Providence - Davenport, Florida is only 20 minutes to the area's main attraction... Walt Disney World. This gated luxury resort sits nestled just outside of Orlando, Florida and has quickly become one of the most desired resorts in the Orlando area. This home will provide you and your family with an abundance of luxury amenities leaving you well-equipped to vacation with all the usual items you would expect to find at home. Providence is only a 40-minute drive from the Orlando International Airport and is situated central to all if Orlando's famous attractions. The resorts amenities include a family-oriented fitness and aquatic center with state-of-the-art exercise equipment and an activity room for aerobic classes, and other related activities. Providence's main attraction is the Providence Golf and Country Club. The golf clubhouse includes a pro shop, lounge, and restaurant with seating for 200 people. Guests can find friendly competition on the lighted tennis facilities. In addition, a lap pool for exercising and a resort-style pool complete with lounge area for socializing surround the clubhouse. Plenty of walking and biking trails meander through Providence. This spacious 8 bedroom holiday villa can comfortably accommodate a larger family or group of up to 16 people.


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115 (2017-2018) — 116 (2019-2020) 113 (2013-2014) 91 (1969-1970) — 111 (2009-2010) 82 (1951-1952) — 89 (1965-1966) 77 (1941-1942) — 80 (1947-1948) Washington House Committee : Ways and Means
HOUSE COMMUNICATION
1. ML172 — 03/26/2018 — House Ways and Means — 115th Congress (2017-2018) The SPEAKER presented a memorial of the Legislature of the State of Washington, relative to Senate Joint Memorial 8008, memorializing Congress to pass and The President to sign legislation reforming the harbor maintenance tax; to the Committee on Ways and Means.
1. ML172 — House Ways and Means — 03/26/2018 — 115th Congress (2017-2018) The SPEAKER presented a memorial of the Legislature of the State of Washington, relative to Senate Joint Memorial 8008, memorializing Congress to pass and The President to sign legislation reforming the harbor maintenance tax; to the Committee on Ways and Means.
House Communications [1]
Ways and Means Remove
Communications by US State or Territory
Communication [1]
Memorial (ML) [1]

redpajama_set_name: RedPajamaCommonCrawl


Christine Enderby—After seven years as a Creative Director at Ziba Design, Christine launched Nuzzle. Her personal journey to motherhood disclosed a void in the market that Christine couldn't ignore. Her product, which focuses on taking the sting out of breastfeeding and pelvic cramps, has won awards, and Christine has learned to tell her story to interested women and uncomfortable men.
Cole and Dayna Reed—Cole (left) and Dayna (right) are the owners of NXT Industries, a creative development corporation that builds and manages hybrid office-studio spaces for artists, freelancers and small companies to accelerate their business. Prior to purchasing NXT, they owned and operated greenHaus, an art gallery and boutique in downtown Phoenix.
Mindee Hardin—Mindee is the owner of Juicebox Consulting, where she helps entrepreneurs (mostly Mom inventors) bring their ideas to life while they juggle the demands of a family. She is most widely known for her success as the inventor of Boogie Wipes, saline wipes for kids' stuffy noses. Her idea hit $15 million in sales in 2011 and was acquired shortly after by Nehemiah Manufacturing.
Moderator: Naomi Derner—Naomi Derner, CFA is the founder and managing director of Derner Valuation Consulting, an independent provider of business, securities, and intangible asset valuation serving companies in all stages of development, from angel-backed start-ups to public companies.


Description: 2008 Mazda CX-7 139,990 Miles, 3.3 Turbocharger, 4 Cylinders, FWD Automatic, Blue Exterior, Black Cloth Interior AM/FM Stereo, CD Player, Power Windows, Power Door Locks, Power Side Mirrors, Cruise Control, Center Console, Steering Wheel Controls, Cold A/C, Keyless Entry Tinted Windows, Newer Tires, No Accidents, Clean Title, Carfax Available $4800 Brewer Automotive Sales - 3514 S. Tryon St. . . .
Description: 2005 Chevy TrailBlazer LT 134,318 Miles, 4.2L, 6 Cylinders, 4WD, Automatic Green Exterior, Beige Leather Interior, AM/FM Stereo CD Player, Power Windows, Power Door Locks, Power Side Mirrors, Power Seats, Cruise Control, Center Console Dual Temperature Controls, Remote Gas and Brake Pedals Information Center, Cold A/C, Compass, Owner's Manual Tinted Windows, Keyless Entry, Running Boards, Roof . . .
Description: 2005 Honda Odyssey EX 140,725 Miles, 3.5L, 6 Cylinders, FWD Automatic, White Exterior, Gray Cloth Interior, AM/FM Stereo, 6-Disc CD Player Power Windows, Power Door Locks, Power Side Mirrors, Power Seat, Power Side Sliding Doors, Steering Wheel Controls, 3rd Row Seat Auxiliary Outlet, Owner's Manual, Roof Rack Tinted Windows, Keyless Entry, Clean Title Carfax Available ****** 1 OWNER ****** . . .
Description: 2007 Kia Sorento LX 121,771 Miles, 3.8L, 6 Cylinders, RWD Automatic, Blue Exterior, Gray Cloth Interior AM/FM Stereo, CD Player, Power Windows Power Door Locks, Power Side Mirrors, Center Console, Auxiliary Outlet, Tinted Windows, Cold A/C Keyless Entry, Running Boards, Good Tires ****** 1 OWNER, NO ACCIDENTS ****** $4600 Brewer Automotive Sales - 3514 S. Tryon St. Charlotte, NC 28217 Call or . . .


A lens on a network camera performs several functions. They include focusing, defining the field of view, and controlling the amount of light passing through to the image sensor. In this webinar we'll discuss the three main types of lenses, matching lens and sensors, lens mount standards, and f-number and exposure.


This is a placeholder page for Kelsi Bare, which means this person is not currently on this site. We do suggest using the tools below to find Kelsi Bare.
You are visiting the placeholder page for Kelsi Bare. This page is here because someone used our placeholder utility to look for Kelsi Bare. We created this page automatically in hopes Kelsi Bare would find it. If you are not Kelsi Bare, but are an alumni of Matoaca High School, register on this site for free now.


Business Description: Arrow Marine Contracting is a family owned and operated marine construction business that offers quality, friendly and courteous service. We only use up to date equipment and have a skilled staff that works all year long. Our marine contractors will walk you through the steps to determine what is the best option and material for your project. Arrow Marine Contracting will be there for your future maintenance and service needs, as well as servicing existing structures even those not constructed by our company. We are located in Brick NJ, contact us any time.
Business Description: Hagler's Marina provides a full service marina for repairs, sales, and we offer boat slips.


Bitcoin Mining Simulator - Spiele die kostenlos bei PacoGames.com!
A recent boom in the cryptocurrency world has already come to us! Everyone is mining various digital coins as fast as possible, buying new computers for optimal mining performance, all state-of-art graphics cards are sold out. And among them, the king of all coins - Bitcoin. Its value has grown up into Moon heights in recent months. So now is the best time to start mining! Who would not want to make hundreds of dollars just by clicking on Bitcoin icon! Begin with an average mining setup and gradually buy more powerful and better quality components that make mining more efficient, so you will earn even more money. Buy new graphics cards, insert them into appropriate slots, and last but not least, also select the wallpaper for your pc to make your desktop look like you please. How many dollars will you make per hour? Have fun.


