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Watch Brendon Urie's soulful performance of a 'Kinky Boots' musical number
Panic! At The Disco's Brendon Urie took on the role of Charlie Price in Kinky Boots on Broadway, and he recently performed a stripped-down version of the "Soul Of A Man" musical number.
Watch his soulful performance!
Read more: 10 reasons you need to see Brendon Urie in 'Kinky Boots' on Broadway
Urie made his Broadway announcement in early April, and he's been sharing his excitement ever since.
"I'm very excited to announce that I'm joining the cast of Kinky Boots this summer on Broadway. That's crazy to say because it's been on my bucket list for the longest time, and it really is a dream come true," Urie said in the original announcement.
"Plus you guys get to see me in those heels now, so that's pretty cool. I really hope you guys make it out."
Fans are excited to see Urie on Broadway, too. Watch them sing "This Is Gospel" and wish you were there to sing along!
Watch Urie's "Soul Of A Man" performance below:
Are you seeing Brendon on Broadway? Let us know in the comments below!
Watch more: 10 Essential Panic! At The Disco songs


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What is Edmund Halley Famous For?
Edmund Halley Biography
Notable Achievements in the Field of Astronomy and Science
Amazing Facts About Edmund Halley
This post is part of the series: Famous Astronomers
Birth: November 8, 1656
Birth Place: Haggerston, Shoreditch, London, England
Nationality: British
Fields: Astronomy, geophysics, mathematics, meteorology, physics
Schooling: University of Oxford, Royal Observatory in Greenwich
Notable Honors: Halley's Comet was named after him
Death: January 14, 1742 in Greenwich, London, England
In 1676, Edmund Halley used a 24-foot long aerial telescope on the south Atlantic island of St. Helena to observe stars of the Southern Hemisphere. In 1678, he published Catalogus Stellarum Australium, which detailed 341 newly-discovered stars.
In a study published in 1686, Halley defined a number of trade winds and monsoons near St. Helena. He determined that atmospheric motion was caused by solar heating. In addition, he found that barometric pressure was related to sea level.
Halley published Sir Isaac Newton's Principia Mathematica Philosophiae Naturalis in 1687 after discussing the relationship of gravity and planetary motion.
In 1690, Halley developed a device that allowed people to dive to 60 feet under water. It used a series of weighted barrels to deliver air underwater. Eventually, he was able to expand its use to four hours.
While working with the Royal Society, Halley developed a working magnetic compass housed in a liquid-filled case. He demonstrated the compass in 1690.
Halley studied life annuities in 1693 and created a scientific formula for the British government to sell life annuities at appropriate prices adjusted for the age of individuals. This helped establish the principles of actuarial science.
In 1705, Halley postulated that the comet that appeared in 1456, 1531, 1607 and 1682 was the same and would return in 1758. Posthumously, the object was named Halley's Comet after his prediction.
Halley attempted to measure the distance between the Earth and the Sun by finding the rate of the transit of Venus in 1716. This helped him discover the proper motion of the "fixed" stars two years later.
One of Halley's theories also included the concept of a hollow Earth. In 1692, he postulated that the Earth's shell was 500 miles thick and also included two more shells and a core inside the planet. Each shell was separated by an atmosphere. When the gas was released, it caused the Aurora Borealis.
In 1698, Halley conducted the first purely scientific voyage aboard the Paramour, a 52-foot boat. During his studies aboard the vessel, he observed terrestrial magnetism and helped further develop compass technology.
One of his final studies was conducted in 1720 with William Stukeley. Halley attempted to date Stonehenge. After studying magnetic records, the duo suggested it was constructed between 460 BC and 920 AD. (Current research places the age of Stonehenge in the range of 3000 - 2200 BC.)
BBC, https://www.bbc.co.uk/history/historic_figures/halley_edmond.shtml
University of St. Andrews, https://www-history.mcs.st-and.ac.uk/Biographies/Halley.html
Edmund Halley. (Supplied by Lumos3 at Wikimedia Commons; Public Domain; https://upload.wikimedia.org/wikipedia/commons/7/77/Edmund_Halley.gif)
Halley's Comet. (Supplied by NASA; Public Domain; https://upload.wikimedia.org/wikipedia/commons/2/2a/Lspn_comet_halley.jpg)
Orbits of Periodic Comets. (Supplied by Morgan Phoenix at Wikimedia Commons; Creative Commons Attribution ShareAlike 3.0; https://upload.wikimedia.org/wikipedia/commons/a/ac/Orbits_of_periodic_comets.svg)
Stonehenge. (Supplied by Frédéric Vincent at Wikimedia Commons; Creative Commons Attribution ShareAlike 2.0; https://upload.wikimedia.org/wikipedia/commons/d/da/Stonehenge_back_wide.jpg)
There are a number of famous astronomers from history. People ask "what is Neil Degrasse Tyson doing today?" or "when did Galileo discover Jupiter?" While becoming an astronomer can be a challenge, the accomplishments of Edmund Halley and the IQ of Stephen Hawking are important.
Nothing But the Facts About Stephen W. Hawking
Nothing But the Facts About Galileo Galilei
Nothing but the Facts About Dr. Neil deGrasse Tyson
Edmund Halley: Facts and Discoveries
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redpajama_set_name: RedPajamaCommonCrawl


