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Moodle driving jobs in education | Opensource.com
Moodle driving jobs in education
03 Feb 2010 Greg DeKoenigsberg Feed
It's amazing, the opportunities a disruptive technology can offer to those who take the time to learn it. If you know your Moodle, there are more than 100 jobs available, right now, today -- and for some of them, you don't even need to change out of your pajamas.
It's also a great lesson about the different business models that open source can create. Red Hat has built a very successful publicly traded company selling service subscriptions to open source software product. Other companies, like Acquia, have created profitable consulting and services businesses.
Here we see the extreme other end of the spectrum: a technology that has become widely deployed, globally distributed, and highly localized -- thus, ideal for a worldwide marketplace for individual service providers. The job site at moodle.org lists positions from Silicon Valley to London, from Idaho to Kuala Lumpur. Full-time, part-time, telecommute. All offered within the past several months.
Looking at some of the job descriptions gives immediate insights into why open source is so useful. Many of these job offers are for very specific modifications to Moodle. One can't help but wonder how effective Moodle is, as a community, in reintegrating these kinds of efforts -- but one thing is for certain: they've got a way better shot at it than Blackboard does.
Greg DeKoenigsberg - Greg DeKoenigsberg is the Vice President of Community for Ansible, where he leads the company's relationship with the broader open source community. Greg brings to Ansible over a decade of open source product and community leadership, with the majority of this time spent building and leading communities for open source leader Red Hat. While at Red Hat, Greg served in various community leadership roles, including senior community architect, leader of the Fedora project, chair of the first Fedora...
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Jason Dobies on 03 Feb 2010 Permalink
I used it last semester for a programming class. The assignment collection and grade book capabilities (insanely flexible) were awesome, and being able to show my students open source in action added a concrete example to my lectures.
Greg DeKoenigsberg on 03 Feb 2010 Permalink
...curious: if you wanted to share any of your Moodle materials, would you even know how to begin?
Sharing as in what, exposing things publicly to non-logged in members?
I took down the site when the semester ended, so I can't poke around. I know I used the file section a lot to share things out to my students, I'd probably start there to see what permissions it offered.
Joseph Thibault on 04 Feb 2010 Permalink
Moodle2.0 will have a course sharing/community hub apparatus, but in the meantime the best (I'm not saying it's great) place to share resources is Moodlecommons.org.
I would venture that there seems to be a huge gap in the # of courses and quantity of information in Moodle and the availability of courses to download.
You can also check out the exchange databases at Moodle.org (you'll need to register first though).
...I'll bet that you would have a ton more to share on this topic, wouldn't you? :)
you have no idea.
marx on 04 Feb 2010 Permalink
I work as an in-house Moodle developer at a 6th form college, and I can categorically say that if Moodle wasn't open source it wouldn't be nearly as useful as it is. Every institution has different needs, and the ability to completely specialise Moodle is invaluable.
On top of that, the Moodle community model fits in very well with the philosophy of education and sharing knowledge that Moodle was created to support.
Jon on 04 Feb 2010 Permalink
Moodleshare.com is also a good place to go for sharing/finding Moodle content.
LMS on 05 Feb 2010 Permalink
Interesting article. Thanks for sharing.
George on 17 Feb 2010 Permalink
Moodle can run on Lighttpd using even less resources than on Apache. Please check if a small ( 70MB) VMware Virtual machine download from the home page link above can be useful to turn most laptops/desktops into a moodle learning/development platform.
Mark Drechsler on 17 Feb 2010 Permalink
Having worked for Australia's largest Moodle Partner company for a couple of years now I have to say that it is an awesome environment to be in right now. When I talk to people who are used to proprietary systems the biggest differences that they tend to find are the huge user community that are genuinely keen to contribute back to the wider community, and the flexibility of being open source (which we then try to balance with good Enterprise application management practices).
The financial model for the 'Moodle ecosystem' seems to be working well too - the software development path is still moving well, the localised Partner scheme gives a guarantee (more or less) that money will continue to flow into the Trust to keep development going, and ultimately people are still by and large loving the software and reaping the benefits of using something that doesn't have to cost as much as proprietary LMS.
As for the lack of courseware being shared, I reckon its more to do with educational institutions often being a little reluctant to share IP, particularly in the higher education sector where its a competitive market for the student dollar. Just my thoughts, could be completely wrong :)
Peter on 17 Feb 2010 Permalink
An OpenCourseWare is a free and open digital publication of high quality educational materials, organized as courses. The OpenCourseWare Consortium is a collaboration of more than 200 higher education institutions and associated organizations from around the world creating a broad and deep body of open educational content using a shared model. The mission of the OpenCourseWare Consortium is to advance education and empower people worldwide through opencourseware.
http://www.ocwconsortium.org/index.php
Yannick Warnier on 24 Dec 2010 Permalink
There is also a digital repository of open courses you can download from http://openlearn.open.ac.uk/ (and import into your own Moodle).
But besides Moodle, there are also other LMS worth an interest (both in terms of features and employment market): ATutor, Ilias, Chamilo (http://www.chamilo.org) which all have their own highs and lows, but are all open source and with important communities.
Often people forget that the fact that Moodle exists doesn't mean it is the best solution for you (it is still awfully complicated for the teacher to get into).
Merry Christmas to all!


