting our Newsroom.
Dubai International Financial Centre (DIFC) is one of the world's most advanced financial centres, and the leading financial hub for the Middle East, Africa and South Asia (MEASA), which comprises 72 countries with an approximate population of 3 billion and a nominal GDP of US$ 7.7 trillion.
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Home Goals T-shirt
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We're proud to be the exclusive destination for Goals NYC. The newly launched label focused offering midweight organic cotton t-shirts focused on and deeply rooted in the the arts, music, sports, and lifestyle of 80's and 90's New York fine living.
Home Goals T-shirt
100% Certified Organic 5.5 Oz Cotton
Color: Mustard
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A retrofit that saves you money
Wireless temperature monitoring for detecting damage to bearings
Every company has an interest in making sure that its processes are running at optimum levels. Incidents which cause a system to shut down may not only lead to costly repairs but may result in considerable losses. Ilsenburger Grobblech GmbH optimized its plant availability through recording temperatures at the roll neck bearings and a straightforward implementation using WirelessHART.
Detection of any damage to the friction bearings
Predictive maintenance intervention
Protection of the extreme costly friction bearings
Customer challenge
The four-high rolling stand at Ilsenburger Grobblech comprises of two work rolls which reshape the steel slabs directly, and two back-up rolls, which transfer roll pressure to the work rolls. The four-high stand has a maximum rolling force of 80,000 kilonewton. This situation is very demanding, even for roll neck bearings. The roll neck bearings are located on the operating and drive side of the upper and lower back-up rolls.
These are known as Morgoil® friction bearings. A lubrication circuit ensures that the Morgoil bearings get the lubrication they need. The temperature of this circuit should be monitored at the inlet and outlet. An increase in the temperature differential indicates a higher degree of friction inside the bearings which may result in damage. However, the ambient conditions which prevail at the rolling stand make it difficult to wire up the necessary temperature sensors securely
The solution
For temperature measurement, TR15 resistance thermometers with a weld-in thermowell and replaceable insert are used. These have already proven their worth a thousand times over in challenging industrial applications. Each temperature sensor is fitted with an adapter which enables wireless data transmission based on the WirelessHART standard.
Due to space limitations and possibly restricted radio communication, installing the adapter directly on the temperature sensor is not advised. The adapter is therefore installed remotely and connected to the temperature sensor using a short cable. The adapter not only facilitates data transmission, it also powers the connected device via the battery integrated in the adapter.


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Hero Showdown
So MJ and I had a month-long discussion at our personal blogs about heroic traits as portrayed in certain fictional characters. This week, we've been having a showdown of those characters—all the ones she and I talked about, plus all the additional ones brought up in the comments.
Dean Winchester has made it to the final "four"! It's actually the final 5, because he and Booth tied the first time around. And oh, no, this time, he's losing!
Help Dean make it to the championship tomorrow! Poll closes at 9:00 p.m. EDT.


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Helping the homeless
Homeless Trust Blog
- Formerly homeless teen inspires community after winning essay contest
- Miami Dade County's continuum of care ranks as one of the best in the country
What do we do?
The Miami-Dade County Homeless Trust is tasked with ending homelessness in the County. With more than two decades of experience, we have one of the most successful systems in the country to help reach that goal. Still, tonight there will be hundreds of people sleeping on our streets.
There is still a lot of work to do, but…
Together we can end homelessness!
Homeless or about to be?
If you are homeless or about to be, or know someone who is, a trusted resource is just a phone call away. 1-877-994-4357
While a phone call doesn't mean an automatic place to stay, the Helpline is the "front door" to available resources. Homeless individuals and families will be assessed according to their need and vulnerabilities, and then directed to necessary services and assistance.
Preventing homelessness
Resources are available to prevent families from falling into homelessness. When a household has insufficient resources to cover housing costs due to unemployment, a health crisis, family breakup or other reason, help may be available for those who qualify.
Individuals and families with a court filed eviction (not a 3-day notice), or at imminent risk of homelessness, can call the Homeless Helpline at 877-994-4357 and press 3.
Are you a homeless veteran?
Homeless veterans and their families are prioritized for housing and services through the Continuum of Care. Together with our many partners, including the Miami VA Healthcare System and US HUD, the Trust is working to make sure than no one who has served our country goes without a safe, stable place to call home. Homeless veterans are encouraged to call the National Call Center for Veteran Homelessness at 1-877-4AID-VET (1-877-424-3838).
Ensure no veteran is left behind
Active and retired service members are needed to partner with experienced outreach workers this July and August. Help our teams identify and engage the few remaining street homeless veterans in Miami-Dade County. Be among the first responders to help veterans in crisis. Help end veteran homelessness
Housing Locator
The Homeless Trust and Public Housing & Community Development (PHCD) jointly fund the Housing Locator service run by Socialserve to provide access to Miami-Dade County private housing listings. Landlords can setup a listing account or login to an existing account to add or edit listings
Domestic violence victims
Individuals and families fleeing domestic violence should call the Florida Domestic Violence Hotline at 1-800-500-1119.
Other services
Service providers within the Continuum also offer homeless individuals hot showers and indoor meals in a safe, welcoming setting. Providing these services indoors allows trained staff to engage individuals who might not otherwise contemplate coming in off the streets. (All of these services are located within the City of Miami).
Indoor meals:
Miami Rescue Mission, 2020 NW 1st Avenue. Meals are served every day at 4 p.m.
Mount Zion Baptist Church, 301 NW 9th Street. Meals are served Tuesdays only at 6 p.m.
Mother Teresa's, 724 NW 17th Street. Meals are served every day, except Thursdays, at 10 a.m.
Hot showers:
Miami Rescue Mission, 2020 NW 1st Avenue. Showers are provided on Mondays, Wednesdays, Fridays and Saturdays at 3:30 p.m.
Camillus House, 1603 NW 7th Avenue. Showers are provided for women on Mondays, Wednesdays and Fridays from 7:30 a.m. to 9:00 a.m. Showers are provided for men on Mondays, Wednesdays and Fridays from 9:15 a.m. to 11:30 a.m.
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San Francisco based webcasting firm ON24 has announced an $8 million round of funding. The announcement comes on the heels of a newly released product, Virtual Show, which provides organizations with a virtual venue for trade shows, job fairs, conferences, and training summits.
ON24 launched in 1998 as an online financial news channel selling original content to investors. At its peak, the company delivered syndicated content to various financial portals such as Merrill Lynch, E-Trade, and the Nasdaq trading floor. However, the dot-com burst in 2000 forced ON24 to shift focus, and in 2003 the company introduced a web-based video publishing platform that enabled users to produce live and on-demand webcasts. Now the company specializes in webcasting solutions, offering a collection of products that allow global marketers to conduct seminars, meetings, and even trade shows virtually over the web. It currently does business with some of the largest publishers and enterprises out there, including IDG, Reuters, IBM, Cisco, and HP to name a few.
Online collaboration platforms seem to be a growing trend within large companies, and with the high prices of oil and air travel this looks to be a continuing theme.