Salazie is the easiest to access and has several cascading waterfalls. Hellbourg the little picturesque town at the bottom of the caldera Mafate is only accessible by foot or helicopter and is famous for its hiking trails, Cilaos is excellent for cycling and hiking trails as well as canyonning. It also has thermal baths and wine farms.
Located about 45 kilometres from Reunion's capital city of St-Denis, Cirque de Salazie is the largest and greenest of the island's three natural amphitheatres. This cirque is both rugged and beautiful, best described as a long, deep canyon, lined with more than 100 magnificent waterfalls and full of hills and valleys ripe for exploration.
Once you've hiked the hills and gone canyoning through Cirque de Salazie's steep gorges, you'll want to make a stop at the cosy village of Hell-Bourg. Hell-Bourg has been the recipient of France's coveted "most beautiful French villages" award. This enchanting little mountain town is Creole culture at its finest, boasting enchanting Creole houses and colourful flower gardens that simply delight the eye. Be sure to tour Mansion Folio, opened to the general public, and providing an excellent example of Creole architecture and Salazie lifestyle. This town was also once famous for its thermal springs, not unlike neighbouring Cirque de Cilaos. Though the hot springs have disappeared, you can still visit the Hotel des Thermes in Hell-Bourg.
Reunion's dramatic Cirque de Cilaos is a natural wonder and visitors will love the memorable drive that leads them toward the stunning cirque, with all its twists and turns and numerous tunnels. But the sometimes nail-biting drive is well worth it! When you reach the cirque itself, you'll be treated to colourful fields of flowers, forests of unique indigenous trees, and soaring walls and pounding waterfalls that attract the most avid canyoners.
As a matter of fact, canyoning is quite a popular activity here and those serious about this outdoor pursuit travel here from many countries around the world to enjoy the best of the sport in this rugged yet pristine location.
For those who prefer to stay out of the water, many outfitters also offer rock climbing excursions for both beginning climbers and those with previous experience.
If canyoning or climbing are too strenuous, hiking and trekking are excellent ways to see this cirque. You'll find plenty of groomed hiking and mountain biking trails for energetic guests, ranging from easy to difficult, all offering wonderful photo opportunities. Visitors will travel up and down hills, past magnificent waterfalls, and perhaps stop at the village of Cilaos, where they can visit a vineyard or two to sample the excellent local wines, indicative of the fine French traditions of wine-making. The area is also known for its production of lentils - a grain that is plentifully used in delicious local dishes - and its beautiful embroidery work.
Be sure to include a walk up to La Roche Merveilleuse, where you can enjoy a view of the village and forests below, and don't forget to stop to see the thermal baths which, long ago, enticed those from the French mainland to come and make their home at the Cirque de Cilaos.
The Cirque de Cilaos is centrally located on the Island of Reunion and the name of this cirque or "caldera" is said to have its origins in the Malagasy word Tsilaosa, which means "the place one never leaves", Some believe, however, that the name resembles that of a runaway slave names Tsilaos, who took refuge here. The runaway slaves, otherwise known as "black-browns" believed that at Cilaos' high altitude, they were safe from capture. This proved not to be the case, most were apprehended, and many were killed in the process.
The lack of automobiles and paved roads make this cirque a favourite destination for hikers as they can explore this unspoiled wilderness unencumbered by cars or tour buses. Hikers may reach Cirque de Mafate on roads that lead from the other two cirques, and once there, a number of mountain Gites (small cabins) are available to accommodate those who desire an overnight stay.
Cirque de Mafate was first settled in the 19th century by individuals referred to as "maroon" slaves; those who had escaped from their masters. Later, poor white labourers came and staked out claims here. Today, the cirque has one village, La Nouvelle, and a number of additional hamlets, located on flat-lands known as "ilets". All of the Cirque de Mafate is public property, managed by the local forestry service. Residents of the cirque rent from this government service at a very affordable price.
Situated on the South east corner of Reunion, Piton de la Fournaise is an active volcano ( 2631 m above sea level) which continues to erupt from time to time. Set in a lunar landscape you are able to walk along the surface and look into the rim of the volcano. The volcano first appeared 300 000 years ago, and is one of the most active volcanoes in the world. Because it is what they call an "effusive" volcano, its eruptions remain relatively safe. Around twice a year, the people of Reunion are treated to a magical display of light, with fountains of lava gushing skywards and burning rivers flowing down the hillsides. Even while respecting distances of security, you can actually get quite close up without being at risk.
Sometimes, these lava flows reach the sea, creating enormous clouds of steam and even redefining the island's coastline. Lava from la Fournaise rarely comes close to any residential areas, and highly sensitive captors at the Volcano Observatory warn of any imminent eruptions in good time.
The viewpoint overlooking the volcano and its surrounding area is at Pas de Bellecombe, which is accessible by car via La Plaine des Cafres. Staying overnight at the Gîte du Volcan ensures you'll be there at dawn. There are many other accommodation possibilities in the area, offering board and lodging. For more information, visit the Maison du Volcan.
In the south, there is a stretch of main road running through the lava flow area, with fumes still rising in some parts following the eruption which reached the sea in 2007.


Without regard to the size or type of your business, a solid online presence is important to connect with your customers. But when it comes to designing a new site, a lot of people simply don't know where to start. It's imperative that you have a high quality site, meaning it may not be the type of thing you should attempt if you don't have knowledge or expertise in web design. There are now more and more companies who provide web design services, and can build a site for you and your company. Since there are a lot of options, who should you select when it comes to a professional Wheat Ridge web design company? Below, we have helped make the decision of choosing a web design firm easier by listing out some of the factors to consider.
Contact a handful of web designers in Wheat Ridge and view samples of their work so that you know their level of expertise. Price is also an important factor in your decision, so be sure to ask for quotes from each company you get in touch with.
Look for a responsive web design company that understands your particular business and can build a site that doesn't just look great on a desktop computer screen, but also works the right way when viewed on various screen sizes.
To ensure your site is developed free of glitches and is appropriate for all major web browsers, you have to find a company providing Wheat Ridge web design services that has a track record in coding and web development.
Make sure the mobile web design company in Wheat Ridge you select offers search engine optimization (SEO) services so that potential customers can easily find your site when browsing the internet.
Request a quote regarding a timeframe for site construction, so you know roughly when your new site will be working. A lot of companies will charge extra if you are in a rush to get your site built.
With many years of experience on dozens of websites, we are Wheat Ridge web designers who are second to none. Our team will address the items above and to ensure you achieve the best final result for your business and website visitors, we can also assure the following services.
Your business goals are the number one priority, and by offering web design in Wheat Ridge, CO our company will do everything we can to ensure they are met.
We know you are keen to have your website ready to go as soon as possible and will do whatever we can to ensure this happens.
Lastly, think about how we connected right now via your internet search. Our understanding of connecting customers to online services by utilizing SEO makes us the ideal choice for your business. With the right website, folks in your area can get your services on the internet by simply performing a web search. Call us today to discuss options for your company, or simply fill out the form on this page. Our work can be reviewed in detail if you visit our case study of the website redesign for a local cleaning company, and see how we translated this into an increase in traffic (the free, organic kind), prospects, and revenue. Get it here.


文章的开始提出某college teacher认为: High school English teachers are not doing their jobs . 因为 His students has a bad command of English.
最后的结论是:The concern about the decline and fall of the English language is a generation, and is not new and peculiar to taday's young people.


Our campus is a popular location for filming and photographic shoots. We are able to offer a wide variety of different locations all on one site.
Our locations are available all year round and we pride ourselves on welcoming all kinds of productions, including film student projects, and offering a very flexible service.
We are a working university, but we are keen to accommodate requests, working around our daily teaching and research operations wherever possible. Whatever your requirement, we would encourage you to contact us to see if we can assist.
We have provided locations hospital-type settings, laboratories and university backdrops for commercial filming, including for drama productions, documentaries and adverts.
TV shows which have been filmed on campus include Law & Order: UK, the BBC's Holiday Hit Squad and Richard Hammond's Secret Service programmes.
To enquire further about filming at St George's, please contact the Commercial Services Team.
There is also a Facebook page with photo galleries of our locations.
Take a closer look at the buildings and facilities at St George's.
Our halls are a perfect place to stay for any organisation seeking competitive rates.
Our potential retail spaces boast access to close to 4,000 staff and students.


There are a lot of companies out there that can clean your property.
People often think every cleaning company is the same. We do not believe that, we believe our concept of customer service and quality control goes beyond your average cleaning company.
We build a partnership with you and your property. Our objective is that your property is clean and safe for your residents or tenants. We keep costs down by providing supplies in our contract. We constantly train and are on top of new products or equipment.
We ensure a top level of quality control from the very first day. We assign an Area Manager to your property, who then hires and trains your team. The Quality Control Manager will be there with the Area Manager on day one. The Quality Control Manager makes sure the Area Manager is doing his/her job and checks in with you on a regular basis. Both Managers will perform inspections, and meet with you to discuss our work performance.
If you are interested in a customized bid for services, contact our main office today.