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Introducing Sunnyside Micro-School!
by Jade Rivera | Jan 2, 2018 | Gifted Girls, Giftedness, Teaching & Education, Twice-exceptional
What I'm about to describe to you has been in the making for a few years.
I'm proud and ecstatic (along with a bunch of other big emotions!) to announce, The Sunnyside Micro-School opened its doors in September of 2017.
Many of you know that for eight years, I led micro-schools in the Bay Area for gifted and twice-exceptional (2e) children. Along the way, I learned a lot. After the hard but rewarding work of publishing a book about my educational philosophies and practices regarding micro-schools, I took a break for a couple of years to get married, travel, and put down some serious roots in Oakland, CA.
I also started offering private consulting for others as they built micro-schools for their communities. During this time, I tutored gifted and twice-exceptional (g/2e) students on a regular basis and began to see how the one-on-one relationship and committed structured time allowed them to experience success that they had not found in other learning settings.
During part of this time I also worked with g/2e students in a completely different setting and witnessed equally positive results. Teaching inquiry-based, Maker-style pop-up group classes that combined math, science, and art, I watched my g/2e students thrive. I tested a hunch that these kids could experience the joy of learning and progress academically when their inclination to be independent was honored in project-based explorations. After one year, the results were astounding. My own experience and parents' feedback bore out my hunch almost 100 percent.
My Big Insight
My g/2e students seemed to exist in a realm of extremes; maybe their learning environment needed to reflect that. On one hand, they needed structured and direct one-on-one instruction tailored to their specific needs without the distraction of others. On the other hand, they required the freedom to explore new ideas in the context of a community.
I wondered what would happen if gifted and twice-exceptional students had a learning environment that was able to simultaneously meet their need for freedom and creativity, while also offering direct, one-on-one education in math and language arts from highly trained and experienced professionals.
Filling a Need
As this model started to develop, I polled 150 parents of gifted and twice-exceptional children all over the country, and of the 63 percent who were homeschooling, 62 percent wished they had an alternative like a micro-school to supplement or replace their current educational strategies. Moreover, the majority of parents held freedom and choice in equal esteem with targeted and direct one-on-one educational coaching.
Based on this experience and research, I designed the Sunnyside Micro-School.
The Sunnyside Model
Every day, Sunnyside students engage in inquiry-based Maker projects that highlight each student's divergent abilities, and they have the opportunity to work one-on-one with a skilled, compassionate professional to develop their math and language arts skills — the two academic areas where gifted and twice-exceptional children seem to struggle most. They benefit from the relatedness and community of group learning, along with the specific support they need to achieve their potential.
Over the past four months as Sunnyside has been in session, I've had the chance to once again enjoy the thrill of seeing g/2e students thrive in a setting that respects their needs while providing appropriate challenge and learning enjoyment.
Plus, I'm having the satisfaction of seeing that opportunity opened up to even more learners. One of my goals with Sunnyside was to make it available as a valuable supplement for families regardless of their learning plans. That's why our microschool offers flexible enrollment, and it's also why we offer community classes!
Community classes provide engaging learning opportunities to the general public. Students have had a blast letting their STEM learning soar through hands-on creative projects in a small group setting. We're not done yet! Click here to learn more about our newest community class, "Geometric Art: An Exploration of Math and Creativity."
If you are in search of a fun and rewarding learning environment for your child, enroll in one of our community classes or schedule a visit today! You can contact me to learn more here.
On a related/unrelated note, I'm hosting a live webinar this Friday, January 5th for families who want to discuss making a mid-year school change. Interested? You can learn more and register here.
"As Her Unique Mind Settles"
by Jade Rivera | Jul 6, 2015 | Gifted Girls
This piece of lovely writing was originally posted on Through A Stronger Lens, June 15, 2015. I think many of you will relate to what my dear friend Nikki shares, regarding her daughter's inner world. Nikki is a mother to three girls, two of which she is currently homeschooling. She is also working towards her Master's in Family Therapy with the hopes of helping gifted families a lot like yours. You can connect with her, through Facebook, Twitter, and Instagram.
"B likes me to tuck her in and have a bedtime chat. I snuggle down between piles of books and stuffed animals.
"Are you sleepy, Honey?"
"No. I'm waiting for my mind to remember everything it just learned. Sometimes when I learn so much in one day, it all goes to the same spot and gets scrambled up and doesn't make any sense."
I imagine a room full of boxes where information floats through the air and has to land in its rightful destination. She tells me it takes some time, but eventually her thoughts settle in the correct places.
After a few moments of quiet in the dark,
"Mom, how do you think Homer wrote so much if he was blind? Did someone write the words for him? How do you think he knew how to describe everything? I guess there are a lot of things that you don't need your eyes for. Sometimes you can just see with your heart."
We discuss this and new ideas she has and topics that I am studying.
Recently, I read "A Forgotten Voice: A Biography of Leta Hollingworth", by Ann Klein. She was a pioneer in gifted psychology; a brilliant, dynamic woman during a time that did not offer women as many opportunities.
I tell B about Hollingworth, and how she led the way in the investigation of how the mind works, and studied people whose minds could learn more and faster than others.
"Like me, Mom? That's how I am. I learn so fast and I feel like I can learn everything and my brain will never fill up. It's like a notebook, and every time I fill a page, I can turn the page and there is another blank one to write on."
Yes, I say, like you. I tell her about how Hollingworth also studied the role of emotions in those whose "brains never fill up" and how they often feel more intensely than others.
"Like me, Mom! When I get so mad I cry, and when my beaker fills up so fast and I feel like I'm going to explode!"
She asks if the people whose minds work differently feel differently in the world too.
"Sometimes I feel like everyone likes me and sometimes I feel like I don't fit in anywhere. Do you ever feel like you don't fit in anywhere, Mom?"
Not long ago, I spoke with a young man who is battling depression. He described feeling much like this when he was young. His "rage to master" is still present in his twenties, but the more he learns about the world, the more it feels like a burden. Navigating the intense emotions that come along with deep understanding can be challenging. "Fitting in" is a concept he's given up on.
B articulates how she feels and learns beautifully. I hope that her mind's notebook pages keep turning and filling, and that her father and I can encourage her through the passionate and lonely and expressive moments in her future. I hope she'll find her tribe where she is understood. I hope that when she's older, she'll embrace her uniqueness the way she does now.
For now, I hope our bedtime chats continue for years to come, for I love to hear her thoughts as her unique mind settles."
Reposted with permission from Nikki Linn. Source: https://throughastrongerlens.wordpress.com/2015/06/15/as-her-unique-mind-settles/
WiFi willing, I will be back with original content August 3rd, 2015! Thanks for hanging in there with me. Many of you know that I'm currently traveling Europe on my honeymoon. Thank you, from the bottom of my heart, for all of your well wishes. The reception was a jolly time, to say the least. Check us out in the picture below!
My Five Favorite Fictional Gifted Ladies
by Jade Rivera | Apr 5, 2015 | Gifted Girls
*This blog post contains amazon affiliate links. If you'd like to support my mission of gifted advocacy and education please visit my Amazon store for a list of carefully curated books and games for gifted children, families, and the professionals that serve them.
Today I'm sharing with you five of my current favorite fictional gifted women. These are not all my favorites; instead I've decided to pull together an eclectic list from my favorites in order to illustrate a more comprehensive face of gifted women.
Your family culture may determine which of these characters will be appropriate for you or your little ones. Keep in mind that some of these characters deal with violence, and other negative aspects of life that may trigger your gifted child's sensitivity.
Leslie Knope of Parks and Recreation: In an interview, Amy Poehler describes her television character as having the spirit of a suffragette but no "game"; like many gifted people, she has a strong sense of justice, but without the tact. She's rarely intentionally rude, but rather she's so wrapped up in her various causes and her mission to improve the lives of the people of Pawnee that she sometimes forgets to acknowledge the willingness and preferences of those around her.
She is a driven and passionate leader who is ultimately loved by those closest to her. While this show is no longer on the air, we're all lucky that it's available through Netflix.
Peggy Carter of Agent Carter: A strong, witty character just as adept at chemistry as hand-to-hand combat. If we've connected through Facebook or Twitter you know this was my favorite show last year. Agent Carter also has a strong sense of justice, and she does "have game". So much so that she nearly single-handedly saves all of New York multiple times without breaking cover or even much of a sweat.
When the credit for saving New York was once again claimed by a man, she nobly stated, "I don't need a Congressional honor. I don't need Agent Thompson's approval or the President's. I know my value. Anyone else's opinion doesn't really matter." She's a bigger person than me… and a gifted woman, indeed.
Louise Belcher of Bob's Burgers: My love for this animated character cannot be overstated, because there has been a little (or a lot) of Louise in every single one of my students. Louise has an intelligent adult's wry sense of humor coupled with an immature ego. When combined, these two facets of her personality are responsible for getting Louise into some serious (and hilarious, and lovable) hot water.
She has a strong divergent side that inspires her to take certain school assignments or celebrations above and beyond the next level. I suspect she also has some sensory issues going on with her constant wearing of that adorable pink bunny-eared hat. Everything about her screams gifted and I'll admit that I sometimes fantasize about being her teacher.
Kate Wetherall (or The Great Kate Weather Machine as she'd prefer to be called) of The Mysterious Benedict Society: This literary character is the epitome of a visual-spatially gifted child. She sees the big picture, is creative, and has a strong connection between her brain and her body. Her mathematical ability comes in the form of gauging distance with extreme accuracy. More than once she puts to use her gifted abilities of spatial relations and mental rotation to save the day. She's a quirky, cheerful dare devil… and a delight.
Constance Contraire of The Mysterious Benedict Society: I don't want to spoil a special aspect of the story for you, so if you hate spoilers then skip the next passage…
It's highly likely, if not totally obvious, that Constance Contraire is profoundly gifted. She's also incredibly grumpy, hungry and prone to falling asleep at inopportune moments. This is because Contance is only 2 to 4 years old but can read and write and express herself as much as someone three times her age. She hasn't aged out of nap time, but is still tasked to fight evil along children much older than her. I'd be grumpy too!
Whenever I think of this clever book I immediately recall my favorite line delivered by Ms. Contraire, "Rules and schools are tools for fools-I wouldn't give two mules for rules!"
This was super fun to write! Thank you for taking a look. And I'd love to hear how these characters have touched your life and if we share some of the same perspective.
On a more serious note, if you're like me, you'll notice that there are zero women of color on this list. Some of my readers know that I'm of mixed ethnicity; my mother is Anglo-American, and my father is Latino. Growing up, I never enjoyed a book or a show with a fictional gifted character that shared my background, a fact that I've been acutely aware of for most of my literate life.
The closest I had was Sesame Street (which I never liked), the Cosby family, and A Different World (both of which I loved). Later, I adored Ricky Vasquez (played by Wilson Cruz) on the 90s television show, My So-Called Life.
And while I'm glad that the world knows and loves Dora the Explorer, this is a disproportionately low number of characters when compared to the throngs of white characters offered by popular media. I would've loved to have had women of color on this list, but honestly I couldn't find one that I authentically resonated with, and I think that's because there aren't enough people allowing those characters into the spotlight. I'd love for this to change!
If you know of any non-white fictional gifted women characters please share them with our community in the comments.
What About Gifted Girls?
by Jade Rivera | Mar 2, 2015 | Gifted Girls
I started drafting this to you on Galentine's Day, an adorable pre-Valentine's day pop-holiday created by the fictional character Leslie Knope (played by Amy Poehler) of the television show Parks and Recreation. Leslie has created this holiday, which lands the day before Valentine's day, to celebrate the love she feels for her female friends.
As I exchanged Galentine Greetings online and in-person with my dearest female friends (no we did not share a glorious breakfast, but maybe next year), I of course began to think about the young gifted girls in my life.
Last week, I was sitting with a five-year-old girl as she worked through some problems on Khan Academy, a wonderful free educational resource. Khan Academy is one of her self-proclaimed "favorite things in the world". After getting a few problems correct, she looked up at me and confidently proclaimed, "I'm good at math."
"Clearly!" I responded with a full heart and a huge smile on my face.
Then, as I revelled in the glory of learning, I felt a little shadow creep into my heart. That shadow had a voice. It said,
"How are you going to encourage this love of math in the face of overwhelming and undermining messaging that girls are not good at math?"
While amplified intensity, sensitivity, and drive are a few of the well-known characteristics of gifted children, this amplification is generally acknowledged in gifted boys as a "call to action" and in gifted girls as a "cause for worry".
Girls are judged differently than boys. The expectations placed on them are different as well. There is a societal expectation that girls remain in a supportive, empathetic role. Young ladies who step outside of that role when they declare themselves "good at math" are at risk of being seen as "bossy" and "arrogant". Boys who make the same declaration are considered "enthusiastic" and as a "go-getter".
The pay-off for a gifted girl driven to defy expectations comes at the end of a long, winding, partially-paved road. At this point in my life, I still find myself running alongside these ladies. Other times I get to be the one who stands on the side of the road and cheers while handing out paper cups of water.
A lack of healthy messaging for gifted girls makes for a lonely time out on that road. At my most solitary, it's the gifted women of culture, literature, and movies that have given me guidance. For this reason, I'm always on the look-out for positive images of gifted women in the world that I can share and celebrate.
We need to show gifted girls what's possible. Show them examples of women who have lived fulfilled lives as leaders. Show them girls that are making quirky, passionate, and sensitive work. Show them how it can be good to be gifted.
Who are your favorite famous gifted women? Share them with me in the comments, so we can get a good list going for our girls!
And in the meantime, sit tight until next month for part two in my "What About Gifted Girls?" series. I'll be sharing with you my favorite gifted ladies, and yes, Leslie Knope is on the list.
Jade Rivera is an author, educator, and coach who specializes in designing innovative learning environments for neurodivergent learners. Jade consults through speaking and workshops to discuss the characteristics of neurodivergent children and how to develop strategies that best serve their education and social-emotional development.
Categories Select Category Book Reviews Gifted Girls Giftedness Guest Post Overexcitabilities Resources Teaching & Education Twice-exceptional Uncategorized
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redpajama_set_name: RedPajamaCommonCrawl