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Welcome to the COVID-19 Labour Market
How has COVID-19 impacted the young people in Canada entering the labour market and how can these insights inform our plans for recovery?
Viet Vu
This month in Canada and elsewhere in the world, millions of university and high school students graduated, most in virtual ceremonies, and entered a labour market deeply affected by COVID-19. Our previous research, as well as many others have highlighted the disproportionate impacts on young workers : over 15.4% of jobs lost in March was attributed to workers aged 15 to 24, and there is evidence that employers are rescinding potential employment offers. Add to this the broad spectrum of youth that exists, for example those with young children, complicating the picture of the youth employment landscape further.
In much of our previous research, we have often focused on mid-career workers, but employment trends observed in this pandemic show that disruption to early career workers has been the most severe, prompting us to focus further on this crucial group of workers. We find that:
There were large movements from employment to both unemployment and out of the labour force observed for both youth and the general population.
However, youth were twice as likely as the general population to transition into unemployment or outside the labour force (11% for youth, 5.6% for the general population).
Up to 1 in 3 young unemployed workers in February left the labour force in March, a higher rate than that for the general population (up to 1 in 4).
Compared to one year ago, fewer youths who were not in the labour force moved into the labour force (either directly starting work, or actively looking for work).
To arrive at these insights, we used a popular tool in labour economics in understanding labour dynamics in an economy: labour market transition probabilities. Broadly speaking, an individual can belong to one of three groups at any one moment: employed (working for pay), unemployed (not working for pay but actively want to work and seek employment), or outside of the labour force (not working and is not actively looking for work) – understanding these transitions allows us to go further than aggregate employment statistics, and glimpse the robustness of the labour market. This is also an important lens to consider for youth, as many might be entering the labour force for the first time in their life or transitioning from full time school.
"As Canada begins to consider the long term impacts of COVID-19, and plans for the recovery, particular attention ought to be paid for young people in Canada; ensuring their wellbeing as well as their labour market success will be crucial in securing a successful recovery from COVID-19."
We used data from the Labour Force Survey, specifically for February and March of 2020 and February and March of 2019 to calculate these transition dynamics. We intentionally did not use April job numbers, as by that point, many federal income support programs had been announced, potentially affecting labour decisions. Focusing on March allows us to understand the immediate impact of business closures and other measures to respond to the COVID-19 pandemic. To calculate the specific probabilities, we split them into two groups: probabilities that we can directly estimate, and probabilities that we can only infer. We rely on questions in the survey that ask for previous labour force activity to estimate the first group, then use established relationships between these probabilities to estimate a range for the second group. In these cases, a range of possible values are shown, representing the minimum theoretical and maximum theoretical value for these probabilities. More detail is provided in the technical notes complementing this piece. For the purposes of our analysis, we define young workers to be those between 15 and 29 years of age.
In comparing the labour transition dynamics for the general population between February 2020 and March 2020, we find that both the transition from employment to unemployment and to being out of labour force increased by a factor of up to 10: In February 2019, only 0.34% of those who were employed became unemployed, and 0.54% of those employed exited the labour force. The respective numbers for February 2020 were 3.04% and 2.8% of those who are employed.
Similarly stark changes were observed for those who were unemployed in February. In 2019, up to 13% of such workers transitioned to being employed by March. In 2020, only up to 3.81% of those who were unemployed in February transitioned into employment.
Compared to 2019, more unemployed workers exited the labour force, and less people entered the labour force. This further collaborates points made by Statistics Canada, that official unemployment numbers don't fully capture the labour impact of this crisis, both in the short run and long run, as we do not yet know whether those who exited the labour force can quickly return to the labour market. Studies from the U.S. found a high level of churn in the labour market in April, with three new hires for every 10 layoffs, and an estimated 42% resulting in permanent layoffs.
When comparing the trends as observed in the broader labour market to youth aged 15 to 29, the direction of movement was similar: a high number of employed youth moved into unemployment or exited the labour force by March 2020. However, the magnitude is higher: 5.37% of young employed workers became unemployed, and 5.84% of young employed workers exited the labour force, a rate almost double that for the general population. Although a higher share (compared to the general population) of unemployed youth exited the labour force (up to 31% compared to up to 26.2% for the general population), a higher number of youths who were previously not in the labour force also transitioned into the labour force and began actively looking for work (5.7% of youth not in the labour force in February, compared to 1.87% for the general population), likely showing that though some youth are delaying their first entry into the labour force, not all are.
There are indications that some of the differences highlighted between youth and the general population is not a COVID-19-induced phenomenon.When comparing the transition dynamics between 2019 and 2020 for young workers, some of the structural trends are the same —a relatively high share of unemployed youth exiting the labour force, and a non-trivial number of youth who were not in the labour force in February starting to look for jobs in March. However, consistent with other documented trends, COVID-19 has impacted youth in a different way: whereas in 2019, up to 17% of unemployed youth in February started employment, in 2020, only up to 3.24% of unemployed youth were able to do so. Further, as many young workers enter the labour force for the first time, observed reduction in such transition is a concerning trend.
Research from previous recessions shows that the negative wage shock that comes from "graduating into a recession" can persist for up to 10 years (Oreopoulos, Wachter, Heisz 2006). Others have noted that recessions are often characterized by shifting skills demand, and those who graduate into a recession might end up with skill mismatches, compromising their success in the labour market (Liu, Salvanes, Sorensen 2016). However, the economic recession induced by COVID-19 is not a typical economic recession, and many of its long term effects are largely unknown, especially the implications for future skill demands and work arrangements. Add to this, the issues many universities and educational institutions face in reduction of capacity and pedagogical effectiveness, and a worrying picture emerges, as these institutions are crucial during recessionary times to retrain workers.
As Canada begins to consider the long term impacts of COVID-19, and plans for the recovery, particular attention ought to be paid for young people in Canada; ensuring their wellbeing as well as their labour market success will be crucial in securing a successful recovery from COVID-19.
We would like to thank Xavier St-Denis for helpful contributions to this piece.
To estimate transition probabilities between three labour market states, we use the Labour Force Survey microdata for February and March of 2020 and 2019. March 2020 data was used as many important policy announcements have not yet been made, and thus likely capture the direct impact of COVID-19 on labour market decisions than subsequent months where financial support announcements were made for both the working population and current students.
Read the full methodology
How to Conduct Research Remotely during a Pandemic
Surveillance Creep: Data collection and privacy in Canada during COVID-19
Are Tech Jobs More Pandemic-Proof?
The Importance of Accessible and Inclusive Public Service Tech in Times of Crisis


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48 years of inspiring debates – bringing the debate to the community
For now 48 years, the St. Gallen Symposium has aimed at giving a voice to the young generation. As way of showing the debates that are taking place during the three days in St. Gallen, a series of interviews were conducted with the brilliant Leaders of Tomorrow and the Speakers of the 48th St. Gallen Symposium.
The Leaders of Tomorrow were asked to share what they believed were to be the most pressing issues about the future when it came to work. From questions on artificial intelligence to the free press, one can conclude that work is bound to change drastically and that it will affect many different aspect of the society.
Find below a selection of the best ideas and insights raised on the topic, "Beyond the end of work".
Philippa Malmgren and Heather Evans on AI and ethics
The young Heather Evans challenged Philippa Malmgren by asking her about Ethics and AI and the steps that needs to be taken in order to ensure privacy of individuals. Malmgren, having just led a work session on data privacy and the consequences of the recent breaches, exposed her vision on AI and data collection. She deems necessary for Government to implement new regulations protecting the victims of this ever-growing pool of data that knows more about each individual than they do themselves.
Heather Evans is a Senior Advisor in Artificial Intelligence and Quantum Technology for the Government of Ontario, Canada and Philippa Malmgren is the founder of the DRPM Group, which helps companies, investors and policymakers better understand how risk and prices will move across the economics landscape.
HO Kwon Ping and Lofullah Najafizada on inspiration
Lofullah Najafizada addresses one of the most pressing question: how can we make sure that the young generation remains inspired and innovative in order to ensure a sustainable future for the next generations to which Mr Kwon Ping simply states that curiosity remains the main key to detect inequalities and fault in the system and work towards a better future.
Lotfullah Najafizada is the Director of the Afghan news Broadcaster, TOLOnews TV and HO Kwon Ping is the Executive Chairman of Banyan Tree Holdings Limited, the international hospitality brand.
Nina dos Santos and Yumna Al-Arashi on the matter of free press
Yumna Al-Arishi, whose medium of expression is art, champions Nina Dos Santos, a recognised journalist, with the question of the role of the press in an over-informed society where the distinction between fake and real is often blurred. Ms Dos Santos believes that in such unsure environment the press is needed more than ever but that navigating in this pool of information will become increasingly difficult and that people are turning to the medias they trust.
Yumna Al-Arashi a young Yemenis-American artist based in London whose work focuses on societal issues and Nina Dos Santos works for CNN International where she is the Europe Editor.
Find the whole series on our YouTube Channel
Chloe Dunning
Next Generation Conference Mobility
Jana Plananska Mobility Solutions GmbH
Theme of the 52nd St. Gallen Symposium: A New Generational Contract
Are Universities Ready for a Collaborative Future of Work and Learning?
Institute of Technology Management (ITEM-HSG)


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Born a Slytherin. Baptized into Marvel. Bitten by a Radioactive DC fan. And raised a Jedi, Mike Manalo is a silent guardian, a watchful protector… a Dark Nerd!
🤩 - experience now/Poker Face/TV
by Mike Manalo
POKER FACE is a true collaboration between creator and actor, with Johnson's snappy dialogue being natural as hell out of the mouth of series star and genius talent Natasha Lyonne.…
Christmas/Collections/😊 - experience whenever/🤩 - experience now/Holidays/Illustrations/Movies/TV
12 Days of Christmas 2022 collection 🎅…
Christmas/Collections/🤩 - experience now/Holidays/Illustrations/TV
COMMUNITY S2E11 ABED'S UNCONTROLLABLE CHRISTMAS 🤩
There are heartwarming but ordinary Christmas episodes of sitcom television, and then there's ABED'S UNCONTROLLABLE CHRISTMAS, which is anything but your typical episode of COMMUNITY. …
THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL 🤩
THE GUARDIANS OF THE GALAXY HOLIDAY SPECIAL lives up to its name by being something incredibly special.…
Collections/😊 - experience whenever/🤩 - experience now/Halloween/Holidays/Illustrations/Movies/TV
13 NIGHTS OF HALLOWEEN 2022
Check out our 13 Nights of Halloween here!…
Collections/🤩 - experience now/Halloween/Holidays/Illustrations/Movies
PARANORMAN 🤩
PARANORMAN tells the story of Norman Babcock, an 11 year old with the ability to see and communicate to the dead.…
CORALINE 🤩
Brilliantly, beautifully directed, written, and animated, this is the film that put Laika on the map, and set them down the path of being some of the best, unflinching, and mature storytellers and artists in the business…
🤩 - experience now/Interview with a Vampire/TV
INTERVIEW WITH THE VAMPIRE S1E1-E2 🤩
HOUSE OF THE DRAGON. ANDOR. RINGS OF POWER. These blockbuster series have managed to debut in the past month. And while 2/3 of these managed to impress me, who would have thought the series debut that would blow them all away would be AMC's INTERVIEW WITH THE VAMPIRE? It's a tall order to take the title of best new series debut away from a show like HOUSE OF THE DRAGON. But INTERVIEW WITH THE VAMPIRE managed to do so on…
Andor/😊 - experience whenever/TV
ANDOR S1E5 THE AXE FORGETS 😊
We are close to halfway through ANDOR, and I honestly really like the show as a whole thus far. It's a very different side of the STAR WARS universe that we've never seen; gritty, mature, and refreshing. Much like ROGUE ONE, seeing the war between the Rebels and the Empire from the eyes of ordinary heroes without powers or lightsabers is completely engrossing. And getting to know these characters has been an absolute pleasure. I love the show's commitment to…