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By Miriam Silverberg
Some months ago I wrote a column questioning why so many New York women live in black and asking readers for their comments. Here are some of the comments and stories I received.
One young attorney wrote that she's single-handedly changed the way that the women in her office dress. One day she came in wearing a yellow and black dress ("more yellow than black"), and her female boss commented on how nice it was to see color. The next day her boss wore a pastel dress and soon after all the other female attorneys and secretaries were wearing color.
Of course it can go either way. Another attorney wrote that things were different in her firm. She decided to be really daring and wore a green outfit. One of the senior attorneys took her aside and reminded her that black was the preferred color. Oh, well.
Another reader wrote that she had actually dressed in a red shirt one morning but then "chickened out" before leaving for work and switched to a white shirt. But she promised that she's seriously thinking of buying a red purse.
It seems that wearing black is a hard habit to break for some. One reader wrote that she's forcing herself to wear color and is doing it in increments. Pink earrings one day, a blue skirt another. She said she really does feel better in color and decided that she looks better too.
Never underestimate the power of a bright lipstick. One woman said that she doesn't feel comfortable wearing anything but black in her office but started wearing a bright red lipstick and loved it. As a result, she received a number of compliments from other women in the elevator.
An email from one reader informed me that I didn't know what I was talking about in my recommendation to wear color. According to her, black is the most flattering color, especially if you're a few pounds overweight, and it also doesn't show wrinkles as much. She maintained that black is much more businesslike and professional looking.
Each to their own opinion. But as far as wrinkles go, the consensus is that black worn near the face actually emphasizes them, so try a colorful scarf if you must wear a black polo shirt or blouse.
My favorite message is from one reader recounting her date with her boyfriend after work one evening. She had been trying for months to get him to propose and that morning she reached for a black suit as usual. But then she changed her mind and reached for a pink skirt instead which she wore with a floral blouse. That evening her boyfriend raved over her outfit and proposed! Mazel tov!
Try wearing color and write your own story.
Miriam Silverberg is a freelance journalist and owner of Miriam Silverberg Associates, a boutique publicity firm in Manhattan. She may be reached at silverbergm@mindspring.com.
(Colorful outfit photo via Shutterstock)


Tilley mini paraffin lamps c1950s - England. Pair of enamelled steel mini "Tilley" lamps c1950s.
Tilley mini paraffin lamps c1950s - England.
Pair of enamelled steel mini "Tilley" lamps c1950s. Brass crown fittings with bulb glass shade. Pale & Navy Blue holders with screw fitting. Come with new wicks, an alternative tea light for in or outdoors. Price is for the Pair.


The subject property is ideally located on Route 22, one of the area's busiest retail corridors. The subject property was built in 2017 and is one of many new developments on Route 22, including a QuickChek: a ±5,500 SF convenience store under construction across the street from the property set to open later this year, and The Shoppes at Watchung: a ±100,000 SF retail center currently under construction set to be completed in 2019. Due to its central location and nearby attractions (Watchung Valley Golf Club, ±3m; Washington Rock State Park, ±5m) the area benefits from a very dense population of more than 110,000 within 3 miles.


Charlie Henry was born on January 26, 1899. He died in February 1972 at 73 years old. We know that Charlie Henry had been residing in Tampa, Hillsborough County, Florida.
Charlie Henry's biography is built and maintained by people like you. Create an online profile of Charlie so that his life is remembered forever. If any factual information is incorrect, please edit Charlie's biography.
This genealogy profile is dedicated to the life and ancestry of Charlie Henry and his immediate Henry family. Add to Charlie Henry's genealogy page to share your memories & historical research with his family and other genealogy hobbyists.
Do you know the final resting place - gravesite in a cemetery or location of cremation - of Charlie Henry? Add burial and funeral information.
Charlie Henry lived 3 years longer than the average Henry family member when he died at the age of 73.
It is unknown if Charlie Henry is a military veteran.
1899 - In the year that Charlie Henry was born, on February 4th, the Philippine–American War began. The Philippines objected to the Treaty of Paris, signed in 1898, that transferred possession of the Philippines from Spain to the U.S. Filipinos began a fight for independence and fighting between U.S. forces and those of the Philippine Republic broke out. On June 2nd, the Philippines officially declared war on the United States.
1920 - He was 21 years old when Italian born factory worker Nicola Sacco and fish peddler Bartolomeo Vanzetti were picked up by police on May 5th in connection with the April 15th murder and robbery of a guard and a paymaster at the Slater and Morrill Shoe Company in South Braintree, Mass. Although in later years they were thought to be innocent, they were anarchists and were convicted of the crime and put to death.
1953 - At the age of 54 years old, Charlie was alive when on July 27th, the Korean Armistice Agreement was signed. The Armistice was to last until "a final peaceful settlement is achieved". No peaceful settlement has ever been agreed upon.
1955 - When he was 56 years old, on September 30th, movie star James Dean, 24, died in a car accident. He was headed in his new Porsche 550 to a race in Salinas California when, traveling at 85 mph, he collided with a 1950 Ford Tudor, also speeding, driven by a 23 year old college student. Dean died, his passenger and the other driver survived.
1972 - In the year of Charlie Henry's passing, on September 5th, the Palestinian terrorist group Black September, with the assistance of German neo-nazis, kidnapped and killed 11 Israeli athletes at the Olympic Games in Munich. The attackers crept into the Olympic Village and abducted the athletes while they were sleeping. A German policeman was also killed.
This obit of Charlie Henry is updated by the community. Edit this biography to contribute to his obituary. Include details such as cemetery, burial, newspaper obituary and grave or marker inscription if available.
Charlie Henry died in February 1972 at age 73. There is no listed cause of death. He was born on January 26, 1899. We have no information about Charlie's immediate family. We know that Charlie Henry had been residing in Tampa, Hillsborough County, Florida.
What do you remember about Charlie Henry? Share your memories of special moments and stories you have heard about him. Or just leave a comment to show the world that Charlie is remembered.


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Metal Gear Solid 5: The Phantom Pain
ThreeZero to Open Pre-Orders for Titanfall Stryder Figure
Jon Ledford
ThreeZero has announced that its 1/12th scale Titanfall Stryder figure and IMC Close Quarter Pilot will soon be available for pre-ordering.
This immaculately detailed Titanfall Stryder figure standards at 20" tall and will come with a 6" tall IMC Close Quarter Pilot. The Stryder Titan is similar to the previously released Atlas figure in both paint, quality and articulation, but they're also going to be quite different, especially when it comes to its mechanical design and custom lighting system. The IMC Close Quarter Pilot figure will come with metal armor pieces, various gun accessories and cloth tailoring. The Stryder is built primarily for speed, agility and maneuverability, so it makes sense that it has less armor than the Atlas Titan. But just because it has less armor, doesn't mean it's any lesser in quality, as this figure has its own features to equate it in value to its Gundam-esque counterpart. The Stryder Titan figures over 100 points of articulation (!), including pistons in its waist. It also has a realistic opening hatch to its detailed cockpit.
Pre-orders for the Stryder Titan and its IMC Close Quarter Pilot will start on May 3 at 9:00PM EST for the price of $430 at ThreeZero's official website. Anyone who orders the duo through ThreeZero's online store will receive an exclusive XO-16 Chaingun accessory. While this price might send off plenty of potential buyers, we're sure that this bundle is a thing of beauty.
ThreeZero's Dragon Age: Inquisition Alistair Figure
Filed Under: ThreeZero, Titanfall
Categories: News, Toys
Most Modern Games Could Benefit From Special Photo Modes
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Medical Lifting Sling market is expected to grow 11.2% CAGR during the forecast period 2018-2023.
This Medical Lifting Sling Market features mainly top to bottom approach to target key aspects of Medical Lifting Sling market that includes, gross revenue, CAGR, key players, cost structure, production capacity, sales analysis and future growth trends projected on the basis of historical protein ingredients research.
US, Canada, Mexico, UK, France, Germany, Italy, Spain, Rest of Europe, India, China, Japan, Australia, South Korea, Rest of APAC, GCC, South Africa, Rest of MEA, Brazil,Argentina, Rest of South Africa.
Medical Lifting Sling market includes following leading manufacturers on the basis of sales, revenue, price and gross margin.
Argo Medical, Arjohuntleigh Inc., Bestcare Llc, Djo Global, Drive Medical, Gf Health Products Inc, Guldmann Inc., Hill-Rom Holdings Inc., Invacare Corporation, Prism Medical Ltd..
Market Size Forecast: Global Medical Lifting Sling market segmented by overall size, by type/product category, by applications/end users, by regions/geography.
Regional analysis: Global Medical Lifting Sling Market Breakdown by North America, Europe, Asia Pacific, And The Rest of the World.
What will be the market growth rate of Medical Lifting Sling in 2023?
What are the key factors driving the Global Medical Lifting Sling market?
Who are the distributors, traders and dealers of Medical Lifting Sling Market?
What are sales, revenue, and price analysis of top manufacturers of Medical Lifting Sling market?
Who are the key vendors in Medical Lifting Sling space?
What are the Medical Lifting Sling Market opportunities and threats faced by the vendors in the Global Medical Lifting Sling?
What are sales, revenue, and price analysis by types, application and regions of Medical Lifting Sling?
What are the market opportunities, market risk and market overview of the Medical Lifting Sling Market?