This collection of posters provides a snapshot of Bluecoat's arts programme over the past 50 years, from Yoko Ono's 1967 performance to Pierre Henry's Liverpool Mass, presented at the Metropolitan Cathedral as part of Bluecoat's tercentenary programme in 2017. The posters represent just some of those in our archive and we will be adding to this collection in the coming months. Comprising mainly posters for exhibitions in the gallery, others are also included representing performances and literature events and other aspects of our work. The collection also reflects developments in graphic design and the use of typefaces, colour and imagery over this period.
If you have any posters from Bluecoat events that you would be willing to share with us, we would love to add them to our archive if we do not already have a copy.
Poster for Gary Younge talk, Who are we and should it matter in the 21st century?


text:
Santibáñez del Val är en kommun i Spanien.   Den ligger i provinsen Provincia de Burgos och regionen Kastilien och Leon, i den centrala delen av landet,  km norr om huvudstaden Madrid. Arean är  kvadratkilometer.

Terrängen i Santibáñez del Val är kuperad österut, men västerut är den platt.

Kustklimat råder i trakten. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är april, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

Kommentarer

Källor

Externa länkar

Indelningar i Kastilien och Leon

redpajama_set_name: RedPajamaWikipedia


Abstract: This paper analyses the inter-temporal competition – stability nexus after the global financial crises. For this reason, the empirical estimation approach follows a five – step procedure. First, we utilise quarterly macroeconomic and balance sheet and income statement data for 16 banks operating in the Albanian banking sector over the period 2008 – 2015. Second, we calculate a new composite index as a measure of bank stability conditions, which includes a wide set of information rather than focusing only on one aspect of risk. Then, we construct a proxy for bank competition such as the Boone indicator. Empirical estimations are based on the General Method of Moments approach. A set of robustness checks include also the use of other alternative proxy of competition such as the Lerner index and the efficient-adjusted Lerner index, profit elasticity and the Herfindahl index. Empirical results strongly support the "competition – stability" view after the global financial crises - that higher degree of competition boosts further bank stability conditions. Results further indicate that greater concentration has also a negative impact on bank stability. Results imply also that bank stability is positively linked with macroeconomic conditions and capital ratio and inverse with operational efficiency. Finally, we do not find a non-linear relationship between competition and stability.


text:
Q: How to replace `set` using python I'm currently facing a problem where I am giving a thread a reference to a set and I want to be able to replace the set with a mocked database call. I have so far done
import logging
import threading
import time
from typing import Callable

from loguru import logger

class MonitorProduct:

    def __init__(self, term: str, is_alive: Callable[[str], bool]) -> None:
        self.is_alive = is_alive
        self.term = term

    def do_request(self) -> None:
        time.sleep(.1)
        while True:
            logger.info(f'Checking {self.term}')
            if not self.is_alive(self.term):
                logger.info(f'Deleting term from monitoring: "{self.term}"')
                return

            time.sleep(5)

# mocked database
def database_terms() -> set[str]:
    return {
        'hello world',
        'python 3',
        'world',
        'wth',
    }

def database_terms_2() -> set[str]:
    return {
        'what am I doing wrong',
    }

def main() -> None:
    terms: set[str] = set()

    while True:
        db_terms = database_terms()
        diff = db_terms - terms
        terms.symmetric_difference_update(db_terms)

        for url in diff:
            logger.info(f'Starting URL: {url}')
            threading.Thread(
                target=MonitorProduct(url, terms.__contains__).do_request
            ).start()

        time.sleep(2)

        # ----------------------------------------------- #

        db_terms = database_terms_2()
        diff = db_terms - terms
        terms.symmetric_difference_update(db_terms) # <--- terms should only now contain `what am I doing wrong`

        # Start the new URLS
        for url in diff:
            logger.info(f'Starting URL 2: {url}')
            threading.Thread(
                target=MonitorProduct(url, terms.__contains__).do_request
            ).start()

        time.sleep(10)

if __name__ == '__main__':
    main()

The problem I am now having is that when we do our first db call, it should start threads for each of terms:
{
  'hello world',
  'python 3',
  'world',
  'wth',
}

and as you can see we also send in a terms.__contains__ for each thread.
When we do the second call of db - that set should replace the terms to
{
  'what am I doing wrong',
}

which should end up exiting the four running threads due to:
def do_request(self) -> None:
        time.sleep(.1)
        while True:
            logger.info(f'Checking {self.term}')
            if not self.is_alive(self.term):
                logger.info(f'Deleting term from monitoring: "{self.term}"')
                return

            time.sleep(5)

however the problem is that we cannot replace terms by doing
terms = ... because we are creating a new set and then bidning that set to the variable terms while the thread still has a reference to the old set.
My question is, how can I replace the old terms with updating to the newest set without binding a new set?

A: You're almost there. But
diff = db_terms - terms
terms ^= diff  # symmetric_difference_update()

Isn't enough, because that just adds the new values, so it's the same as
terms |= diff  # update()

or even
terms |= db_terms  # update()

(And one of these options should be clearer to the reader than the symmetric difference, because you're not using the symmetric difference to remove anything.)
To remove the old values, you want to also do
terms &= db_terms  # intersection_update()

You said you're concerned about race conditions with intermediate values of the set. If you'd want to modify the set from more than one thread, you should use a mutex lock (threading.RLock) around it. But if you're only modifying from one thread and comparing __contains__ in another, you can avoid a lock in CPython as long as each step of execution keeps your set in a consistent state.

redpajama_set_name: RedPajamaStackExchange


text:
London [UK], Jan 22 (ANI): Chelsea manager Frank Lampard admitted that his club did not do the basics right which lead to a draw against Arsenal despite having a lead.
"At the point in the game you go 2-1 up, you have got to do the basics right. Get all the details right. We got one wrong, with the first one. And the second one was soft, soft for a right-back to cut inside and score into the bottom corner," the club's official website quoted Lampard as saying.
"You have to be real about it and honest about it that they had two shots, the breakaway in the first one and the second one late in the game, and they scored two goals," he added.
During Premier League clash on Wednesday, Chelsea gained a 1-0 lead in the first half and maintained it. However, Arsenal leveled the scores in the second half but Chelsea again bounced back to take a lead. Chelsea's lead only lasted for four minutes as Hector Bellerin scored a goal for Arsenal and the match ended in a draw.
Lampard feels that they did not take their chances when they came.
"They had a few moments and they fought for it. That is what they should do in a London derby. The initiative should be on us to be really ruthless about doing the right things, moving the ball quick enough, take chances when they come along. I think we moved it quick enough at times but didn't take our chances when they came," he said. (ANI)