The social media platform, Snapchat, is known for its 24 hour stories. This means when a user adds a video or image to their story it will disappear forever after 24 hours.
The entire premise of Snapchat is based on a quick turnaround of content which is why its new feature is such a game changer. Snapchat released Memories over the summer. Snapchat Memories is a new way to save pictures and stories on Snapchat.
First we will give you step by step instructions on how to add a Memory to your Snapchat story. Then we will talk about how this feature can help you promote your brand or business.
To add a Memory to your Snapchat story, open the Snapchat app on your mobile device. Then slide your finger up from the bottom of the screen. If you have saved snaps to your Memories your will see them here. This feature allows you to save previous Snapchat images or videos within the Snapchat app. Memories could be a useful place to store images if you take a lot of photos and are constantly filling up your phone storage. Snapchat Memories are also a great way to back up your images in case your phone is damaged and content is lost.
You can select a Memory from here to share on your Snapchat story OR search for a memory using keywords like "cat" or "outdoor". You can also select Camera Roll at the top of the screen. From here you can add any images or videos saved to your mobile device to your Snapchat story.
Once you select a photo tap on the image then slide your finger up from the bottom of the screen to edit the picture. Here you have the option to delete the photo, airdrop the image to message, email, Pinterest and more, or edit the image. Editing allowed includes adding emojis, text and drawing on the image. You can also swipe left or right on the screen to add a filter to the picture. Another feature Snapchat provides is the ability to select the length of time you want the image to be viewable in the story, from 1 to 10 seconds. After editing the photo, you can then save the edited version to your photo album or airdrop the image. Then all that is left is to add the image or video to your Snapchat story!
Snapchat stories no longer have to be taken in real time. Your story can now have Memories interspersed with content created within the last 24 hours. Snapchat lets viewers know when a Snap you add to your story is more than a day old by showing the snap with a frame around it.
For your business or brand this means you can add more content to your Snapchat story than before. Previously you could only use other social media platforms like Facebook, Twitter and Instagram to share images or videos not shot in real time. Snapchat was only for images or videos you physically took with the Snapchat app.
Your business can now add curated content to its Snapchat story. This means you can take a photo, edit it with a photo editor app like Facetune or VSCO, then upload the photo to your Snapchat story. You can also upload images that you previously just shared to Instagram to your Snapchat story to give the social media platforms some overlap.
A business or brand can also make their Snapchat stories more valuable to the end user by adding Memories to a current Snapchat story that assist in providing a full picture. For example, if you have a yearly event you can create a story on the day of the event and add Memories to the story from last year's event giving a more curated and valuable story to the viewer!
You can celebrate business milestones like a one-year anniversary of your business being opened or employee anniversaries with the company by selecting a few saved snaps to create a longer narrative. It's fun to share these milestones with your viewers!
Let us know in the comments how you plan to use Snapchat Memories to add value to your viewers!


LEGAL NOTICE The Commission for the Blind will hold a town forum in Albuquerque on Friday, April 5, 2019, from 2:00 PM to 3:00 PM. The purpose will be to gather comments on the vocational rehabilitation needs of (1) individuals with the most significant disabilities and their need for supported employment; (2) individuals with disabilities who are minorities and individuals with disabilities who have been unserved or underserved by the vocational rehabilitation program; (3) individuals with disabilities served through the workforce system; and (4) students and youth with disabilities and their need for transition services. Comments will also be gathered to assess the need to establish, develop, or improve community rehabilitation programs. LOCATION Embassy Suites by Hilton Albuquerque Hotel and Spa, Sandia II 1000 Woodward Pl. NE Albuquerque, NM 87102 If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, please contact Greg Trapp at least 3 business days in advance at Greg.Trapp@state.nm.us or at 505-841-8844.
LEGAL NOTICE The State Rehabilitation Council of the Commission for the Blind will hold a regular meeting in Santa Fe starting at 9:30 AM on Monday, February 11, 2019. LOCATION Commission for the Blind 2905 Rodeo Park Dr. E. Bldg. 4 Suite 100 Santa Fe, NM 87505 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. You may also sign up to receive notices, agendas, and minutes at that same web page. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance.
LEGAL NOTICE The Commission for the Blind will hold a regular meeting in Santa Fe on February 7, 2019. The meeting will start at 10:00 AM. LOCATION Commission for the Blind 2905 Rodeo Park Dr. E. Bldg. 4 Suite 100 Santa Fe, NM 87505 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance.
LEGAL NOTICE The Commission for the Blind will hold a public meeting in Santa Fe on Tuesday, February 5, 2019, from 1:30 PM to 2:30 PM. The purpose will be to gather comments on the vocational rehabilitation needs of (1) individuals with the most significant disabilities and their need for supported employment; (2) individuals with disabilities who are minorities and individuals with disabilities who have been unserved or underserved by the vocational rehabilitation program; (3) individuals with disabilities served through the workforce system; and (4) students and youth with disabilities and their need for transition services. Comments will also be gathered to assess the need to establish, develop, or improve community rehabilitation programs. LOCATION Commission for the Blind 2905 Rodeo Park Dr. E. Bldg. 4 Suite 100 Santa Fe, NM 87505 If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, please contact Ms. Kelly Burma at least 2 business days in advance at kelly.burma@state.nm.us or at 505-841-8844. Written comments may also be sent to Ms. Burma at kelly.burma@state.nm.us.
LEGAL NOTICE The Commission for the Blind will hold a public meeting in Albuquerque on Monday, January 28, 2019, from 11:00 AM to 1:00 PM. The purpose will be to gather comments on the vocational rehabilitation needs of (1) individuals with the most significant disabilities and their need for supported employment; (2) individuals with disabilities who are minorities and individuals with disabilities who have been unserved or underserved by the vocational rehabilitation program; (3) individuals with disabilities served through the workforce system; and (4) students and youth with disabilities and their need for transition services. Comments will also be gathered to assess the need to establish, develop, or improve community rehabilitation programs. LOCATION Commission for the Blind, Lecture Hall 2200 Yale Blvd SE Albuquerque, NM 87106 If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, please contact Ms. Kelly Burma at least 3 business days in advance at kelly.burma@state.nm.us or at 505-841-8844. Written comments may also be sent to Ms. Burma at kelly.burma@state.nm.us.
LEGAL NOTICE The Commission for the Blind will hold a public meeting in Las Cruces on Friday, January 18, 2019, from 1:30 PM to 3:30 PM. The purpose will be to gather comments on the vocational rehabilitation needs of (1) individuals with the most significant disabilities and their need for supported employment; (2) individuals with disabilities who are minorities and individuals with disabilities who have been unserved or underserved by the vocational rehabilitation program; (3) individuals with disabilities served through the workforce system; and (4) students and youth with disabilities and their need for transition services. Comments will also be gathered to assess the need to establish, develop, or improve community rehabilitation programs. LOCATION U.S. Bank Conference Room 277 E. Amador Las Cruces, NM 88001 If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, please contact Ms. Kelly Burma at least 3 business days in advance at kelly.burma@state.nm.us or at 505-841-8844. Written comments may also be sent to Ms. Burma at kelly.burma@state.nm.us.
LEGAL NOTICE The Commission for the Blind will hold a regular meeting in Albuquerque at 1:00 PM on Thursday, December 6, 2018. LOCATION Commission for the Blind 2200 Yale Blvd SE Albuquerque, NM 87106 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance. Please also help us accommodate persons who are sensitive to scented items by being conscientious in your use of perfume, aftershave, lotion, hair products, or other fragrances.
LEGAL NOTICE The State Rehabilitation Council of the Commission for the Blind will hold a regular meeting in Albuquerque starting at 9:00 AM on October 22, 2018. LOCATION Commission for the Blind 2200 Yale Blvd SE Albuquerque, NM 87106 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance. Please also help us accommodate persons who are sensitive to scented items by being conscientious in your use of perfume, aftershave, lotion, hair products, or other fragrances.
LEGAL NOTICE The Commission for the Blind will hold a special meeting in Albuquerque at 1:00 PM on Tuesday, September 18, 2018. The meeting will include routine legal training. LOCATION Commission for the Blind 2200 Yale Blvd SE Albuquerque, NM 87106 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance. Please also help us accommodate persons who are sensitive to scented items by being conscientious in your use of perfume, aftershave, lotion, hair products, or other fragrances.
LEGAL NOTICE The State Rehabilitation Council of the Commission for the Blind will hold a special meeting in Albuquerque starting at 9:00 AM on Tuesday, September 18, 2018. The meeting will be conducted jointly with the State Rehabilitation Council of the Division of Vocational Rehabilitation, and will include training for Council members on the Rehab Act, the Open Meetings Act, the Governmental Conduct Act, and the Per Diem and Mileage Act. LOCATION Commission for the Blind 2200 Yale Blvd SE Albuquerque, NM 87106 The agenda will be posted at least 3 days prior to the meeting on the Commission web page, www.cfb.state.nm.us. Copies of the agenda can also be obtained by contacting Ms. Kelly Burma at 505-841-8844, or at kelly.burma@state.nm.us. If you are an individual with a disability who is in need of a reader, amplifier, qualified sign language interpreter, or any other form of auxiliary aid or service, Please contact Ms. Burma at least 5 days in advance. Please also help us accommodate persons who are sensitive to scented items by being conscientious in your use of perfume, aftershave, lotion, hair products, or other fragrances.