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The Great Chevauchée, John of Gaunt's Raid on France, 1373, David Nicolle
The Great Chevauchée was an unsuccessful raid across France carried out by John of Gaunt, the third son of Edward III. His army crossed France, starting at Calais and eventually reaching Bordeaux. Despite the length of his journey, John of Gaunt achieved little on this raid and by the end of the English were probably lucky to reach safety with their army comparatively intact (although it did lose about one third of its strength).
The Great Chevauchée is rarely covered in any detail. John of Gaunt failed to achieve any of his aims, and in the years after the raid the French reconquered most of the areas that had been under English control. The Great Chevauchée is thus often tucked in between the end of Edward III's triumphs and the French revival.
This book thus fills a useful gap. Nicolle traces the route taken by John of Gaunt in some detail, including some areas where the route is uncertain and others where the army split into two. The army's route is illustrated by a series of excellent annotated maps, which help make sense of John of Gaunt's progress and demonstrate where there is uncertainty. Nicolle also examines the French reaction to the raid, the actions of the senior French commanders and the main conflicts that occurred along the route (mainly skirmishes, with some larger scale fighting and plenty of sieges, mostly unsuccessful, but without a full scale battle).
This is a high quality look at an important point in the Hundred Year's War, the failure of one of the largest efforts the English made in the mid period of the war, a failure that demonstrated that the French recovery was well under way.
Initial Strategy
Author: David Nicolle


Recently, a friend and I caught up over an email and discussed the ups and downs of life. I told her about a dream I'd recently had, one that seemed particularly relevant when seen against the framework of my life over the past few years. I would like to share it with you now, in the hope that perhaps it will also help others through times of difficult transition or loss. I hope she will not mind me repeating it as I told her.
"I had the most interesting dream the other night. I often dream about not being in control of things. I wake up in panic. In this dream, I had to scale a vertical wall that had to be one hundred feet up. There were bricks and hooks to grip on, and others were doing it, but I was terrified. Once you got to the top, you had to let go and allow yourself to fall straight down.
I'm petrified of heights. In dreams where I fall, fear makes me wake up before I land. In this dream, I relented and started to climb the wall. Suddenly, it was as if I was being lifted straight up. Getting to the top was effortless. Once I got there though, I was afraid to let myself fall. I had to take several breaths to compose myself. I suddenly felt very peaceful, and rather than letting myself fall straight down, I allowed myself to fall backwards. As if I was on a breeze, I sailed onto the ground. When I landed, I was overcome with emotion. I'd allowed myself to be vulnerable and somehow it worked out.
I know the dream was inspired by a talk I had earlier that day with a family member. We spoke about having faith in yourself and trusting fate, that usually, things work out as they were meant to.
Sometimes, you do much more than survive. You overcome, and you see the world around you with fresh eyes and an open heart.
I wish that same gift for you this Christmas!
Hi – just checking up on your blog. Dreams are indeed important – I believe they can be messages from our inner self to our conscious self, or sometimes a message from a guide or other sentient being. The possibilities are many. I like your well described imagery of this dream.
I tend to agree with you. Our dreams go a long way towards making sense of our innermost thoughts, whether it's related to something that's already happened, or something that needs to happen. Thanks for stopping by!


We are part of the Centre of Excellence (A Designated Teaching School).
Our pupils are at the heart of the school – staff know them personally by name and their individual character.
We develop our children's thinking skills and empower them with a variety of techniques for learning and problem solving.
We are equipped with the latest technology from interactive whiteboards through to a media suite.
Our vibrant learning environment enables independent learning and every detail is considered from the gleaming floor to the colour co-ordinated cupboards.
Our bespoke innovative curriculum provides exacting and creative pathways to achievement.
Extra-curricular learning is extensive and linked to the Children's University.
Pupil Voice is integral to everything we do, with a highly effective pupil leadership team helping shape school improvement.
Our schools equip children incredibly well for the next phase of their learning journey and they move on with a set of skills and the belief that there is no limit to what they can achieve.