The award for "best amateur film maker of 2014" was made at the end of November in Mönchengladbach at an event run by the film club "Mönchengladbach Lens". Throughout the last year, filmmakers in Germany were observed at national and international film competitions by a specialist jury. This expert team recommended to the organiser, who among Germany's best gold medal winners is the top film maker. This year for the first time, the large jury chose the Passau filmmaker Anton Wallner.
In 2014 Anton Wallner not only won the highest Bavarian award for amateur filmmakers - the Bavarian Film Award, a"Llion" - with his film "A Paradise, called Namib" but also received several special awards for best cinematography and best film design. These numerous gold medals came from home and abroad. Probably one of the most coveted prizes was the "Golden Diana" at Klopein am See, because Wallner had to compete not only with "amateurs", but also with professionals and even here he won both a Golden Diana and the special prize for best cinematography.
The video "A Paradise, called Namib" was shown with films by three other authors at the end of November 2014 in the "Carl-Orff-Saal" of the city of Mönchengladbach. In the impressive setting of the great hall, filled to the last seat, it was a very special experience for Wallner. The musical entertainment created by the Mönchengladbach Music Group "Pink Fluid", was followed by speeches from the organiser, Mr Gerhard Comelli.
The Lord Mayor of the city of Mönchengladbach, Mr. Hans Wilhelm Reiners, acted as master-of-ceremonies for the successful film makers and effusively introduced the authors' films. So the mayor declared, among other things, that Anton Wallner was certainly the best ambassador for the city of Passau, because he and his films act as a very good advertisement for the city of three rivers, especially thanks to his attendance at events at home and abroad. What could be better than to have a cinematic ambassador, asked the mayor.
Mayor Reiners had been well informed about the achievements of the man from Passau. "Anton Wallner is probably the most successful film maker in Bavaria" according to Mr. Reiners "he was known as a successful filmmaker, not only in Germany but also across the borders of Europe." He reported on the successes of the past year and thereby painted a picture of the ambassador's work for the city of Passau.
Anton Wallner, who travelled to Mönchengladbach in Bavarian dress, gave a special welcome gift to the organisers and the Mayor of a small "survival package" - wheat beer, white sausages and white sausage mustard. This surprised the large audience as much as the author's previously announced film. Prolonged and passionate applause were the Passau director's reward. The author thanked the audience and said that he wants to shoot his new project before Christmas. This time about the people in Khao Lak, -Thailand- who suffered the terrible fate of the tsunami exactly 10 years ago. Wallner wants to empathize with the situation of the survivors and work up the drama of the terrible event. This will be the theme of the film "Back to Life".
For Anton Wallner 2014 was certainly the most successful film year. He brought back to the city of three rivers many national and international prizes, especially with the "A Paradise called Namib". The film maker said that, unfortunately, he was one of the last in Passau who successfully participate in national and international film festivals. But he said in an interview: "Hope dies last".
The new EURO FILMER website is ready!
We're now available in English too!
It would be good if we could get English versions of every item emailed at the same time. However, no writer should hold back on preparing an interesting article if they do not have that ability. The English version will just appear a little later.
We have deliberately designed the website to be rather factual. That ensures a flawless display on tablets or smartphones.
For the future we plan to set up another "private section", where only members with a password have access.
Anyone with suggestions on how we can improve our website further, should immediately let the managing committee know.
At this year's EUROFILMFESTIVAL in Ansbach there will be once again a 1-minute film competition. Anyone who has such a movie and wants to show it should send it to Anni Bergauer no later than 1st August 2015.
In 2015 the Ansbach Film and Video Club celebrates its 50th anniversary. On August 18, 1965, nine participants came together for a narrow-gauge film seminar in the house of popular education in Ansbach and established what was then known as "The Ansbach Narrow Gauge Film Circle", chaired by Hans Zottmann.
For this occasion, the managing committee of the Ansbach Film and Video club decided to join forces with the EUROFILMFESTIVAL in 2015. We warmly invite you all to come to Ansbach from 8-10th October 2015. Please note the date in your diary immediately!
The film screenings will take place at the cultural centre at the Karlsplatz in the Anglet Hall. For the gala evening we have rented the banquet hall at the Orangerie. The festival program and further information can be found shortly on the Eurofilmer website!
My fellow members and I look forward to welcoming you to Ansbach.
Chairman of the Ansbach Film and Video Club.
You have chosen me to succeed our film-friend Fritz Kümmel. I thank you wholeheartedly for the confidence placed in me and happily accept your decision.
For me it is a self-evident obligation to continue the constructive work associated with the Board you have re-elected. For this reason, I ask you to extend this confidence also to the other board members. I am convinced that together we will all do our best to lead the EURO FILMER onwards, because there are difficult times ahead.
Among the problems which await us in the future are the number of film entries, the length of EUROFlLMFESTIVALS, finances, our older age profile, volunteer activities as well as existing and future activities of the Eurofilmers. These are not only a concern of mine, but provide us all with great challenges. To cope with these complex tasks, it requires everyone's efforts to secure the continued existence of the Eurofilmers.
Above all I am asking the members themselves for new ideas. We are increasingly dependent on new initiatives and ideas from your ranks. I will always be ready to listen to your requests or suggestions and I hope for a lively exchange from both sides.
I realise that this requires everyone's constructive cooperation and this can only be achieved in a trusting relationship with the management board, the State Commissioners and me. With this sentence we want to begin a new phase in the history of the Eurofilmers.
I wish that in future we double the number of people in each senior post on the board.
My topic has been so overused by now that I no longer want to write about it. Both film makers and jurors are really good film enthusiasts and for both their hobby is filmmaking. But at every film competition there is a distance between them. The film makers have made their films and the judges must now evaluate these films. The problem is that there are no measuring instruments for reviewing movies. Therefore, we need several jurors because naturally each juror gives different evaluations. One considers the movie good, others find it not so good. Sometimes their opinions are very far apart.
The average is then worked out from the different opinions. The result is the prize awarded to the film. If the film judging uses a scoring system, then the filmmaker gets a written document with all the details about his film rating.
When I participated in the jury, all the results of movie evaluations were discussed again prior to deciding the awards, and each juror was asked if he agreed with the prize for the film. Possible discrepancies could then be balanced. I am convinced a film judgement can never be equitable. As a spectator, I like to visit film competitions, because there I watch with great pleasure the best movies of the filmmakers.
For me a film competition is an event that should end with joy and satisfaction. We film makers can contribute to that, if we were prepared to be satisfied with the prizes for our films. According to some people, that's impossible, for example, if you only get an "honourable mention". I say it is possible to show a satisfied expression.
Yet many still say to themselves: "l have, nevertheless, made a film with so much love and labour, that was even shown to an audience. Why was it still so poorly assessed by the jury? They grumble about the jury, but this is unjust, because the jurors have no reason to give a film bad grades. The judges are always trying to get the best for a movie. They too feel badly if a film cannot get a higher rating.
Much in life has become digital and we wait to see if movie rating can be tackled by computers. It has even arrived in football. Let's just hope that the discussions remain analog.
I wish you all "good light"
"A very nice, interesting and memorable experience."
- A cinema-minded, interested, well-versed and attentive audience that gives a "lecturer" a sense of belonging. I would like to heartily thank all those present once again.
- An organizer, Mr. Wolfgang Thomas, State Commissioner - South, by whom I was not only personally looked after the entire period, but whose universally creative and organizational talents and unshakable calm made this event so special.
- A beautiful room, with great projection, that was managed calmly by an experienced team and perfectly handled without my having to intervene once with correction.
- A city where I felt immediately at home, and "last but not least" the joy of meeting once again sympathetic and friendly people and getting to know new ones.
For me it is an honour to belong to the circle of "EUROFILMERS".
The making of the film "500th Anniversary of the Consecration of the altar in the Church of St. Lawrence"
Over a year ago 4 members of the Bludenz Film and Video Club decided to produce a documentary to commemorate the 500th anniversary of the consecration of the church altar.
Initially we had only vague ideas and visions of how the film should look. The extensive research work and the time-consuming filming soon brought us down to earth and back to reality. Sometimes it even brought the project to a standstill.
Thankfully, we received knowledgeable support from the historians Dr. M. Tschaikner and Mag. Dr. A. Rudigier. Much of the information had to be assembled, but it also had to be checked for plausibility. We found some useful material in a variety of archives, but we often ended up in a dead end and had to leave out some items because there was little or no visual material, especially from the 16th and 17th centuries.
Sometimes, however, our painstaking detection work was crowned with success, such as when we discovered a fragment of a 500 year old relic-certificate in the parish archives. This document – until then rather neglected - lends credibility to the consecration of the high altar over 500 years ago and represents an invaluable document for the history of the venerable church.
We had another success when researching the Baroque high altar, which was built from a black, marble-like stone. It was known that it had been mined in the region, but there was great uncertainty about the precise location. We managed to track down an "eyewitness" approximately 80-year-old, who knew all about the mining area in the Bingser Gasse (beside Bludenz). He had even hauled such stones himself. We could determine the mining area and there found "marble" pieces for ourselves and thus had a valuable, authentic contribution to our film.
From this variety of material the script was written based on a comprehensive, self-generated chronicle of the last 500 years of the church.
The ensuing filming was structured very elaborately. In the tower that is almost 50 m high, we underwent intensive fitness training, as we climbed dozens of times from the ground right up to the onion-shaped dome.
The shots of the peal were a challenge - in a confined space, it was difficult to find suitable angles.
Fortunately, we were able to avoid hearing damage, which might have been almost inevitable at a distance of 1 meter from a 3.5-ton bell. It should also be noted here that the feast peal was rung at our request in the middle of the day. This resulted in amazement if not panic among the Bludenz population. In former times this festival bell served alongside a siren as a disaster warning!
Our shots took us to the huge 500 year old roof of the nave. We soon knew most of the woodworm by name, and swallowed masses of 500 year old dust.
We set ourselves the challenge of incorporating some special camera angles in the film.
We were able to get an exciting camera shot from the roof through the ceiling and down into the vault - about 10 seconds of film, after 20 hours of work. This was achieved on the 4th attempt with a specially made rig.
A camera crane was also used for shots inside.
A complex tracking shot along the bell tower with a drone enabled us to catch unique perspectives.
The big moment came on 26 October when we could project our 32-minute film in the church with a high-performance projector onto a large screen. The church was filled to the last seat with 400 visitors.
Our long work and the enormous effort were rewarded with prolonged applause.
For the club members who took part in this project over a shoot of 1¼ years the work was associated with fun, excitement and many new experiences. There are already enquiries about new projects – we never run out of ideas and topics.
"Variety of topics at the film festival" was the headline in the local press. Although only 21 films were submitted, the headline was true.
Good advertising meant that 70 viewers were in the hall for the first film, which naturally made us very happy, because besides a few film makers, these were mainly people from the village come to watch the films.
But one has to say that the screenings did not start until around 9:30. This is the advantage of the smaller number of competition entries, you do not have to start screening at 8:00 or even earlier.
The number of viewers increased then so that in the afternoon there were around 100 spectators present. Technically, everything went smoothly and without a hitch, even the 16mm film by Günter Viereckt ran flawlessly.
The "Filmerbeiz" had their hands full, "Mince with macaroni and apple sauce" went like hotcakes and finally some would-be lunchers had to be given a refund, because there simply was no more food. But cake was sold, which helped the club coffers, since all baked goods had been given free by our lady filmers.
This time the people who are always present if amateur movies are to be seen, were here.
In Ammersbek " Pferdestall " the Forum North European Authors' Circle showed the Spring Competition films on a big movie screen. And once again, the Country Commissioner, Wolfgang Thomas, and his technical helpers organized it well. And the catering was as always equally perfect .
The film program was launched with an opus that was not part of the competition - namely the equally versatile and exciting one-hour film-and-travel lecture by Ilka and Horst Burmeister, who led the audience through the United Arab Emirates and Oman.
Ten films were entered for the competition, and the fascinating film "The Gate to Nowhere" by Anton Wallner, which showed the sequence of a cremation according to Buddhist rituals, won the Gold Medal, the highest honour of the day.
There were two silver medals: for Denny Schönemann and the GeraPforten Film Club with the film "No hit on the Radio", and for Max Conradt, who showed the film "The Wise Delight in the Water". This film also won the Audience Award.
There were five bronze medals: Kurt Grundler with the film "A Special Park", Dr. Horst Hufnagel with "Where Once my Dream of Freedom Shattered", Thomas Tiefelsdorf for "Hammonias daughters", Peter Schwalm for "A Glimpse into the Great African Art" and Gerhard Jagow with "The Chair Man Fountain in Altona". The diplomas went to Uwe Ortgies with "Ferryman Move Over" and Ingo Poggensee with "Contrasts".
Seven of the ten films will be sent to the EUROFILMFESTIVAL in Ansbach.
Report of the Forum West 2015.
Roswitha Katharina Wirts from Aachen Film and Video Club, brought the Forum West to Düren on Saturday, 25 April 2015. A day earlier, all the helpers met in the afternoon to prepare the room.
Her many helpers present with advice and practical help, included Wolfgang Enge and Horst Krause from the EAK, who hosted the entire competition. The technology was in the hands of Klaus Kraft. After work we all met for dinner and pleasant company.
On competition day, everyone enjoyed a delicious breakfast, which boosted the mood and anticipation of the event. During the breaks, all those present were spoiled by the hosts with delicious food which they praised highly. Roswitha Katharina warmly welcomed all film friends and many guests. There were on average about 75 spectators in the hall.
The makers of 22 of the 23 films were present. Thank you! The films were previously judged by Forum Nord in Hamburg. There were 5 Golds, 4 Silvers, 11 Bronzes, 3 honourable mentions. 18 films were passed on to the EUROFILMFESTIVAL in Ansbach.
Of particular note was the Audience Award. Roswitha Katharina and Klaus Kraft got it for their film.
The company, the program and the films shown were highly rated by the public and by the invited presenters from the regional radio station, the local TV station and the press. Reinhard Merke was able to give an informative interview about the EAK.
Roswitha Katharina filmed the event and the film can be seen on our website.
Dear Roswitha Katharina THANKS. It was a successful event. See you at EUROFILMFESTIVAL in Ansbach.