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343: Poultry Slam 2007
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There's certain conversations that those of us who do not live on farms get into with people who do live on farms, where you know, as somebody from the city or the suburbs, that the farm person that you're talking to is just thinking, you are so naive. Often these conversations have to do with animals and their deaths. Take this example. The woman who started our program's website, Elizabeth Meister, was at the annual exhibition run by the American Poultry Association in Columbus, Ohio. And here she is, standing in a room with 12,000 chickens. And she gets into a conversation with an 11-year-old girl.
Kamiko Overs
I've only been in poultry and water fowl for a year. I'm more into water fowl.
This is Kamiko Overs from Bliss, New York, who was at the convention to show some of her chickens.
Elizabeth Meister
So do your friends think it's weird? Do they think it's strange that you show chickens and stuff?
No, because a lot of people show. They'll either be showing pigs or cows or rabbits, or something like that. A lot of people at our school show different things.
Kamiko and Elizabeth talked for a while. And then Elizabeth tried very, very gently to ask a question that was on her mind.
This is sort of a hard question for me to ask, but do you ever eat them?
Yeah, I do.
You do?
And does it make your really sad? I mean, do you raise these chickens from little chicks?
Yeah, we hatch them out. And then-- yep. We get them right from the hen, and we eat them a lot. We do raise a lot for feeding.
And so when you're cooking up this chicken that you've raised from being a little chick, do you feel a little bit guilty that you're eating this chicken?
Do you ever eat the chickens that you show?
If they're no good for show. The losers, yeah.
Kamiko's untroubled by this. If a bird has bad feathers or a lopsided comb, it might be a nice bird, but if it's not going to win competitions, you eat it. That's life. Those of us who don't live on farms, we tend to divide animals often into those we love and those we eat. In Kamiko's world, there isn't such a hard line separating the two. You can get to know a bird on an up close, one-to-one basis, and still eat it.
From WBEZ Chicago, it's This American Life, distributed by Public Radio International. I'm Ira Glass. And today, during this period between Thanksgiving and Christmas, the highest poultry consumption time of the year in these United States, we bring you a program about poultry, our Poultry Slam, stories of chickens, turkeys, ducks, birds of all kinds, and our relationships with them.
Poultry Slams have been a not-quite annual tradition on our show around this time of year. And putting together this year's program, a very few particular ideas and questions kept coming up in story after story, without us ever intending for it to happen that way. A lot of this year's show has turned into a kind of referendum about where you draw the line between friend and food.
Act one of today's show, Still Life With Chicken. Food writer Jonathan Gold tells what it's like to pan fry a chicken, with a live chicken watching you the entire time. Act two, Last Meal. When the President of France, Francois Mitterrand, knew he was about to die, he decided that the very last food to cross his lips would be poultry, a tiny bird that is actually illegal to eat in France, a bird that by tradition is eaten with a napkin covering your head. Act three, Chicken Diva. Jack Hitt tells the story of a chicken opera complete with, yes, avian supernumeraries. Act four, The Meaning of a Bird. David Rakoff explains how his life was changed in a single evening in a room full of 5,000 chickens. Stay with us.
Act One: Still Life With Chicken
Act One, Still Life With Chicken. It was an accident that Jonathan ended up living with a chicken. He wasn't living the kind of life one usually associates with chickens.
This was during the period when I considered myself to be a performance artist of sorts, a naked performance artist to be specific.
These days, Jonathan Gold is a food writer in Los Angeles. This all happened 15 years ago. He was putting together a performance. He had a PA system which could put out the requisite amount of annoying feedback sound at high decibels. He had the two full bottles of Glade American Beauty Air Freshener, which he would spray in their entirety in the performance space. And he had a live chicken, which he bought the day before the performance in one of those Chinese poultry markets in Los Angeles. And it comes the day of the show. An audience gathers in a darkened warehouse in West LA.
I don't know if you've been to a lot of performance art, but this was really typical of the stuff that was going on in the period. And I showed up. And I was naked. And I was carrying a machete. And I was blindfolded. And I stood in the middle of this pile of supermarket chickens, the broilers that you buy. And the chicken that I had bought was tethered to a three-foot rope around me. And I hacked up and down blindly with the machete.
Toward the chicken, or just in general?
Well, I was blindfolded, so I didn't know if it was towards the chicken or not.
And I had fully intended that, in fact, I would kill the chicken in the midst of this performance. But chickens aren't that stupid. And this chicken wanted no part of the machete. It stayed at the end of its rope the entire time, apparently. And after 10 minutes, when I was completely exhausted, I fell to a heap. And everybody left. And the performance was over.
I don't know if you've stuck around after an art performance. But the few minutes after an art performance are some of the most depressing in the world.
You've done your wad. You've done your bit for art, which has either worked or it hasn't. But you're sitting there. You're covered with chicken effluvia, in my case. It stinks to high hell. Everybody's gone. And you've got to clean up. And you're naked. It's really not a pretty picture.
So Jonathan cleaned up. And when he was done, he had a chicken. And he didn't feel like he could kill the chicken. Destiny had brought them together. He felt like he could not turn his back. He says it was the same as if a kitten shows up on your back door, scratching and lonely and needy. So he took the chicken home. And in doing that, he stumbled across that thin, thin line that separates food items on the one hand, from pets on the other, that divides the animals we eat from the animals we love.
So I get home, and I have this chicken. And I don't know what to do with it. So I spread out some newspaper on the top of my refrigerator. And I put the chicken up there. I get a can of Green Giant brand niblets from under the counter. And I open it. And I put it in a little bowl for the chicken. And I give the chicken a little water. And the chicken's on top of my refrigerator.
Because you think chickens eat corn. You had read that or something. And that was the available corn.
That was the available corn. I wish I had thought better of the niblets idea.
Because, in fact, if you're buying three or four cans of niblets a day, which is what the chicken ate, and you're existing on almost nothing, which I was, then your niblet bill turns out to be some two-figure percentage of your total income each week. I mean, if you could imagine living on $50 a week, but $10 of it goes for niblets. It's just hard to justify an expense like that.
Though at the remove of 15 years, I think I can probably safely admit to you now that one of the reasons that I stuck with niblets is because I liked saying the word niblets so much. And this gave me the excuse to use a word like niblet in general conversation several times a day. Usually it just doesn't come up. And the chicken stayed there on top of my refrigerator for a long time. Months, six months, I think.
This is like a one-room apartment?
A two-room apartment. I had a kitchen and a bedroom. So I didn't have to look at the chicken when I was sleeping. Though I did have to look at it when I was cooking.
Did you ever cook chicken?
Of course I cooked chicken.
Didn't you feel intensely disloyal?
No. I felt no particular loyalty to this chicken. I don't know if you've ever had chickens, but you don't pet chickens. Chickens don't really like you to pet them. And you don't hold them. There's really no love that you feel for a chicken in your life, I don't think.
But yet you kept the chicken.
I kept the chicken. Because I couldn't bear to do anything else. I mean, it's not like I could have carried it out onto Pico Boulevard and said, "be free, little chicken, be free."
Did you give the chicken a name?
I never named the chicken. When I referred to the chicken in public, I always called it the hen.
How did you not name it? It was a creature in your house.
The chicken always seemed temporary. It never occurred to me that I might have the chicken as long as six months. The chicken always seemed like something that I would have for just a couple days.
And then what did you think was going to happen?
I guess A, I thought about the chicken expiring. B, I have to admit that there was a possibility that someday I would actually cook the chicken. I went through a lot of chicken recipes, hundreds and hundreds of chicken recipes.
Thinking maybe this will be the recipe for my niblet-fed chicken?
Possibly, I have to say, the most delicious chicken that you could ever eat because of those niblets.
You can't buy niblet-fed chicken, for love or money, I don't think. I'm not sure that a recipe existed that would have lived up to the fact of the chicken, this animal who you have come to know on fairly intimate terms and who you have raised and who you have put a certain amount of emotion into.
A chicken, if I might say, who has seen you naked.
The chicken did see me naked, damn it.
The fact is we need food to be just food. And as soon as it becomes a living thing-- especially if we're city people, we're not used to the conversion of living things into our food-- it's hard to handle without thinking it has to be bigger than food, without wanting to make it ritualized or something bigger than food.
Exactly. Can I tell you a small story?
A few weeks ago, I was in this Korean restaurant in Koreatown in Los Angeles. It was this place called the Living Fish Center that I'd always wanted to go, because the name of it was so splendid. Living Fish Center. I imagined some sort of vast vivarium where Flipper was jumping through hoops and stuff. And I go in there, and of course it's just a crummy Korean restaurant. I mean, it's not that clean. And there are tanks and stuff, but I don't know what to order.
So I order a fish soup, because it looks like they have a small fish soup specialty on the menu. And it comes. And it's just really strong smelling and not that great. And I try squid, fried with bean sauce and onions, which wasn't that happening. And I'm about to give up and pay the check, and go home with a vast table filled with uneaten stuff, and it suddenly occurs to me what the specialty of the restaurant is.
And I wave the waitress over. And I tell her that I'd like a prawn. And she is puzzled. She didn't expect me to ask for a prawn. But I repeat my question. And she shrugs and goes and tells the sushi chef. And he goes to one side of the restaurant, and he climbs on this chair, this ordinary folding chair. And he reaches into this long tank that's running just below the ceiling.
And he wiggles his fingers in the water. When he wiggles the fingers, the prawns just become enraged. And they start nipping at his fingers. And they start attacking him. And he picks out a couple of the liveliest ones and brings them back to his counter, and-- without washing his hands, mind you-- just makes a few motions over it. And a couple seconds later, the waitress comes over with the prawns on this huge mound of ice.
Now, what he'd done is he'd taken off the exoskeleton. Essentially the head was intact, and that little part of the tail that is always on prawns is still there. But the middle part is naked, like a grub. And I picked up the prawn with my chopsticks. And it was not dead, this prawn. It was extremely alive. And it was wiggling its legs, and it was wiggling its antennas, and its eyes were swiveling madly on its eye stalk.
And it was looking back at me, seeing me as actually the predator, the creature that was going to eat it. And that was a really freakish moment. Because as much stuff as I eat, and as low as I eat on the food chain, and as many prawns as I have dispatched in my life, I have never before killed a living being with my teeth. And the prawn knew what I was going to do, and he did not like it.
And I wasn't quite sure what to do. But if I put it down, the prawn would have died anyway. It's not going to live without its shell, and somebody else would have eaten it, blah-blah-blah. So I bit into it. I bit its body off with my teeth. And the prawn just relaxed in this way that was really eerie.
And the taste of the prawn, the taste of the meat of it was extraordinary. I mean, it was sweet. It was like there was life coursing through it. It was the most alive thing I've ever eaten, obviously literally. But again, it was freaky. It was getting too close to the actual nature of consumption, which is killing a living creature with your teeth.
When you bit into the prawn, did you actually bite off its head, its living head, and have its head and its eyes in your mouth?
No, I bit off its body. And I held the head in my hands.
So you held the head in one hand and the tail in the other and you bit the center?
Right. And I thought that I'd killed it. But in fact, when I put it down, it still had so much life in it that it grabbed a piece of salmon sashimi and wouldn't let go of it. And I don't think I ever want to do that again.
Did you feel like there was something about the experience that made it more-- this word is a little cornier than I intend, but it's the only word that I can think of-- that made it more sacred? That took it out of the mundaneness of the way that we eat, which for most of us is eating without actually tasting and experiencing, and thinking about what we're eating and what on the earth it is that we're killing to survive? Do you think in some way that it's more acceptable to eat an animal if you are more awake to the fact that it is an animal and what's happened to it? Or do you think it really doesn't matter?
I think it matters a great deal. I mean, one of the greatest metaphors in Western civilization is that of Christ, who gave his life so that others might live. And I don't want to be sacrilegious, and I don't want to belittle that myth in any way, but a pig is giving its life so that we might eat. A chicken is giving its life so that we might eat.
And I think the least that we can do is to think about that chicken, to think about that calf that we're eating. Not necessarily to be sad for it, but to celebrate it, to be aware of the being that it was, that it wasn't just this bit of bio-engineered protein that somehow managed to find its way onto our plates.
Jonathan Gold writes his food column Counter Intelligence for the LA Weekly.
Act Two: Last Meal
Act Two, Last Meal. Consider please, poultry consumers, the role of poultry in Francois Mitterrand's last meal. Mitterrand, you'll recall, was President of France who died at the beginning of 1996. A contradictory and enigmatic man. The French press used to call him the Sphinx. He once actually staged his own assassination to help himself in the polls. Obsessed with history and his place in it.
Michael Paterniti wrote about Mitterrand's last meal for the magazine Esquire. Mitterrand found out that he was dying of cancer. Our story begins just weeks before his death.
Michael Paterniti
Right before Christmas, Mitterrand went to Egypt to commune with the pharaohs. Even though he was extremely ill, he decided that he had to go there one last time.
You said he went to Egypt to commune with the pharaohs?
Like, literally with the pharaohs?
Well, he felt this spiritual connection to these leaders of the past. And he studied the lives, and in particular how many of these people died, what their last gestures were. And he felt that his last gesture would have to be equally fitting.
Equally grand?
Yeah. And while he was there, he decided that he was going to have this amazing last meal. What he did was call back to France and made sure that they had this menu that he decided would be it, which was this amazing feast of oyster and foie gras and capon, and finally this little songbird called ortolan, which symbolizes the French soul. And it was this completely forbidden thing to eat ortolan. It's illegal in France to do so.
Because it's an endangered species, right?
Yeah. And people who have served ortolan-- chefs have served it in France-- have been fined. And I think in one case, a chef was imprisoned for serving it.
Did you look at all into why the ortolan would come to represent the soul of France?
It was the food of kings in France. And once it was caught in these tiny traps, in very old times, they would actually poke the eyes of the bird out so the bird would live in complete darkness and just eat 24 hours a day. And then when it was fattened, they would drown it in a kind of cognac. And there was this ritual associated with the preparation of the bird, as well as with eating the bird. Actually in Proust and Fielding, ortolan appear. And they symbolize seduction and adultery and virginity.
And one of the things about ortolan is that people eat it with a napkin over their head?
Right. People put a large cloth napkin over their head. And apparently what the napkin does is it keeps the aroma inside this tent in which you're eating. And the French say that it also keeps God from seeing you eating the little birdie.
Meaning what?
Meaning that it's sinful, that the bird is so innocent--
And the pleasure so great?
--and the pleasure so great that it's a sin.
And Mitterrand, when he had his last meal, he knew he was dying. And he continued to survive for quite a while after the last meal, right?
He lived eight days. And he didn't eat or drink during those days.
He had just decided he wanted the last food that he had eaten to be the ortolan?
Yeah. That was what was most incredible to me, is that he had this huge dinner, and then consciously decided that that would be his last meal and then just readied himself for death.
So you arranged to go to France to try to taste this bird and have this meal, in fact, to try to recreate Mitterrand's last meal?
Right. And it started with 100 phone calls, just to try to locate somebody who would even entertain the notion. And after literally months, there was one chef in Bordeaux who said that he would cook the meal.
And so you have this massive meal ending with the bird?
And what do we know about when Mitterrand ate the bird?
Well, we know that during the meal, he slipped in and out of consciousness in between the courses. And he would eat ravenously. And then he would just sort of pass out. And he sat at a table separate from the table where all his guests were seated. There were about 30 people there, extended family and friends. And Mitterrand would rise up with each new course and eat. But he really wasn't talking to many people. And he was really focused on trying to finish the meal and taste, apparently, every note in that meal.
When you had your meal, do you feel like you were able to achieve that level of awareness where you were tasting every note of the meal? It seems like such a high standard to aspire to.
I felt like it was the most incredible meal I've eaten. And it was because I was very focused on everything that went into my mouth. And also, because when it came to the ortolan, there's no easy way to eat ortolan. You are forced to taste every bite. And it goes from being completely sublime to being excruciating.
Describe what it's like to eat the bird. We should say that the bird-- you describe it as the size of your thumb, smaller than your thumb.
Yeah. Yeah, it is. It's about the size of your thumb. And it sits in a-- they serve it in a white cassoulet. And you put the napkin over your head and you duck down toward the cassoulet. And so you are in this space that is completely white-- the white napkin, the white plate, the white cassoulet. And then you have the bird on its back that you lift up and put into your mouth. You cool it by breathing in and out.
And this is the entire bird, every part of it?
Yes. In our case, the chef insisted that we bite off the head and leave the head on the plate. I think in Mitterrand's case, he ate the head too.
OK. So you bite off the head, you leave the head on the plate.
And then you cool it, and then you begin to chew. And that first bite is incredibly difficult to describe, because it's terrifying. I mean, I was terrified. I was nauseous with the idea of it. But the first bite of the bird changed that. It was incredibly, and almost immediately, delicious. And all these juices were flowing out of it into your mouth, and sort of mingling and co-mingling with everything that was already in your mouth. And it's like this very finely evolved consomme.
And then you begin to taste the meat. And they're little tender bits of meat. And then I think you begin to taste the organs. And it becomes more bitter. So the sweetness and the tenderness turns bitter.
And then, well, you keep chewing ortolan until you have chewed it completely. And then you're supposed to swallow it all at once. And there's no other way, really, to consume it. And as you continue to chew, it gets harder and harder, because you're working the bones finally. So the meat and the juices fade, and you suddenly are chewing these bones. And that is when you really, I think, fall into a bit of an existential crisis. Like, what the hell am I doing? And then also, I really think I'm going to throw up.
And how am I going to swallow these bones?
And how am I going to swallow them? I mean, many people who have never had ortolan before end up spitting it out on the plate. And in fact, at Mitterrand's last meal, a number of the people in the room did spit out their ortolan.
That seems like incredibly bad form, though. You're spitting out the soul of France.
Yeah, you're incredibly gauche if you pull that stunt.
Writer Mike Paterniti. He says after focusing so intensely on eating that one meal, where, like Mitterrand, he tried to taste every flavor, it felt weird to get back to normal eating. It felt a little dirty not to pay attention.
Because it takes a lot of energy and concentration when you really taste a meal. It takes concentration and silence.
The way you describe it, it's almost like you're saying that if we were really awake to what the world is giving us in a given meal, it would be hard to eat the meal every single time.