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Xencor begins phase 1 trial of XmAb23104 in advanced solid tumors
By PBR Staff Writer
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Xencor has dosed the first patient in a phase 1 clinical trial that will evaluate its bispecific antibody XmAb23104 for the treatment of advanced solid tumors.
Image: Xencor doses first patient in DUET-3 trial in advanced solid tumors. Photo: courtesy of Colin Behrens/Pixabay.
Through the early-stage trial called DUET-3, Xencor will assess the safety and tolerability of XmAb23104 in an estimated 144 patients with selected advanced solid tumors.
The participants will be subjected to intravenous administration of the investigational drug. The advanced solid tumors for which XmAb23104 will be evaluated are melanoma, cervical carcinoma, pancreatic carcinoma, breast carcinoma, urothelial carcinoma, squamous cell carcinoma of the head and neck, hepatocellular carcinoma and others.
DUET-3 is a multiple-dose, dose-escalation study is also aimed at characterizing the pharmacokinetics, pharmacodynamics, immunogenicity and preliminary anti-tumor activity of XmAb23104.
The bispecific antibody is said to be capable of simultaneously targeting the immune receptors PD-1 and ICOS, and is designed to promote tumor-selective T-cell activation.
According to Xencor, its XmAb bispecific Fc domain serves as the scaffold for the two antigen binding domains. The XmAb bispecific Fc domain is said to have been engineered to prevent Fc gamma receptor (FcγR) binding, with the objective to block activation and/or depletion of T cells through engagement by FcγR-expressing cells.
Xencor senior vice president and chief medical officer Paul Foster said: "We designed XmAb23104 to improve anti-tumor responses through a novel mechanism of action that activates and induces proliferation of T cells through simultaneous checkpoint inhibition and co-stimulation.
"Both PD-1 and ICOS are more highly expressed on T cells in the tumor microenvironment than on those in the periphery, and through preferential targeting of cells that express both of these receptors, we hope to be able to drive a stronger anti-tumor response than anti-PD-1 monotherapy with improved tolerability for patients."
Based in California, Xencor is a clinical-stage biopharma company focused on developing modified monoclonal antibodies for the treatment of cancer, autoimmune diseases, asthma and allergic diseases. Till date, 13 monoclonal antibodies, which have been engineered with the XmAb technology, are in clinical development stage internally and with partners.
The XmAb antibody engineering technology is said to enable minor changes to the structure of monoclonal antibodies in order to create new mechanisms of therapeutic action.
Transgene receives MHRA approval for clinical trial of next-generation oncolytic virus
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Troy Schumacher – Satellite Ballet & New York City Ballet – Choreographer and dancer
By Marina Harss on January 11, 2013 in Interviews · 1 Comments
Troy Schumacher.
© Henry Leutwyler. (Click image for larger version)
An Interview with Troy Schumacher
satelliteballet.org
www.nycballet.com
Creative breezes seem to be blowing at New York City Ballet these days. More interesting yet, they are originating within the company. Last season the corps dancer, Justin Peck, made an exciting new work, Year of the Rabbit, filled with complex patterns and allusions to everything from Les Noces to sports to relationships within the company. Meanwhile another member of the corps de ballet, Troy Schumacher, has been quietly toiling on his own independent choreographic projects. In 2010 he formed the artistic co-operative, Satellite Ballet and Collective, with Kevin Draper, a poet and multimedia artist whom he met by chance in the hallway of his apartment building on the Upper West Side. Draper introduced Schumacher to Nick Jaina, a Portland-based songwriter with a lyrical, folksy bent, and the Satellite Ballet was born. Together, and with the collaboration of a group of dancers from New York City Ballet, they've created a small number of ambitious, layered, multi-media works: Epistasis, Progress and Warehouse under the Hudson. Schumacher has taken on a huge challenge. Developing ideas as a group and managing multiple visions is, in some ways, even more difficult than coming up with ideas in isolation. But Schumacher is a true believer in the collaborative process, i.e. a real exchange of ideas throughout the many steps that lead to the creation of a new work, with room for debate and input from multiple sources. A certain suppression of the ego is indispensable. As he told me, "I'm not doing this so people think I'm a genius." On the other hand the mechanics of this kind of exchange are increasingly facilitated by technology, which allows people to send digital files of music, choreography and visual design in an instant. Recently Schumacher was given the opportunity to work in a more traditional vein, through an invitation by the New York Choreographic Institute, New York City Ballet's incubator for young choreographers. He chose to make a ballet for eleven dancers – his largest yet – and to set it to several movements from William Walton's energetic piano quartet in D minor, written when the composer was only sixteen.
Schumacher and I spoke at the end of 2012, first in a café in Chelsea and then in his sunny, peaceful living room during a break in rehearsals for Nutcracker, in which he danced the roles of Candy Cane, Soldier Doll, and Tea.
Satellite Ballet in Troy Schumacher's Epistasis.
© Erin Baiano. (Click image for larger version)
Tell me a bit about your background…
My dad was a saxophonist and clarinetist; he played in a big band in New York for several years and he was also in a band called Nightflyte that had a top forty hit. My mom was a singer and actress who did a couple of national tours of Broadway shows. They met while my dad was playing in the pit of a show she was in. Then he decided he wanted to become a chiropractor. So they moved to Atlanta and he became a chiropractor and my mom became a housewife. But music was always a huge part of what was going on in our house. There are videos of me as a three year old singing Dirty Diana while wearing a Bowie wig. I have an older brother who's a singer-songwriter. I remember seeing Ailey when I was young; I remember a woman in an arabesque penchée in Revelations. But I didn't enjoy watching ballet or dance except for Gene Kelly and movie musicals. I loved Cats. That was my first real obsession. At seven I said I wanted to learn how to tap-dance. My parents just brushed it off for about a year and during that period I sort of loudly invented what I thought tap-dancing was. I'm sure it annoyed the hell out of my parents. And then finally they relented and signed me up for classes and I took my first class. I was so bad, and I had expected to be so good. I was devastated. I was almost ready to quit after my first class, but one of my mom's friends, a former dancer, taught me some steps and in the foyer of her house we tapped around. I decided, "I'm going to figure out how to do this," and I became a tapping machine. I generally don't say that I'm good at anything, but I was really good at tap-dancing. For three years of my life I did nothing but tap and watch Gene Kelly and Fred Astaire musicals.
How'd you get into ballet?
At my first studio, Atlanta DanceWorks, they encouraged me try other dance forms, so I started taking jazz and some ballet, but it was like pulling teeth. At twelve and a half I woke up and thought, "they don't make Broadway movie musicals anymore and I don't have the voice to sing and be in shows. What am I going to do with this?" I knew I liked to dance, and maybe I was starting not to mind ballet so much. So I decided to audition for Atlanta Ballet's Nutcracker. I got the Fritz role – they call him Nicholas. And they invited me to take a class with the other principal children in the party scene – this is what I consider my first real ballet class. I was more devastated after this ballet class than after my first tap class…. I'm not flexible, I don't have the best feet, I'm not extremely turned out, but I decided anyway that I was going to try. Atlanta Ballet invited me to be in their pre-professional division and from then on I was just determined. My dad says he never even questioned the fact that this was what I wanted to do because I loved it so much. I became obsessed with the athletic element. I auditioned for The School of American Ballet (SAB) with Kay Mazzo. But I still didn't care about anything but classical ballet: double cabrioles, 540's, revoltades, a hundred Russian pirouettes, that's all I did. Then I came to the school for the winter term. I watched New York City Ballet's whole winter season, every night, but I really wasn't into it. By the spring I was getting into it a bit more. I was in the fourth ring one night, watching Davidsbündlertänze, and halfway through it I found myself crying and experiencing something completely new. I think it was the first time I experienced art as something emotional. At that moment I fell in love with New York City Ballet and Balanchine.
Rehearsal silhouette by Troy Schumacher. © (Click image for larger version)
What musical training do you have?
At SAB, I really got into teaching myself piano. I started at sixteen with Jeffrey Middleton; he taught us how to read music, and there was a piano in the SAB dorms. I got really good at reading music, which is something I'm thankful for now. I've always tried to make friends with all the ballet pianists I've been in classes and rehearsals with, and I sometimes turn pages for the pianists during performances at NYCB. I became good friends with Whit Kellogg, a pianist at SAB and the Metropolitan Opera, and he would get me tickets to the opera. I would go to Juilliard recitals and discover new pieces. I'm also really into jazz and the American Songbook. Lady Be Good was the first piece I could really play.
What ballets have been particularly significant to you as a dancer and a budding choreographer?
I'd say getting to dance Puck in A Midsummer Night's Dream, and the first time you get into a Balanchine leotard ballet. You feel like this is what you're here for. Symphony in Three Movements, being part of this machine; Square Dance; Tombeau de Couperin.