Pictures to my contribution add?
Can you all please help me re-cap :)?
An article about the hoax - need your help!
So lost and confused right now!
MJ´s statement at his 45th birthday.
Could someone post the link to the chat room?
So ... Okay, personally, what do YOU think will happen in December?


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La petzite è un minerale, un tellururo di argento e oro.

Il nome deriva dal mineralogista William Petz che per primo la analizzò.

Descritta invece per la prima volta da Wilhelm Karl von Haidinger (1795 - 1871), geologo e mineralogista austriaco, nel 1845.

Abito cristallino
La forma dei cristalli è attualmente sconosciuta.

Origine e giacitura
L'origine è idrotermale. La paragenesi è con silvanite, calaverite e tellurio.

Forma in cui si presenta in natura
Si presenta in aggregati massivi e granulari.

Caratteri fisico-chimici
Solubile in HNO3 con oro residuo; solubile anche in H2SO4 caldo, che si colora di rosso lampone.
Pulire con acqua e acido cloridrico.

Località di ritrovamento
A Sacarimb, in Romania; a Cripple Creek, nel Colorado; e a Kalgoorlie, in Australia.

Utilizzi
È un minerale utile per l'estrazione di argento e oro.

Bibliografia
Mineralogia - Cornelis Klein - Zanichelli (2004)
Le rocce e i loro costituenti - Morbidelli  - Ed. Bardi (2005)
Minerali e Rocce - De Agostini Novara (1962)
Guida al riconoscimento dei minerali - Borelli e Cipriani - Mondadori (1987)
Atlante delle rocce magmatiche e delle loro tessiture - Mackenzie, Donaldson e Guilford - Zanichelli (1990)
Atlante delle rocce sedimentarie al microscopio - Adams, Mackenzie e Guilford - Zanichelli (1988)
I minerali d'Italia - SAGDOS - 1978
Minerali e Rocce - Corsini e Turi - Enciclopedie Pratiche Sansoni (1965)

Altri progetti

Collegamenti esterni

Minerali dell'argento
Minerali dell'oro
Minerali del tellurio


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AnatomyPelvis and perineumPelvic girdle and floor
Medial umbilical ligament
Author: Roberto Grujičić MD • Reviewer: Declan Tempany BSc (Hons)
Last reviewed: September 30, 2021
Medial umbilical ligament (Ligamentum umbilicalis medialis)
The medial umbilical ligament is the distal obliterated portion of the umbilical artery. It develops after birth when the umbilical cord is cut; the portion of the vessel gets replaced by fibrous tissue due to the lack of blood flow in the distal part of the umbilical artery. This ligament is also referred to as the cord of the umbilical artery.
A non-obliterated part of the umbilical artery still remains functional after birth providing arterial supply for the urinary bladder in both sexes, and ductus deferens in males.
This article will discuss the anatomy and function of the medial umbilical ligament.
Key facts about the medial umbilical ligament
Definition Distal obliterated portion of the umbilical artery that develops after birth
Function Supporting the urinary bladder
Anatomy and function
Median umbilical ligament
Ligamentum umbilicale medianum
Synonyms: Urachus
The medial umbilical ligament is the obliterated part of the umbilical artery that develops after birth. In the prenatal period, it constitutes the part of the umbilical artery that continues into the umbilical cord carrying deoxygenated and nutrient deficient blood to the placenta. After the umbilical cord is cut, the distal part of the artery becomes obliterated and gets replaced by fibrous tissue, becoming the medial umbilical ligament. It usually extends from the origin of the superior vesical artery to the umbilical ring on the anterior abdominal wall.
It is important to distinguish between the medial vs median umbilical ligaments. The medial umbilical ligament is the aforementioned paired structure related to the umbilical arteries, while the median umbilical ligament contains the urachus: the remnants of an embryonic communication between the allantois and cloaca.
The paired medial umbilical ligaments give rise to two of five folds of parietal peritoneum found along the anterior abdominal wall (the other members being the paired lateral umbilical folds and single median umbilical fold). The medial and median umbilical folds, form two peritoneal depressions, one on either side of the urinary bladder, referred to as the supravesical fossae. This area usually contains the fundus of the distended urinary bladder and can be clinically significant owing to the fact that the supravesical hernias can arise from there.
The main function of the medial umbilical ligament in postnatal life is to provide support for the urinary bladder, together with the median umbilical ligament.
The medial umbilical ligament is particularly easy to see during the abdominal surgery procedures which is why it represents an important anatomic landmark for dissection not only of the pelvic lymph nodes but also of retropubic space (Retzius' space).
To learn more about the peritoneum and its relations check out our other articles, videos, quizzes and labeled diagrams.
Peritoneal relations Explore study unit
Moore, K. L., Dalley, A. F., & Agur, A. M. R. (2014). Clinically Oriented Anatomy (7th ed.). Philadelphia, PA: Lippincott Williams & Wilkins.
Netter, F. (2019). Atlas of Human Anatomy (7th ed.). Philadelphia, PA: Saunders.
Standring, S. (2016). Gray's Anatomy (41st ed.). Edinburgh: Elsevier Churchill Livingstone.
Tubbs, R. S., Shoja, M. M., Loukas, M., & Bergman, R. A. (2016). Bergman's comprehensive encyclopedia of human anatomic variation. Hoboken: Wiley Blackwell.
Medial umbilical ligament (Ligamentum umbilicalis medialis) - Paul Kim
Medial umbilical ligament: want to learn more about it?