Yeah, I feel like we would age really quickly.
But you're saying that we have to deaden ourselves in order to live.
I think we do. I don't think we make enough time to eat. And if we haven't made enough time to eat, then it's better not to taste what we are eating. It's easier.
Coming up, tiny Styrofoam balls singing in Italian. That's in a minute from Chicago Public Radio and Public Radio International when our program continues.
Act Three: Chicken Diva
It's This American Life. I'm Ira Glass. Each week on our program, of course, we choose a theme, and bring you a variety of different kinds of stories on that theme. Today, during this time between Thanksgiving and Christmas, a time of year when poultry consumption in this country is at its greatest, we bring you our Poultry Slam, stories of chickens, turkeys, ducks, fowl of all kind, and our relationship with them. We have come to act three of our program. Act Three, Chicken Diva. Chickens are what we make of them so much of the time. And if you need any proof of that, we have this story from Jack Hitt.
Jack Hitt
Oddly enough, it wasn't Susan who was obsessed with chickens. It was Kenny, a pal who worked backstage at the 92nd Street Y in New York. His house was filled with chicken cups, chicken masks, porcelain chickens. He got the whole staff onto chickens, including Susan. For a time there in the '80s, poultry related jokes and references became the fast way to get a laugh at the Y. I guess most of us are condemned to see nothing more than the easy comedy of chickens.
But Susan Vitucci saw something else, their potential greatness, their hidden beauty, their grandeur. One day, she glued together some finger puppets for a 10-minute rendition of the Chicken Little story for her nephew. That was 14 years ago. Today, it is a full-length opera, enjoyed by a cult following whenever it goes up in a workshop or a cafe or a small theater. It's still performed with finger puppets, but now it has a complete score written by a noted composer, Henry Krieger, who did Dreamgirls. The Chicken Little opera he wrote with Susan Vitucci is called Love's Fowl. Needless to say, that's F-O-W-L.
Henry Krieger
Well, we were going to start with the opening-- "Siamo del teatro repetorio delle mollette," "we are the clothespin repertory theatre"-- and we have a special singing guest for you, which I don't know--
Susan and I are sitting at Henry's baby grand piano. Henry's guest is his Maltese terrier named Toby.
Perhaps Toby would be kind enough to join me up here--
Yeah, would he sit on your lap for this?
--at the piano. Yeah, let's see what we can do.
[PIANO PLAYING]
OK, listen carefully. Because once Toby gets going, he actually harmonizes with Henry and Susan.
[MUSIC - "SIAMO DEL TEATRO REPETORIO DELLE MOLLETTE"]
You may have noticed that this libretto is in Italian, just like a real opera.
Susan Vitucci
Before it was just a bunch of puppets in a box with a good idea. And then suddenly, as soon as it went into Italian, it became something bigger than what it had been. And it's because when it's in English, we all know it, and it's really not that interesting. It's like, yeah, yeah, yeah. As soon as it's in Italian, it gives us enough distance that we can come in. It's like the lover who doesn't want you-- you don't want anybody more than you want the one who doesn't want you. Right? And so then it's sort of the same thing.
You may recall that when you last heard of Little, back in kindergarten, she was just an average barn-door fowl who had an acorn drop on her head, which she mistakenly understood to be the sky falling. Her alarms excited her friends, Goosey Loosey, Turkey Lurkey, and Ducky Lucky. And they join her for a journey to the king to tell him the important news.
On the way, they meet up with Sly Fox, Little's pals eagerly accept his invitation for dinner. Literally, as it turns out. Fortunately for Little, hunger is not enough to distract her from her mission and she treks on. When she meets the King, he tells her that the sky is not falling. It's just an acorn. So the enlightened Chicken Little returns to her coop. And that's where the story ends.
Like Goldilocks and so many children's fables, the actual meaning of the story is obscure. What are we to take away from Little's experience? I like to think it's that Little is rewarded with life, precisely because she went off on this quixotic mission, totally in the grip of a wrong idea. By clinging to that belief, however crazy, she managed to free herself from the ugly, Darwinian world of the barnyard and of its mandate, eat or be eaten.
The children's fable barely figures into the story. It's just one small episode in the life of Chicken Little, now known as La Pulcina Piccola. After the acorn incident, she goes on to become an internationally renowned figure in almost every field imaginable, a diva of politics, academe, theatre, art, derring-do. Like Venus, she arrives from some other world, transported on a scallop shell.
But the triumphs of her life begin after a youthful love affair with a fighting cock ends bitterly. And she consoles herself, as we all do at some point in our lives, by plunging into Shakespeare. She becomes an overnight sensation as an actress, celebrated all over the world for one role. Juliet? Cleopatra? Ophelia?
The company then performs an excerpt, a recreation of her signature role, which is Richard III. Well, you know, Sarah Bernhardt did Hamlet.
Well, there's a great tradition of women playing the men's roles in Shakespeare. But I think Richard III is one of the more rare roles to be played by a woman.
Well, that's how adventuresome an actress this chicken was.
I can assure you, there's nothing like watching a four-inch tall finger puppet crying out "a horse, a horse, my kingdom for a horse," in Italian. Not to mention that that puppet is a chicken surrounded by a whole supporting cast of poultry and other avian supernumeraries. Susan says that artistically, there's something special about chickens.
They're a clean slate, in a way. You can put anything on them. You can project anything onto them. Because it's not like they have-- to me, at least-- a very strong personality.
Except for La Pulcina. In the opera, she moves into the field of archaeology-- masters it, needless to say-- and makes a great discovery, the last tomb of Gallapatra. But not before she sails the seven seas, is shipwrecked, gets rescued, but it's by pirates, and then she meets the pirate king.
As soon as he meets her, he falls in love with her, because of her sweet spirit. Because she comes in, and she says, here you see a little chicken who, although I'm dripping wet, I'm proud and yellow.
Let me repeat that lyric for you in a pure translation. "Although I stand before you, a chicken, who is dripping wet, I am proud, and I am yellow." OK, back to Susan.
And although I've loved and I have lost, I have learned to follow the call of adventure. So let's sail on.
Keep in mind that all of the action-- like everything that occurs in every Susan Vitucci production, ever since the first one for her nephew and continuing to this day-- occurs among characters created by sticking a small painted Styrofoam ball onto a larger painted Styrofoam ball, poking in two map tacks for eyes, gluing on a tiny felt beak, and then impaling the whole thing on top of one of those really old-fashioned clothespins that a '40s cartoon figure would clamp to his nose around a chunk of Limburger cheese.
And I could go on. She takes a cowboy lover on the American frontier while on a lecture tour. Then there's an affair with an Italian professor, modeled on a real 15th century naturalist who wrote a treatise on chickens. There's always another adventure, even outside the opera. Susan has written-- or as she puts it, translated-- La Pulcina Piccola's diaries, which detail the other adventures that happen in between those in the opera. There are 60 pages so far, excerpts of which have appeared in Clotheslines, the official fan club newsletter of the opera. It's masthead lists every category of donor.
Zealot, fanatic, worshiper, admirer. A zealot has to give $250, a fanatic $100. Do you have any zealots?
Oh yeah. In fact, actually, you can just give however much you want and call yourself whatever you want, so that we have people called-- what is it-- belli amici pennuti, which means fine feathered friends. We have a couple of those. And we have lovers. We have a couple of lovers.
I'm not joking when I tell you that the high-end donation is $500. People take this campy finger-puppet opera quite seriously. When I was talking to Henry Krieger, he recalled the night he first saw a bare-bones production of it at the West Bank Cafe in New York. And it was Krieger who approached Vitucci, begging to write music for it. Love's Fowl has this strange effect on people.
I didn't understand it until Susan loaned me a videotape of one performance. To be honest, I thought I would be annoyed at the intentional irony and hokiness of the puppets. But there I was with my three-year-old daughter, who loved the show, watching a plastic bird pantomime one of the simplest human moments, but also one of the most profound-- the confession of a great love, in this case, with a Cock Robin.
The song that she sings as she enters goes, "I am a chicken and ready for love. My heart is as fragile as the egg from which I was born. Treat me gently, and so will I treat you. Together from earthly love, we will reach for the divine." And then she sings, "I'm a chicken and I can't fly without love. My heart is as strong as the egg from which I was born." And so forth. And so it is only with Cock Robin that she flies.
And after they've agreed to fly together and they are soaring in the air, Cock Robin is shot and killed, murdered by a jealous sparrow. I couldn't believe it, but I was getting choked up, especially when Cock Robin appeared on the stage, his Styrofoam body spray-painted black for the lament, his little magic marker eyes drawn as X's. I gathered my daughter in my arms and held on tight, as I was helplessly drawn into an expression of the grief and suffering of this little sad bird.
In this era of slick special effects, there was something unexpectedly liberating in the marriage of this crude medium-- painted Styrofoam balls bobbing up and down behind a cardboard box-- and the high, melodramatic art of Italian opera. Picture it.
I want a subscription to that newsletter.
Are you going to do this? I mean, are you going to be working with Pulcina Piccola, you think, for the rest of your life?
It's possible. And I like working with her because I get to go into a world that's inhabited by a very sweet spirit. And because it's very small. I could never have afforded to produce this show with people. But I could afford to do it with clothespins.
So I can do as big a production as I want with clothespins. I can have stuff fly in and out and come in from traps. And I can have all kinds of fancy, flashy stuff that costs millions of dollars to do on Broadway. And it would cost me $200, because I had to buy lots and lots and lots of Styrofoam and clothespins and stuff, and all this, and a new table maybe. And I get to do whatever I want.
Jack Hitt lives in New Haven. The online home of the opera is pulcina.org.
Act Four: The Meaning Of A Bird
Act Four, The Meaning of a Chicken. We close our show today with this story from David Rakoff, which begins far from any chicken house.
Friday nights of my childhood and early adolescence were spent at weekly meetings of a Socialist, Zionist youth movement. My brother, sister, and I were members. The meetings took a variety of forms. There were the earnest discussions of Marx and the great Labor Zionist thinkers like Theodore Herzl and A. D. Gordon, bull sessions about who in the group had hurt whose feelings, and playing air guitar to "Come Sail Away" by Styx. All activities that formed us into pretty deeply committed young Socialists, ready at the age of 15 for the ultimate prize the movement could bestow, a summer living and working on a kibbutz, one of the collective farms that were a central part of settling the Jewish state.
There we would meet other members of the movement from all over the world, and spend many a happy hour engaged in honest labor, laughingly baling sheaves of wheat, picking olives, oranges, peaches, grapes, the sweat on our brows a shining reminder of the nobility of collective farming. In the evenings, we would gather together and dance around the fire, sing Crosby, Stills, Nash, and Young songs, and if one's older siblings were any indication, lose our virginity. Years later, we would renounce our bourgeois upbringings and return to Israel, making lives of simple, agrarian bliss.
This would all change for me in one single evening in a shed of 5,000 chickens. The kibbutz I was assigned to was one of the oldest in Israel, settled in 1928 by Jews from Russia, Poland, and Germany. For the most part, our arrival was met with little to no notice. We were just another group of volunteers, no different from the countless other Europeans and Australians just passing through, taking time out to pick fruit, work on their tans, and contracts cystitis from their rampant and unchecked coitus.
But we were different. We were members of the movement. I thought that our political ardor would be immediately apparent. I had visions of our bus being greeted by garlanded, folk-dancing youth, so happy to have us there to share in their dream. I had been raised on a fairly steady diet of just such Socialist Utopian Ziegfeld numbers, songs, film strips, and oral histories that all attested to just this scenario. Trees weren't simply trees. They were jungle gyms of plenty with smiling children clambering over their branches. A field was somewhere you brought your guitar, so that your comrades could dance down the rows after the day's work was over.
I was assigned to pick pears. Work would begin at 4:00 AM and finish sometime mid-morning before the heat had set in. How filled with fervor I was that first morning, the light barely dawning as I headed out in the back of the truck, wearing my simple work shirt, a pair of shorts, and the traditional sun hat worn by so many pioneers who had come before me to make the desert bloom. I should pause here to point out that we actually said things like, "make the desert bloom" all of the time. So off I headed to the orchard.
I know I sound like the Central Casting New Yorker I've turned myself into with single-minded determination when I say this. But the main problem with working in the fields is that the sun is just always shining. Dyed-in-the-wool Northerner that I am, it became apparent after about two days that I was completely unsuited to working outside, and I was moved around among the kibbutz's various interior jobs, the furniture factory, the metal irrigation parts factory, and the kitchen, assured all the while by the group leader that there was nothing emasculating or ersatz Socialist in being moved inside. After all, each according to his needs, each according to his abilities. My abilities seemed lie in passing out from heat stroke after a scant two hours in an orchard.
This continued for weeks. It was a somewhat idyllic, if not a mite monotonous, existence. That is, until the long night of the chickens. The boys of our group were gathered together one day, and told in the hushed tones reserved for trying to avert impending disaster, that we would forgo our regular work details and spend the night from midnight until dawn packing truckloads of poultry.
Why this needed to be done with such urgent secrecy under cover of night, and why the girls were excused, was never explained to us, and we didn't ask. We greeted the news with the respectful Hemingway silence of the Y chromosome. No dopey girls allowed. It was all imbued with nocturnal, testicular melodrama, like some summer stock production of Das Boot.
We slept that evening from 9:00 to 11:00, what I would come to know later, in a far different context, as a disco nap. We rose, drank some tea. The girls sprayed perfume into some handkerchiefs for us to wear around our noses and mouths. And we were off in trucks to do battle with the insurgent chickens. The scene had everything but the diner waitress standing in the road watching us go, worriedly wiping her hands on her gingham apron.
The chicken coop of the kibbutz was a one-storied structure of corrugated iron, about half the size of a football field. It emitted a low rumbling, a vague buzz that you could hear from far away. And of course, from even farther away, there was the smell, a smell of such head-kicking intensity as to make a perfume-sprayed handkerchief almost adorable in its valiant naivety, Wile E. Coyote warding off a falling boulder with his paper parasol.
Chicken [BLEEP] is horrible stuff, Unlike cow manure, which according to David Foster Wallace smells "warm and herbal and blameless," chicken [BLEEP] is an olfactory insult, a snarling, saw-toothed, ammoniac, cheesy smell, needlessly gratuitously disgusting. A stench of such assaultive tenacity that it burns your eyes. Rather than making you never want to eat a chicken again, it simply makes you angry. It makes you hold a grudge. You'll eat chicken again, by God, and you'll chew really, really hard.
One of the barrel-chested Israelis shows us what to do. Pick up four chickens in each hand. This is done by grabbing hold of the birds by one leg. "If the leg snaps," he says, "it doesn't matter. Just to get four in each hand. B'seder," he says, "OK?" He faces us holding the requisite eight, four in each hand, living masses of writhing feathers. He looks like some German expressionist cheerleader, his pompoms alive, convulsing, filthy. "Who will see their dreams fall away into the abyss and eventually succumb to the crushing sadness and meaningless of it all? We will! And what does that spell? Madness! Louder, I can't hear you!"
He crams the chickens roughly into a blue plastic crate smeared with wet guano. "And you close the lid and chick chack," he tells us, clapping his hands with that's-that finality. Before I even try, I know that I will not be able to do this. It is midnight, and we will be here until dawn, or until the truck is piled to capacity with crated birds. I walk out into the sea of chickens. I reach down and grab one. Its leg a slightly thicker segmented chopstick.
I recoil and stand up. I take a fetid breath, regroup, and bend down with new resolve, grab the chicken by its body with both hands, thinking somehow that might be preferable. Although how I think I'm going to get eight of them this way, I'm not sure. Its ribs expand and contract under my fingers, a dirty, warm, live umbrella. I drop the bird as if it were boiling hot.
My friends are all grabbing handfuls of poultry and shoving them into crates, unmindful of splayed wings, attempted peckings of their forearms, and the horrible premorbid squawking of birds on their way to slaughter. My sensibilities are not offended by the processing of animals for foods. I don't care about chickens. I fairly define anthropocentric. I'm crazy about the food chain and love being at the top of it. But like the making of sausages, federal legislation, and the heartwarming film work of Robin Williams, there are some things I just don't want to witness.
I leave the coop and go out to the trucks. Hoisting myself up onto the flatbed, I start to help with the stacking of the full crates. I know that my unilateral decision to change my task is met with displeasure on the part of the men who run the coop, but I do not care. [SPEAKING HEBREW] "What's the matter with him," the head of the work detail asks when he sees me on the truck. [SPEAKING HEBREW] He has answered using the female pronoun when referring to me. "The lady doesn't like the chickens."
It would be years before I was referred to as "she" again, and then very rarely and only as a joke by friends. I turn around to look at the men, making it quite clear to them that I understand what they're saying. The man who called me "she" avoids my eyes and busies himself with straightening a pile of crates and tightening the tarpaulin on the side of the truck. "You're right," I tell him in Hebrew. "She doesn't like the chickens."
At that very moment, I saw that I would never live on a kibbutz. I would not lose my virginity that summer to any of the girls from the group. Indeed, I would not care to do so. I am grateful to that macho blowhard. He made me consciously realize what I had always known but been somehow unable to say to myself. He's right. I don't like chickens. I like men.
Now I live in Manhattan, the un-kibbutz, where the words Karl and Marx generally bring up associations of Lagerfeld and Groucho. At camp when I was young, I, and the other children of affluent professionals, would gather under the trees every day to sing before going in to lunch. One of the songs was always "The Internationale," the hymn of the proletariat. One summer, we were even told to sing it with our left fists raised. We were, none of us, by any stretch of the imagination, what could be described as prisoners of starvation, wretched of the earth or enthralled slaves. Admittedly, they are all catchier metaphors and easier to scan than arise ye children of psychiatrists. But they had little to nothing to do with us personally.
And yet for those few moments when we were singing, those words seemed so true. How can I describe to you that 11-year-old's sense of purpose? That thrill of belonging to something larger, something outside of my own body? The sheer heart-stopping beauty of a world of justice and perfection rising on new foundations? And that one line, "we have been naught, we shall be all." Naught-- it spoke as much about my wish to be delivered from this pre-adolescent self-loathing as it did to any consciousness of liberating the masses. But it held such promise of what I might hope for that even now, as I write this, I can still call up that old fervor. It still makes my breath catch in my throat.
David Rakoff's a writer in New York.
Well, our program was produced today by Alix Spiegel and myself, with Nancy Updike and Julie Snyder.
Special thanks today to Mark Smith, creator of Chicago's semi-legendary Poetry Slam. Our Poultry Slam is named in tribute to it and to him. The title in no way is intended to demean or denigrate poultry. This American Life is distributed by Public Radio International.
[FUNDING CREDITS]
WBEZ management oversight for our show by Mr. Torey Malatia, who describes listening to our program this way.
You really, I think, fall into a bit of an existential crisis. Like, what the hell am I doing? I really think I'm going to throw up.
I'm Ira Glass. Back next week with more stories of This American Life.
PRI. Public Radio International.