Whom among the younger generation of choreographers do you find particularly compelling?
I was first drawn to Benjamin Millepied's work when I saw a program of his at Florence Gould Hall. I remember being very interested in this way he has of creating new steps. I think he brings a nice social aesthetic, showing the way people relate to each other. He definitely comes at it from a more European point of view. And Christopher Wheeldon; the first time you see After the Rain is such an amazing experience. I think it's fascinating how Chris has created this aesthetic and how he's able to mold many different ballets in his style. I was so impressed with Estancia and the vision that he produced, so crisp, so fresh.
Do you watch other companies?
I've started to more recently. I also find myself enjoying other forms of dance a lot more because I'm looking at it from a different perspective. I see as much non-dance stuff as I can, theatre, music, jazz, classical, art.
Are there any Downtown or contemporary choreographers you admire?
My first experience of Pina Bausch was the movie [Pina], which I saw three times. I was enamored with the dance cinematography. Dance is a difficult thing to experience outside of the theatre, but for the sustainability of the artform it has to find a way to make itself more widely available.
Did you see Pina Bausch's Como el Musguito en la Piedra?
Yes. I was amazed by her dancers. They're some of the best dancers I've ever seen in my life and they embody things that I value, like individuality and a sly athleticism. They can be beautiful, ugly, funny. They're all so versatile. As a piece, it was missing a lot of structural elements and I was perturbed by many of the musical choices. Sometimes in watching dance there are moments that are so memorable that they really shape our experience. Pina Bausch was able to create moments like that. Moments that mean something or make you feel something.
So tell me about Satellite Ballet and your collaboration with Kevin Draper…
This whole thing started out as an experiment. When I met Kevin, we didn't really know what was going to happen. I had only made one four-minute ballet for the Atlanta Ballet, set to Poulenc. The Atlanta Ballet has always been very supportive. I wanted to try my hand at choreographing far away from NY.
Did you suggest it to them?
I did, and they were very receptive. I called down there in the summer of 2009 because I had decided I wanted to try choreographing. We were on summer break. After Saratoga, I thought, maybe I should try? So I called them up and they said "sure, come down." I chose Poulenc's sonata for piano and cello, just one movement. I worked with five dancers, four women and one man. They let me use their trainees. They performed it as part of the trainee performance in the spring of 2010. Then in early 2010 I met Kevin and we started Satellite. One morning, I opened my apartment door and Kevin was moving in across the hall. He introduced himself and I told him I was at New York City Ballet, and he told me that one of his inspirations for going to architecture school was Noguchi. He knew a little bit about ballet and he has this performing arts space in Michigan in the middle of nowhere; he floated the idea of putting together a performance. He went to architecture school but he's not a practicing architect. He works at a consulting firm. I've always wondered why people didn't collaborate more, and he was interested in putting something together. So I went from making a 4-minute ballet to making a 22-minute ballet. Choreographing is never easy, and it's not always fun, but it's a singular experience unlike anything else.
Dancers resting by Troy Schumacher. © (Click image for larger version)
Why are you so drawn to the idea of collaboration?
I've always been interested in looking at a ballet company and figuring out what could be done better. At SAB I started studying ballet history and I realized that you had two people, Balanchine and Stravinsky, already masters of their craft, who came together and created Agon. In many ways it changed their lives, it changed ballet and it changed Stravinsky's music. Other art forms have always been important to me. I love music; I want to be involved with creating something with someone else. When you're in the corps, the opportunity to go somewhere and dance on your off time is really exciting. Principal dancers do it all the time, but corps dancers don't get the chance very often. Kevin brought up that he was a poet, and that he was really interested in the Manhattan Transcripts by Bernard Tschumi. Tschumi made this work that expresses the idea that space is defined by what happens in it rather than the physical space, which is something that really applies to dance. And Kevin said "there's a composer I want you to listen to," Nick Jaina, from Portland. Nick had played a show at Kevin's performance space in Michigan. It's basically this very honest indie rock music; it's interesting, with a lot of feeling. New music is not always easy to listen to; but now there's this movement of young classical composers creating beautiful. pleasing music, but I wasn't really aware of it then. So I thought how great would it be to keep Jaina's feeling but write it in a classical form and break out of conventional song patterns. Most of the intense collaboration has always been between me and the composer.
What comes first, the text or the music?
For the first ballet Kevin handed us about 100 pages of his poetry, something he was considering making into a book. We went through it and took what interested us. I'd been getting more and more into reading literature and had been reading Russian novels, but not so much poetry. I've come to really value a literary perspective in dance; I think we really hit on something in our second ballet, Epistasis, where we used a libretto written specifically for a ballet. We call them abstract librettos, because from the beginning I said that to just take literature and "tell" it in dance terms is not a very strong or feasible idea. You have to figure out how to take little bits and translate it into dance or music. One sentence can make an entire ballet, or even two words could do it. There are moments in Kevin's poetry where I experience something and it sparks something in my brain. Also, half of making a ballet is structure. Sometimes I've taken how something appears on a page and turned that into a structural element, for example the solos in Epistasis, which were taken from a poem with six stanzas that all relate to each other. We took a concept from each stanza and applied it to a dancer; I choreographed a solo and the composers wrote a piece of music based on their impressions of each of the dancers. This part of the libretto was like a cross-section of the earth, with different layers, like a volcano. The first level is molten nickel. So we asked, whose personality is like that? Kevin also did the visuals. We want everything to cohere, so we share clips all the time. I like hearing feedback from everyone because I'm young and still growing, and hearing feedback from artists who know very little about ballet is fascinating to me.
Sam Greenberg and Emilie Gerrity in Troy Schumacher's Epistasis.
Is the music written down?
The interesting thing is that they're indie musicians, so they have differing levels of musical education. Nick is basically self-taught. So there was no score and the musicians were playing these 20-minute ballets from memory. But I was interested in having a score. I've gotten to know Nico Muhly a little bit through Twitter and from working on [the Millepied ballet] Two Hearts. So I emailed him and asked him if he knew anyone who could help us create a score of our music. We wanted to see what the music sounded like with a really great ensemble playing it. Nico said "I know just the person, his name is Ellis Ludwig-Leone." He arranged and transcribed our music over the summer, along with Nathan and Nick. So this time we had a score.
There seems to be an uptick in the number of in-house choreographers at NYCB – I'm thinking of Justin Peck, for one – is creativity encouraged in the company?
There's a huge group of immensely creative people at NYCB that dabble in a ton of things. The company is supportive of people trying to choreograph because it's needed in the field of ballet. The Institute is the main way that people get their opportunities. Peter's been supportive of me starting Satellite Ballet; he came to our first performance and was very positive and gave really amazing feedback. The hurricane kept him from coming this year.
Do you ever feel like the Balanchine aesthetic is a kind of mental prison?
It's a really strong aesthetic but at the same time I feel like it's a three-walled room. You have what Balanchine did, which from a technical and choreographic perspective is just so "correct." What I'm interested in is how to walk forward from this because the [Balanchine] training and the dancers are incredible. I'd rather watch them do ballet than anyone else. I spend a lot of time trying to think of how to take what he did and apply it to the social context of today. One thing about Balanchine is that his work reflects the ingrained royal formality of the Tsar and royal hierarchies and sense of chivalry – or you could call it chauvinism in some cases. It all makes sense, but if you make a ballet today where you have two people bowing to each other without making some kind of social statement, it doesn't make that much sense. I'm really interested in exploring that….
How does that influence your ideas about partnering?
Chris Wheeldon always impresses me in this respect: his inability to do anything wrong in a pas de deux. I think that male-female partnering has this dichotomy of the man elevating the woman or the man manipulating the woman. At the same time there's all this in-between. People really enjoy watching those moments. Everyone has moments in his or her life that are like that; we can all relate to it. I'm trying to mirror life more than an ideal.
You once told me that you were ambivalent about gesture in dance. What did you mean by that?