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'Teen Wolf' season 3 spoilers: Will Tyler Posey's Scott have a new love interest?
Arden Cho, MTV, Teen Wolf, Tyler Posey	 December 21, 2013
While it may be a little late for Christmas, MTV is still going to be giving you a gift come January 6 with the return of "Teen Wolf" and all-new episodes. If you enjoyed what the show put out over the summer, we figure that you are probably going to be in line to enjoy it again. With that being said, you are going to see different characters and a very different story the rest of the way than what you had this past summer with Deucalion as the Big Bad.
But when it comes to romance, what can you expect? The first thing worth noting here is that things are not going to necessarily be fantastic when it comes to Scott and his relationship with Allison. She is going to be moving forward in a certain capacity with Alex, which means that in turn, he may develop an interest in someone else himself. As newcomer Arden Cho tells E! News, it is possible that something could develop between her character of Kira and Tyler Posey's leading man over the episodes ahead:
"There's definitely something going on there…in the midst of all the chaos, there's gotta be a little love and romance. There's a little bit of something there."
But whether or not that "something" really evolves into a relationship that lasts a long time remains to be seen. You have to remember that these characters are constantly surrounded by death, despair, and some other depressing things, so it cannot really be that easy to focus on things like finding the right person to be with.
Want to see more "Teen Wolf" news? Then just be sure to visit the link here to see a new teaser video straight from MTV.
Also, be sure to sign up for weekly updates! While they may not make you howl at the moon, they will at least give you a great opportunity to see more TV news delivered to your inbox every week.
Photo: MTV
Totally_Shane Botwin_lover
December 23, 2013	@ 4:04 pm
Thank God! it's about time Allison gets her ass off of scott. i'm crying tears of joy….. :D


Germany is one of the largest markets for fruit in Europe. The relative affluence of its population of 83 million people makes it an attractive outlet for exporters from many countries. This product brief highlights certain aspects of the German fruit market and provides marketing, trade, and regulatory information for U.S. exporters.
In 2013, German households spend 23 Euro (approx. USD 25) per month on fruits. Germany is the 6th largest fruit producer in the EU-28 and the largest fruit consumer. In MY 2016/174, Germans consumed approximately 8.1 million MT of fruit, including frozen and canned fruits on a fresh weight basis. Germans show a preference for fresh fruits, but in MY2016/17 consumed 73,515 MT of frozen fruits and 122,000 MT of dried fruits.
The top five fruits consumed in Germany are apples, bananas, oranges, grapes, and clementines. However, Germans are also quite familiar with exotic fruits such as mangos, passion fruit, avocados, and lychees. Germany's position as the largest EU-28 consumer of fruits results from the size of its population rather than high per capita consumption. Per capita consumption of fruits has been declining since 2005, aggravated by stiff competition from sweets and other snacks.
Other factors within the German socio-economic makeup, in particular its aging and increasingly foreign-born population, could favor an increase in per capita fruit consumption. At the end of 2016, percent of the population was 65 years and older while only 13.5 percent were younger than 15 years.


Responsive Web Design Testing Tool is a collection of some of the best website where you can check your website Responsiveness in diffrent screen size. It helps you to build better responsive website with ease. Today there are plenty of diffrent screen size like desktops, tablets, televisions, and mobile phones we cant go to every screen to check our website Responsiveness. so here we collected Best Responsive Testing Tools .
Tool to test if a website uses responsive design and how it looks on different screen sizes, like smartphones and tablets.
Forkable tool to test responsive web design in various predefined and custom resolutions.
Test web pages for responsive design across 4 different viewports, desktop, laptop, ipad and iphone.
Simple website that will helps you to build better responsive website and also to test responsive web design.
Free Responsive Web Design Testing Tool - ViewPorter. Test your responsive website design while you build them.
There are still Plenty of website to check our website Responsiveness. We like ScreenFly because it is fast and simple to load.


Home > Real Estate - Investment > Real Estate: Is it advisable to invest in small cities?
Real Estate: Is it advisable to invest in small cities?
Is it advisable to invest in small cities? What are the things to be kept in mind while investing in small cities?
The appreciation is often less in smaller cities in comparison to the metros. However, with major infrastructural developments, small cities are also seeing growth in prices as well as returns.
It is good to choose a city that has good economic factors such as IT, ITeS or manufacturing hubs. It ensures good re-sale value and rental returns.
Great Post Thanks For sharing Important Information for us.
Barnala Builders Launches a commercial project Maya Garden Magnesia get commercial property for sale in zirakpur at affordable price. For any queries visit website or contact us at 9814214000, 9814717000.