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Hypercholesterolemia is a condition in which you have high levels of cholesterol in the blood. Cholesterol is made in the body and obtained from some food groups in your everyday diet. The body needs cholesterol for various things, like making hormones and making compounds to assist in fat digestion. Cholesterol is carried through your bloodstream by lipoproteins. The two lipoproteins are LDL (bad cholesterol) and HDL (good cholesterol). Triglycerides are the most common type of fat in the body, and combined with a high LDL or low HDL, can also be bad for your health. Too much cholesterol can come with risks of developing heart disease. Cholesterol buildup can occur and harden artery walls, and cause restricted blood flow to the heart.
There are typically no symptoms associated with high cholesterol. Diagnosing high cholesterol can be done with lab work ordered by your healthcare provider. Often you are required to fast (not having food, beverages or medications before coming in for the test). Your doctor will take these results and consider other risk factors you may have to determine your risk of heart disease.
Depending on your lab values and other risk factors, your healthcare provider may recommend life style changes with or without medication. Lifestyle changes include eating a heart healthy diet, regular exercise, quitting smoking, and losing weight if you are overweight. If lifestyle changes are not enough to lower your cholesterol to goal, medications may be necessary. Statin medications are usually recommended for most patients, and have many different options available. Statins can cause side effects and increased lab values, so it is important to keep all your scheduled follow ups with your healthcare provider. Other drug classes may be used in addition to statins or by themselves if statins are not tolerated. These include selective cholesterol absorption inhibitors, resins, fibrates, and niacin. PCSK9 inhibitors were released in the last few years and have also proven to be very effective at lowering LDL with or without combination statins. Talk with your healthcare provider and see which therapies are most appropriate for your needs to help lower your risk for heart complications.