I'm not interested in pantomime or artificial gestures to express things that dance is not meant to express. At the same time, in life, people grab their heads, we rub a migraine, we hold somebody, we touch their back to keep them from leaving us. But grand motions, that's the kind of gesture that doesn't interest me.
Dancer Ashley Laracey by Troy Schumacher. © (Click image for larger version)
But given that you work with libretti, or words, don't you need gesture?
I'm not looking for dance to express words literally. Words, or poetry, make you feel a certain way; there's a certain feeling that can come over you when you're reading something. It's one reason why I love reading Proust, because there are these moments where you don't know exactly what's happening but there's something so beautiful that comes out of it. But I'm not trying to translate poetry into dance in a literal way.
But your last piece had a narrative…
It did, but it was more a series of narrative vignettes that were related to each other. There was a concept of time; the ballet took place over the course of two days. And there were physical interactions, but there was no pantomime, at least as I see it. There are narrative moments that words and movement can both express. One thing we're very interested in trying to explore is allowing each art form to take the lead at different times. At times the graphics told the story, or the music.
How was this last season different for you?
I firmly believe that works should continue to grow and change and evolve. Especially being so young – I just turned 26. This was only my third ballet. This year, Epistasis was a much more interesting and valuable work than the year before. We expanded some moments and refined the way the graphics relate to the dancing. I spent a lot of time changing tiny moments, and we added two-and-a-half minutes to the ballet and took out a few moments and rearranged the music. I hired a new group of musicians, because now we have a score, and the musicians had time to refine it, and we added a cello. It's a difficult thing to join all these elements together. Also: how much should you prep the audience? For Epistasis we decided to just allow the title to speak for itself. The whole libretto is pretty much contained in this one word. That leaves things open. Also, a lot of people don't want to know anything beforehand.
How do you deal with critics? The reviews for your last season were mixed.
Like many dancers, I read reviews. I enjoy reading them, not that I always agree. I want to hear everyone's honest perspective. I take a lot into account, and dance critics come at it from a position of knowing dance and watching dance all the time. Even too much, sometimes. They point out interesting things. I'm not doing this so people think I'm a genius. I just want to create works and add something meaningful to dance and to ballet and also bring other people to dance with intimate, accessible performances.
It sounds like you have thick skin.
I try to. Obviously you want people to like what you do and I have my own internal process when I see a bad review. I think that anyone who says it doesn't affect them is not being truthful. I think that even when you get a good review if there's one bad sentence in it it affects you as much as a bad review. What bothers me when I read reviews are inaccuracies or unnecessary snark or pretending you're being objective when you can't be. What I value is an outside perspective from someone who knows a lot about dance. But I hope that eventually people will begin to see that this is not just a dance performance.
You want it to be looked at by people from outside the dance world?
Yes, and I hope that they will when we're at the Joyce in August. Satellite Ballet will have two evenings at the Joyce, Aug. 14-15, part of a new festival called Ballet 6.0. It's a group of new, smaller ballet companies, including Olivier Wever's Wim W'Him, Company C, and Ballet X. We each have our own evening. It's a co-presentation with the Joyce; they don't pay us, we don't pay them, which, coming from a position of having produced everything ourselves, is amazing. I'll use more or less the same dancers. I like to work with the same people. I think they're all really unique and they all have something to say.
What led to your split with Kevin Draper?
I think we have slightly different visions, but it's mainly an administrative thing. I'm interested in working with some new people. I think if you keep working with the same people exclusively over and over you're not going to grow. Nick Jaina is working with another choreographer. Satellite Collective is still going to exist, in Michigan, as a place to foster artists and incubate projects. Nathan Langston, our dramaturge, is creating something called the Satellite Press that we'll all write for. For example, I interviewed Claudia LaRocco about dance criticism. For our shows at the Joyce we're bringing in two new artists that I'm very excited about. One is Ellis Ludwig-Leone. He has assisted Nico Muhly on many projects. On the literary side we're developing ideas with Cynthia Zarin. She's a poet, and was a longtime New Yorker writer and one of Ellis's professors at Yale. We all kind of educate each other. It's important to be able to speak each other's language. We're still trying to come up with a new name.
You recently made a piece for the Choreographic Institute. How did that go?
I happened upon a cd of the William Walton piano quartet on a trip to the library where I checked out about forty CD's. I like to go through and pick up music without bias. I somehow grabbed two CD's with William Walton pieces on them, mainly because I was interested in Elgar pieces on the same disc. The fourth movement of the piano quartet was the first thing I responded to; it seemed really fresh and contemporary. It had a great, danceable energy to it. Often, the best ballets are set to scores that seem to need another component; it's like they're asking for a visual element. I really wanted to create a ballet to music that I could study for an extensive period of time. I tried to just listen to the piece from a musical perspective for a long time. Then I went through it thinking about the structure and counting it out on paper. I sat down with Susan Walters, one of the pianists at NYCB, just to make sure I was upholding the integrity of the piece. I didn't want to pre-choreograph too much. For me it's helpful to come up with a few ideas, but then when I get into the studio I often end up doing something completely different. I decided on eleven dancers. Using pennies for men and dimes for women, I started looking at different formations on the stage. I took a bunch of pictures of the coins. Then someone told me that Balanchine did the tattoo of Union Jack with pennies… I chose really fast music and a large group because those are the hardest things you can do.
Troy Schumacher, choreographer – planning with pennies & dimes.
© Troy Schumacher. (Click image for larger version)
Did you get feedback?
I got a lot of feedback from people who were there, and I was really happy at how positive it was. I hope to get the chance to develop the piece further in the near future.
What do you feel are your greatest strengths at this point?
I think probably my greatest strength is my desire to hear honest criticism. It's hard to create a ballet, and to get funding; you have to present yourself as someone who is confident. I do all the administrative work and fundraising. I've always been interested in what it takes to make the arts happen. And my second greatest strength is my determination to study all these other art forms. I think a musical education is so important and all the best ballets are made by extremely musical people.
And your greatest weakness?
Insecurity. I'm very hard on myself. I have a hundred thoughts going through my head and I put a lot of pressure on myself. But as time goes on it gets much easier. I haven't made enough ballets to be able to tell if I'm truly good or not. What was fun was having some conversations with other choreographers at the Institute. The classical music community has a nice group of composers, and it would be interesting to have something like that, an honest round-table discussion about ballet and art and community.
Tags: A Midsummer Night's Dream, After the Rain, Alvin Ailey, Atlanta Ballet, Atlanta DanceWorks, Ballet X, Benjamin Millepied, Bernard Tschumi, Cats, Christopher Wheeldon, Claudia LaRocco, como el musguito en la piedra, Company C, Cynthia Zarin, Davidsbundlertanze, Elgar, Ellis Ludwig-Leone, Epistasis, Estancia, Florence Gould Hall, Fred Astaire, Gene Kelly, George Balanchine, Igor Stravinsky, Jeffrey Middleton, Joyce Theater, Justin Peck, Kay Mazzo, Kevin Draper, Manhattan Transcripts, Metropolitan Opera, Nathan Langston, New York Choreographic Institute, New York City Ballet, New Yorker, Nick Jaina, Nico Muhly, Olivier Wever, Peter Martins, Pina Bausch, Poulenc, Progress, Proust, Revelations, Satellite Ballet, Satellite Ballet and Collective, Satellite Collective, Satellite Press, School of American Ballet, Square Dance, Susan Walters, Symphony in Three Movements, The Nutcracker, Tombeau de Couperin, Troy Schumacher, Two Hearts, Union Jack, Warehouse under the Hudson, Whit Kellogg, William Walton, Wim W'Him, Year of the Rabbit
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Marina Harss
Marina Harss is a free-lance dance writer and translator in New York. Her dance writing has appeared in the New Yorker, The Nation, Playbill, The Faster Times, DanceView, The Forward, Pointe, and Ballet Review. Her translations, which include Irène Némirovsky's "The Mirador," Dino Buzzati's "Poem Strip," and Pasolini's "Stories from the City of God" have been published by FSG, Other Press, and New York Review Books. You can check her updates on Twitter at: @MarinaHarss
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text:
Q: Sublime text build system for Lean I'm trying to write a build system for the Lean computer proof assistant in sublime text. I have an M1 Mac.
I've written this python file which opens a latex file EXAMPLE.tex and puts out a lean file EXAMPLE.lean.
Here's some code I've come up with to produce a lean file from a tex file. Basically, it takes the text which was internal to the environment \begin{lean} ... \end{lean}.
import re