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BAC is back: How Battersea Arts Centre rose from the ashes of a devastating fire to renew its mission
Theatremakers and members of the community congregate in BAC's newly restored Grand Hall on July 13 this year. Photo: James Allan
by Lyn Gardner - Sep 5, 2018
A devastating fire gutted Battersea Arts Centre three years ago, just as its artistic director David Jubb was gearing up to launch an era of radical community engagement. Now the building has been revived – and so too have those plans. Lyn Gardner hears how the venue's new season embraces the disaster while looking ahead
On March 13, 2015, Battersea Arts Centre's artistic director, David Jubb, was on a train. He had just sent an email to his board explaining how he and the team wanted to change BAC's purpose.
For the previous 10 years, the building on Lavender Hill in south-west London, originally built in 1893 as the borough town hall, had seen its remit as "inventing the future of theatre". It had succeeded admirably, playing a significant role in the careers of numerous artists and companies including Kneehigh, Punchdrunk, Little Bulb, Gecko and Coney. Its tentacles spread out across British theatre.
The Stage front page in 2015 (click to enlarge)
But in a changing world, questions around who the arts serve – and who they do not – were becoming more urgent. For Jubb and his team, it was time to redefine the theatre's mission.
It would no longer focus on creating the "future of theatre" – a laudable purpose, but not of much interest to the many who doubt theatre is for them – but instead would concentrate on inspiring people to take creative risks to shape their own and their communities' future, whether those people defined themselves as artists or not.
The point was to give people, particularly young people, agency in their own lives and recognise that creativity comes in many forms, not all of them recognised by Arts Council surveys.
Jubb had barely pressed send when his phone rang with terrible news: BAC's Grand Hall was on fire. The blaze, battled by about 80 firefighters, destroyed large parts of the roof and the hall. Later, standing in front of the still-burning building, the artistic director vowed that "brick by brick we will bring the building back".
Now the Grand Hall is rising from the ashes and reopening with the aptly named Phoenix Season. This includes, among many highlights, a new show from Bryony Kimmings, called I'm a Phoenix, Bitch, which charts her personal experience of trauma. Also included is the National Theatre of Scotland's superb Adam, tracing one trans man's journey from Egypt to Scotland, Dead Centre's clever and slippery Chekhov's First Play, and the welcome return of Little Bulb's skittish musical take on Orpheus, which relocates myth to a 1930s Parisian music hall.
Kicking off the season is Gecko's Missing, the show that was midway through its run in the Grand Hall when the devastating fire broke out. "It felt like common decency to bring Gecko back to finish the run," Jubb says when we meet during the Edinburgh Fringe.
On putting together the rest of the season, he was left with a conundrum: "How do you represent in the first moment, on the first night, in the first show, playing to the first gathering of people, the story of what happened? What you quickly realise is that it would be totally impossible. You'd be a fool to try to do it.
Large blaze breaks out at Battersea Arts Centre
"So, bringing back Gecko was obvious and the whole season came together quite naturally. In the case of Bryony's show, the conversation with her about where she was at and how she could see a strong connection with herself and what had happened to the Grand Hall, certainly in terms of the emotional journey, meant it was an obvious choice."
As was the need to say a big thank you to the local community and the many people – around 6,000 – who offered help and support to BAC in the wake of the fire. Over the course of the season between now and January, there will be 10 parties and performances to which those people will be invited, as well as 2,000 free or £1 tickets for local community groups.
The importance of the Grand Hall – a place for weddings, exam-taking and celebrations – in the warp and weft of local people's lives will be celebrated too. Some couples who have married in the Grand Hall over past decades will get a chance to renew their vows on stage during Orpheus.
The newly restored building. Photos: Fred Howarth/ Morley von Sternberg
Battersea Arts Centre, which is already beginning to work under this model
Honouring ghosts of the past
If the reopening of the Grand Hall marks its return from the ashes, it also marks a new chapter in the life of BAC and the role it sees itself playing as a 21st-century arts institution. Leaving the fire damage clearly visible in the rebuilt hall was a conscious decision for an organisation that has always tried to embrace the past rather than paint it over.
That is apparent through the work it presents. This year's Christmas family show, Return to Elm House, plays tribute to the building that stood on the site before it became a town hall and which was owned by the pioneering Jane 'Jeanie' Nassau Sr, the architect of foster care.
But it is also apparent in the way it has rethought, reinvented and remade the building with the help of the artists who have worked there and theatre architects Haworth Tompkins.
"It wasn't a random aesthetic decision to leave the fire-damage visible. It was much more about honouring the building and its ghosts," says Jubb. "You get inspired by the past to think about the future. It's key for us. We've always had a principle that if an artist or community group does something lovely in a space, you just leave it until someone does something better."
David Jubb
BAC artistic director David Jubb on…
… Artists:
"It's always been artists who have led the way. Punchdrunk through their work here utterly transformed the building. Masque of the Red Death was like a broom swept through it. Without it, we would still have three black box studios. No artists' accommodation. No play spaces. We would still have been locked in an old model. It is the artists who have changed everything."
… Preferred partnerships:
"Artists whose work I am most excited by are companies such as Common Wealth and Slung Low, which are co-creating in partnership with communities. Institutions spend far too much time thinking about themselves and how they structure and manage and run themselves. We still operate like industrial silos."
… Arts buildings:
"A shift in language is needed because the democratising of the language is part of a genuine move to democratise the ways in which we work, use our spaces and present our buildings to people. They are not our buildings, but everybody's buildings."
… Institutions:
"We spend too much time thinking, as institutions, about the ways an institution represents itself. But an institution is just made up of people."
… What the arts need to do:
"Do the arts and culture still have a lot to do? Hell, yes. At best, the arts bring people together. The funded culture sector has plenty to do to widen out what it is doing. That is political. It is political in the sense that we have public resources and we often have public buildings, and so it impacts on our role in serving the public.
He points to Punchdrunk's landmark The Masque of the Red Death, staged at BAC, saying it "still looms from the walls in the bowels of the building". He continues: "You can still find evidence from the One-on-One Festival, or vestiges of Kneehigh's Midnight's Pumpkin. So it felt right not to try to hide that the fire happened but acknowledge it. The fire is present, the walls exposed, the damage visible. The beauty created by the fire on the walls is the past sitting side-by-side with the new."
He puts the enormous outpouring of grief that followed the fire down to the acknowledgement of its rich artistic history as well as people's attachment to the building and how it connects to their own lives and memories.
"People didn't talk about the fire as if it had happened to a building, they talked about it almost as if it had happened to somebody they knew," he says. "It was a much more personal reaction because people have history with the building. It is not just bricks and mortar, it is memories. It is moments of their life. So we always knew it was our job to work with that and do it sensitively."
Looking back more than three years after the fateful fire, Jubb is keen to take some positives. Perhaps sometimes it takes a crisis for an organisation to really rethink its purpose? "There have been a few crises at BAC in my time," Jubb says. "When I first arrived, there was a funding cut, then three years later there was the 2007 Arts Council lop of £375,000 a year with just three months' notice, and then there was the fire.
"Those moments, while they have been awful, have also been moments when change has accelerated massively within the organisation. You don't want those crisis moments – they are stressful, and they have a human cost. But they do also make you think differently and make you look to work with people you might not have worked with before. And it keeps you vulnerable. I think that vulnerability leads to a fresher, more generous sense of what it is you and the organisation are for."
Supporting the next generation of artists
The redefinition of purpose that began on that train journey more than three years ago may have been temporarily interrupted by the fire, but has returned stronger than ever. The Phoenix season signals that the Grand Hall is back in business and BAC is still programming some of the UK's most adventurous artists. But the fire has also allowed the organisation to re-imagine how the building and its resources might be used for the greatest benefit.
That includes the creation of what is being called the 'Scratch Hub' in the Lower Hall beneath the Grand Hall, which will be home for more than 100 start-up enterprises and new creative organisations based on a membership model. It's curated, so is not merely an office space for hire, and will boast a mix of companies working in the fields of film, fashion, music and social enterprise.
"Our shift of purpose is manifest in something like the Scratch Hub, because that is how we can support the development of other people's ideas and become a facilitator," says Jubb. "We've always done that with artists, but it's been a hop, skip and a jump to recognise that we can do that with the rest of our community, rather than trying to persuade our community that they should be interested in what we do and make what we do. This is the way we can support the development of their ideas and not impose ours."
Battersea Arts Centre's Phoenix Season includes...
Gecko's Missing (Chris Evans and Anna Finkel are pictured in BAC's Grand Hall). Photo: Morley von Sternberg
Bryony Kimmings' I'm a Phoenix, Bitch. Photo: Christa Holk
Orpheus, starring Dominic Conway. Photo: John Hunter
Adam, starring Neshla Caplan and Adam Kashmiry. Photo: Sally Jubb
Jubb uses 21-year-old Seshie Henry's music platform IAMNEXT, which will be one of the companies in the Scratch Hub and play one night in the Phoenix season, as an example of how BAC can support creativity in many ways and not just with theatre artists.
"In 2013 I tried to get Seshie, who comes from the Winstanley Estate down the road, to see a show at BAC," he recalls. "I watched him fall asleep in the first five minutes. It was an important moment for me because it was a reminder of that classic model of an artistic director saying: 'Hey, you should come and see this, because this is what I am interested in.' It was a salutatory reminder that Seshie is into what Seshie is into."
When, in 2014, Henry did his first IAMNEXT gig as part of the Agency – BAC's collaboration with Contact in Manchester, which works with young people to foster creative talent – he invited a then little-known artist called Stormzy.
"We had no idea who Stormzy was. I couldn't have programmed Stormzy because I wouldn't have known who he was or where to find him. But Seshie could, and now because of our support via the Agency, Seshie's music platform tours the country. We have helped facilitate that."
But with this increased emphasis on working with the community to support its creativity, in whatever form that might take, are theatre and the arts less central to BAC's way of working? Not according to Jubb, who just thinks the role of arts institutions needs to be redefined. What they need to do, he says, is serve everyone better, not just the economically advantaged who were identified as the major beneficiaries of the arts in the 2016 Warwick Commission report.
"As far as we are concerned, the arts are still at the centre of taking a creative risk, but they are only one branch of creativity," he says. "It's an important one, but lots of people see themselves as creative in different ways. When I talk about taking creative risks I feel I can have a conversation with many more people than when I used to tell them I wanted to invent the future of theatre. Their eyes often glazed over when I said that."
Keeping the car running
Jubb thinks artists are at the forefront of this way of thinking and are leading the way, while it is the institutions who are lagging behind.
"I always think independent artists show us the way. More and more independent artists have no problem at all in moving in a fleet-of-foot way from one project to the next," he says. "They know when they are making a piece of art for themselves and their development and they know when they are creating a piece of socially engaged practice, and they don't have any issue about those two things being one and the same.
"It's only institutions who've managed to complicate it and departmentalise it and turn it into a complicated thing. So they have a main programme called 'art', and then 'participation and engagement programmes', which are quite separate."
He says that in the 21st century, so many arts organisations still operate on 19th-century models. "If you are making a car, then having a design shop, an engine shop, a body shop and a marketing department makes sense. But when you are working with people's imaginations and trying to support communities and artists develop their ideas, it is quite a weird way of going about things."
So why not try something different? Over the coming years, those working in the arts, institutions and funders will be looking with interest to see what impact BAC's re-imagining of its purpose makes, both on the theatre ecology and on its local community.
On the ceiling of the Lower Hall, where the new Scratch Hub is based, the building's 19th-century motto is visible, inscribed in the ceiling. It reads: "Not for you, not for me, but for us." Now that's a good motto for any 21st-century arts organisation.
Profile: Battersea Arts Centre
Artistic director: David Jubb
Executive director: Rebecca Holt
Number of staff: 74 (64.5 full-time equivalent)
Projected turnover 2018/19: £5.5 million
Funding level (in 2018/19): Total fundraising (including statutory, trusts and foundations, Lottery, individuals, corporates and restricted funding) is £3.1 million
Email: boxoffice@bac.org.uk
For more details about Battersea Art Centre's reopening and Phoenix Season, visit bac.org.uk
https://www.thestage.co.uk/news/2015/large-blaze-breaks-battersea-arts-centre/
Battersea Arts Centre
Labour vows to put creativity at the 'heart of the curriculum' with £160m boost for arts education
Lyn Gardner: At the Bush, Madani Younis transformed what a new-writing theatre could be
Lyn Gardner
Lyn Gardner is a theatre critic and associate editor of The Stage
Peter Gynt at the National Theatre, London – review round-up
Battersea Arts Centre: 'This house of dreams will rise again'


Few might have imagined in mid-December that the government would sustain a partial shutdown of record length.
As the government employees forced to accept job furloughs and working without paychecks enter a second month, Wilmington College is reaching out to its students and employees affected by the shutdown.
President Jim Reynolds said the institution would do what it can to assist those members of the College community that are directly suffering adverse affects and financial hardship as a result of family members not receiving government paychecks.
"Our hearts go out to our students, faculty and staff whose families are feeling a strain and negative impact of the government shutdown — through no fault of their own," he said. "We wish to offer both moral support and other ways that may be available to ease their anxiety. Obviously, we hope the partial government shutdown is resolved as quickly as possible and all government officials involved give special consideration to the human toll associated with their action and inaction," Reynolds added.
Students, faculty and staff who find themselves in this situation are encouraged to contact Dennis Kelly, senior vice president for enrollment management, via email at dennis_kelly@wilmington.edu.