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Employment law cases in the news – 15.12.2014 to 21.12.2014 Rock singer loses Employment Tribunal sex discrimination case
By Redmans Employment Team On December 29, 2014 · Add Comment · In news
In the latest of our series of posts on employment law stories in the news, we take a look at ten employment law stories that have made the news between 22 December and 28 December 2014
Worker sues Downham Market firm for £200,000 compensation over accident injuries – A welder who was badly injured when he was hit by a falling metal frame while working for a Downham firm has taken legal action for up to £200,000 in compensation (Lynne News)
Directors fined after young worker crushed by dumper – A 20-year-old man died on his first day at work for a new company when the four-tonne dumper he was driving toppled over a bank and crushed him (HSE)
Boiler insurance firm fined £90,000 for harassing elderly victims with nuisance calls – The Information Commissioner's Office (ICO) has fined a company based in Croydon £90,000 for continually making nuisance calls harassing vulnerable individuals. In several cases, the calls resulted in older people paying for boiler insurance it appeared they didn't need (ICO)
21-stone man wins job High Court case – A British man won a landmark case against the company that dismissed him, after a High Court judge ruled the effects of obesity can be classed as a disability. John Walker, 49, weighed more than 21 stone when he lost his job as an IT manager. He was sacked after spending seven years off work with a plethora of ailments including asthma, diabetes, high blood pressure, chronic fatigue and knee problems (The Sunday Times)
Workers facing redundancy after City Link goes in administration on Christmas Eve – Staff at a Trafford depot of one of the country's biggest parcel delivery groups are facing redundancies after the firm went into administration on Christmas Eve. City Link, which has nearly 3,000 workers across the country including those at its base in Trafford Park, called in administrators after years of 'substantial losses' (The Manchester Evening News)
Northamptonshire firms fined for asbestos failings – Two Northamptonshire firms have been fined after a routine safety inspection revealed serious asbestos-related failings. Northampton Magistrates' Court heard today (22 Dec) that Lifting Systems Ltd had contracted Durasteel Services Ltd to refurbish an asbestos cement roof at its Crown Works in Far Cotton (HSE)
Former Hospice kitchen worker has bullying claims thrown out – A former kitchen worker who alleged that she was bullied at a hospice because of her sexuality has had her claims thrown out. Llinos Hughes, who worked at St David's Hospice in Llandudno from 2011, told an employment tribunal in Wrexham in October that Gary Anderson, who became head chef in December of that year, bullied and discriminated against her because she was gay (North Wales Pioneer)
Union drops case for costs against pro-Israel academic – The University and College Union has dropped its costs application against an academic who lost a high-profile harassment case against it. Academic Ronnie Fraser took the union to an employment tribunal in a landmark case but the tribunal concluded last April his claim that, as a Jew, he suffered harassment as a result of the union's activities, were "manifestly unmeritorious" (Jewish News)
Devon and Cornwall Police pay out £940,000 compensation – Devon and Cornwall Police paid out almost £940,000 in compensation from 2010 to 2013, it has emerged. The force paid out nearly £847,000 to the public, including £75,000 for assault by an officer (BBC)
Former dockyard worker secures five-figure payout from MOD over asbestos exposure – A former dockyard worker, who contracted a disabling lung disease after being exposed to asbestos, has secured compensation from the Ministry of Defence (MoD) (The Plymouth Herald)
Tagged with → accident at work • bullying • costs • disability discrimination • employment law • Employment Tribunal • harassment • health and safety • High Court • hse • personal injury • religious belief harassment • workplace accident