latexfile = open("/Users/edeany/Documents/latex.tex", "r")
text = latexfile.read()
text = text.replace('\n', '')

x = re.findall("begin\{lean\}.*end\{lean\}", text)
y = ""
for i in range(len(x)):
    y = y + x[i][11 : -10]

leanfile = open("/Users/edeany/Documents/lean.lean", "w")

leanfile.write(y)

My goal is to make a build system for sublime text. I want the build system to build a latex file NAME.tex. By building I mean:

*

*It extracts the $file of the file we want to build

*It runs the above python code somehow using the $file string instead of the path that the above code uses, obtaining a file NAME.lean (where we started with NAME.tex).

*It runs latex on the original latex file, updating the pdf.

*Ideally, there would be a way to run the lean file, but maybe this is not a simple task.

I was hoping someone could show me how to do 1-3. And maybe 4 is possible too.

redpajama_set_name: RedPajamaStackExchange


When we say easy lasagna, we mean lasagna that is simple. You do not even have to cook the noodles for this pasta dinner that is nevertheless remarkable that is fast.
Cook steak in a sizable skillet over moderate heat, stirring until it crumbles and is no longer pink; drain.Spread one third of meat sauce in a lightly greased 11- x 7-inch baking dish; layer with 3 noodles and half each of ricotta cheese and mozzarella cheese. (The ricotta cheese layers will be thin.) Repeat process; distribute staying one-third of meat sauce. Slowly pour 1/4 cup hot water around inside edge of dish. Tightly cover with 2 layers of heavy-duty aluminum foil.
Bake at 375deg for 45 minutes; uncover and bake 10 more minutes. Let stand 10 minutes.


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Seeks Ghosts What to do if you see a Ghost?
This guide to Ghosts will teach you about their attributes, means of getting rid of ghosts, having ghosts join your household, and how to bring a ghost back from the dead. Ghost Visits & Basics While there is some variation in what ghosts can do and how they behave, they also share the same qualities.... Have you seen the movie "Beetlejuice"? Well, surely you understand why the ghost couple in the movie was so upset to see their beloved home being totally renovated by city dwelling artsy-fartsy types.
Many old houses already have old ghosts in them, but even if your old house is ghost-free, it is likely to have had a ghost or two in it at one time or another over its long history. And once a ghost is gone, an energy residue remains that marks a house as "ghost-friendly," and this can attract new ghosts. how to get your dog to wear a bandana My House is Haunted by a Friendly Ghost (self.Paranormal) submitted 5 years ago * by Murcos00 So me and my family have been living in our 112 year old home for 10 years now.
If you see the ghost again tell the ghost to leave you alone—you can also state you cannot help them—then go to an adult. If the encounters persist ignore them, put them out of your mind, and don't talk to them again and they will most likely move on. If they don't, again ask an adult for help.
You might be thinking your house is haunted by a ghost. Ghosts are the spirits of the human deceased who have gotten trapped between this world and the next or of whom have returned to earth for a specific reason (though the former is most common).
This guide to Ghosts will teach you about their attributes, means of getting rid of ghosts, having ghosts join your household, and how to bring a ghost back from the dead. Ghost Visits & Basics While there is some variation in what ghosts can do and how they behave, they also share the same qualities.


When the pores of the skin become clogged with oily, fatty material and become inflamed, a skin condition called acne results. The problem is common among adolescents, particularly boys. Untreated acne can cause permanent scarring on the face, neck, and back. An occasional pimple on the face is different from acne that is inflamed and can become infected. Acne forms whiteheads (closed pimples) and blackheads (open pimples), which release free fatty acids (FFA) into the tissues and cause the characteristic inflammation.
Acne usually begins at puberty, when adult levels of male hormones (androgens) cause changes both in the size of the skin glands and in the amount of oil produced by them (see adolescence). Most acne is worse in the winter and improves in the summer, probably because of the helpful effects of increased sunlight on the skin. Most acne is mild and disappears at the end of the teen years, but deep, infected acne can result in severe scarring.
Sometimes adolescents who have acne become embarrassed and begin avoiding social contacts because of their appearance. If this happens, it is important to seek counseling as well as medical treatment. There is no known connection between acne and diet, athletics, or sexual activity.
Mild acne can be controlled by washing with mild soap several times a day, by opening pimples after they have come to a head, and by not picking at pimples that are healing. Acne medication containing vitamin A acid, benzoyl peroxide, or sulfur-resorcinol should be used twice a day. Cosmetics or lotions containing oil should not be used.
More serious acne requires the help of a physician to prevent spread and scarring. An antibiotic such as tetracycline will often be prescribed for use over a long period of time (see antibiotic). Opening and draining of deep infected pustules is also done by the physician. In girls, when acne appears to come and go with the menstrual cycle, a birth control pill containing synthetic female hormones sometimes can cure acne. For further reading, see The Merck Manual.


Here we address to reasoning questions arising in the minds of children on the basis of their day to day observations by giving their scientific answers. Some questions which children asked over the years regarding science and technology are given below.
The Australian billy goat plum contains 100 times more vitamin C than an orange.


CSE-310 F L T P - - 3 Computer Network Lab Class Work : 25 Marks Exam : 25 MARKS Total : 50 Marks This course provides students with hands on training regarding the design, troubleshooting, modeling and evaluation of computer networks. In this course, students are going to experiment in a real test-bed networking environment, and learn about network design and troubleshooting topics and tools such as: network addressing, Address Resolution Protocol (ARP), basic troubleshooting tools (e.g. ping, ICMP), IP routing (e,g, RIP), route discovery (e.g. traceroute), TCP and UDP, IP fragmentation and many others. Student will also be introduced to the network modeling and simulation, and they will have the opportunity to build some simple networking models using the tool and perform simulations that will help them evaluate their design approaches and expected network performance.
S.No 1 Experiment Study of different types of Network cables and Practically implement the cross-wired cable and straight through cable using clamping tool. 2 Study of Network Devices in Detail. 3 Study of network IP. 4 Connect the computers in Local Area Network. 5 Study of basic network command and Network configuration commands. 6 Configure a Network topology using packet tracer software. 7 Configure a Network topology using packet tracer software. 8 Configure a Network using Distance Vector Routing protocol. 9 Configure Network using Link State Vector Routing protocol.
Hardware and Software Requirement Hardware Requirement RJ-45 connector, Climping Tool, Twisted pair Cable Software Requirement Command Prompt And Packet Tracer.
Practically implement the cross-wired cable and straight through cable using clamping tool.
Pages: 2Topic 3Study of Network Devices in Detail.
Pages: 6Topic 8Configure a Network topology using packet tracer software.
Pages: 1Topic 10Configure Network using Link State Vector Routing protocol.