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Q: Use spinner's Text for insert is there any way using spinner's Text and insert it into an sql table.
Or its better using a textview and style it as spinner?
Take a look in my code:
Spinner spinner1 = FindViewById<Spinner>(Resource.Id.spinner1);

con.Open();
SqlCommand cmd = new SqlCommand("insert into customermaster (id,name) values (9,'"+spinner1.Text+ "')", con);
cmd.ExecuteNonQuery();
con.Close();

I get error: Spinner does not contain definition for Text.

A: Are you perhaps looking for : spinner.getSelectedItem().toString()

redpajama_set_name: RedPajamaStackExchange


I am making a 3 tier square wedding cake, and the bride wanted a stacked cake, alls w the wedding cake is for the 9th of May, until friday she contacted me to ask if i can now make it the same 3 tiers, but between the tiers she now wants covered dummy tiers, i have not constructed a cake this way. the bride wants all the blossoms and flowers to... 2/01/2012�� For a custom decorated dummy cake, the price is generally at least 80% of what a real cake would be---and on top of that, there should still be a real cake somewhere to be served.
I would like to make some dummy cakes to build up a portfolio of pictures, but obviously keep the cost down as much as pos. What is the best way to ice a polystyrene cake? Is it necessary to ganache first to make the icing stick?
18/05/2015�� I am also doing a dummy cake to save time I can make the fake tiers a week or so before the wedding. It's not that expensive to do each tier is no more than ?5 on ebay am having a really simple decoration on it so nothing too fancy.
2/01/2012�� For a custom decorated dummy cake, the price is generally at least 80% of what a real cake would be---and on top of that, there should still be a real cake somewhere to be served.
The wedding cake in history was a symbol of fortune and fertility and they used to crumble the cake over the brides head. I don't know about you but I don't see, that happening to the brides of today and so change is always good.