Norma Purdom, '19 MSW, is one of the 2019 Husky 100.
Katalina Biondi, '19 Computer Science & Systems, is one of the 2019 Husky 100.
Katalina Biondi credits an assistant professor and a fellow student for helping her see the possible.
Tina Hernandez, '18 Social Welfare, found her passion for helping people while stationed with her military husband in Colombia and Germany.
Emily Clouse, '18 Psychology, relates her experience in the U.S. military to her desire to improve the outlook for formerly incarcerated people and her interest in the moral foundations of war.
Beck Adelante, '18 Arts, Media & Culture, learned to be brave at UW Tacoma, and translated that onto the stage and into a Husky 100 award.
Natalie Garces, '18 Marketing, placed second in a social-responsibility case competition, which led to a Microsoft gig, a slot in the Husky 100 and an upcoming master's degree.


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Robert Hetherington | Exhibitions
The Reconfiguration of a Discipline: Part I
For as long as it has existed, the nature of graphic design has relied on the production of things; fundamentally it is the act of communicating through a physical means. From the paintings on the walls of ancient caves to the words on the pages of a book, when we talk about "the graphic" we are discussing the tangible expression of ideas and information.
The archive of the Graphic Design department at the Royal College of Art can serve as a fine example of this physicality. Decades worth of printed posters and books, created through a wide range of production techniques: from letterpress through to high-end digital printing, each united by a seemingly straightforward characteristic: they have been produced, and their archive-ability is itself testament to that. The discipline of graphic design has long taken for granted its relationship to the physical world, perhaps because it has always been so unarguable. But as we move forward, ever deeper into our digital present (and its non-reality), the necessity for graphic communication to exist is being questioned more and more.
As a consequence of the rapid changes in technological capability, the communications industry has begun turning to digital media; finding ways to explore and exploit the potential of the latest digital platform and the RCA's School of Communication has been no exception. The recent addition of the Information Experience Design (IED) course marks an official and ambitious exploration into how we as individuals not only receive but also interact with information.
But what then does this mean for graphic design? It could be argued that as the intake of information becomes ever more dependent on a holistic, experiential engagement; the visual (the graphic) will become just one small piece of the jigsaw, superseded by, for example, interface. Information is no longer just consumed in the form that it is presented in front of us; in order to fully understand we must experience some deeper personal engagement.
What has really been exploded in the digital boom is the process of how we communicate through visual means. What has typically been a one directional process, from the creator to the receiver, mediated by a solid object (be it textual or pictorial), has been blown open. We can think of this in the following way: the conventional receiver (reader, user, viewer) now has the opportunity to curate, adapt, and redistribute the material presented to them. Here we could say, the roles of author, designer and reader, as we have understood them to be, are now progressively becoming irrelevant. Take, for example, the network of individual but interconnected blogs that make up Tumblr, in which the consumption of images and information by the blogger corresponds directly to the process of constructing a new page, itself to be consumed. It is a culture dependent on the feedback loop, as the capital of information within the network comes from how often it is "reblogged." Within this culture the paradigms of creation and consumption have blurred to a point where they are almost completely indistinct.
Interesting comparisons can be drawn to Post-structuralist theories formulated in the late 1960s, during a very different communication age, particularly those of Roland Barthes who heralded "The Death of the Author." [1] In his essay, Barthes deconstructs the ingrained reliance on the dominant persona of the author or the originator of the text; the notion that the meaning contained within the written word is completely defined during the act of writing. Barthes instead suggests, "a texts unity lies not in its origin, but in its destination," [2] implying that once distributed to multiple readers, all of whom will engage with the text differently, the concept of a singular or definitive text is impossible. With this in mind, consider for a moment Amazon's Kindle, on which the "reader" has the ability to alter the typeface, point size, line length, and, in turn, the context of the reading process; the potential for a definitive design is therefore impossible. It may be a simplistic example (the potential adaptability of form on the Kindle certainly has restrictions), but I would argue that with the alterability of digital communication platforms, the individual authority of the traditional graphic designer has been significantly undermined, and the intrinsic necessity for the solid "design object" has been similarly negated.
In line with Post-structuralist theories, perhaps we can say that graphic design as a discipline, must attempt to deconstruct its assumed traditional models, models that we have always followed. Recently, the critical discourse surrounding the role of graphic design has had to take a long, deep look at itself. And this question of what the practice of graphic design should actually constitute in a digital age, has come to the forefront of the discipline, not least of all, at the Royal College of Art where the concept of graphic design is considered as a malleable practice for exploration as opposed to a rigid profession to be trained for. [3]
Part II will post tomorrow.
[1] Roland Barthes, "The Death of the Author" (1967) in Image, Music, Text (London, Fontana Press, 1993), pp. 142–48.
[3] "Professionalism is a minimum demand and is merely regarded as the necessary framework within which each individual can develop his [or her] own talent," Richard Guyatt, 1963.
Homepage illustration by Charles Rickleton, currently studying on the Visual Communication programme of the Royal College of Art.
Robert Hetherington is a graphic designer and writer, currently studying in the Visual Communication department of the Royal College of Art.
More from Robert Hetherington
The object of ideas
Performance and the Construction of Identity
Is how we understand identity flexible enough to better our understanding of design and its makers?
Beyond Words
Typographic units at the limits of alphabetic writing
The Reconfiguration of a Discipline: Part II
Is it time for graphic designers to reappraise the profession?


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Skulduggery Pleasant: Kingdom of the Wicked is young adult and fantasy novel written by Irish playwright Derek Landy, published in July 2012. It is the seventh of the Skulduggery Pleasant series and sequel to Skulduggery Pleasant: Death Bringer. The story follows the sorcerer and detectives Valkyrie Cain and Skulduggery Pleasant as they investigate normal people suddenly developing magical powers after being infected by a rare strain of magic. The book would not see release in the US and Canada until 2018. HarperCollins Audio also publishes the unabridged CD sets of the books read by Rupert Degas.

Plot summary
Sanctuary detectives Skulduggery Pleasant and Valkyrie Cain are tasked with tracking down a group of people who have mysteriously gained magical powers. One of them tells Pleasant that he was given the powers in a dream, by a man called Argeddion.

Pleasant and Cain discover that Argeddion used to be a pacifist called Walden D'Essai, who disappeared after discovering his True Name was Argeddion. They find that D'Essai was handed over to detective Tyren Lament, who was tasked with making sure that Argeddion never used his power. They find Silas Nadir, a serial killer connected to Lament, who gives them names of Lament's group. Valkyrie starts to feel her arm hurt in the place Silas Nadir grabbed her. She is then 'shunted' into another dimension, where she meets Alexander Remit, a Teleporter who mentions that Mevolent rules this dimension.

Pleasant realises that Lament and his group are guarding Argeddion so that he doesn't use his powers. Pleasant and Cain set off for the Alps after learning that Tyren Lament and his team had some cargo delivered there. They find Lament, who agrees to let them see Argeddion.They go to the prison where Argeddion is incarcerated, called the Cube.

Doran, Kitana, Sean and Elsie go to Doran's house and find his older brother, Tommy, who Doran kills. Seeing that their immense power is causing them to become murderous, Elsie leaves the others. Valkyrie and Geoffrey Scrutinous question Doran about the murder and Valkyrie suspects he is involved with Tommy's death. When they follow Doran to a coffee shop, they are attacked by Kitana. They escape, but Kitana takes Valkyrie's jacket.

The Sanctuary develops a plan to acquire the Sceptre of the Ancients in order to erase Argeddion from existence. Upon his return, he decides to eliminate all his experimental magic users, as he observes their new murderous behaviour. During this time, Cain is shunted over into a parallel dimension, 'The Kingdom of The Wicked.' Cain and Pleasant enlist Nefarian Serpine to guide them to Mevolent's palace. With the help of Serpine, they rescue Cain's captured Reflection from the palace and escape with the Sceptre.

Kitana kills Greta Dapple, weakening Argeddion's morale. The Sanctuary attacks him, rendering him temporarily unconscious, only for Kitana to reveal her true colors and turn on them. Cain and Pleasant take on the personas of Lord Vile and Darquesse to defeat her, but Darquesse gets shunted again afterward. Mevolent finds her and almost succeeds in killing her, but she escapes, returning to her own dimension. She kills Kitana, and once again goes head to head with Lord Vile. Pleasant returns to his senses and induces an epileptic shock in Darquesse, allowing Cain to return to her true self.

Back at the Sanctuary, the Grand Mage is released and agrees to a truce only to be killed later by Tanith Low before he can discuss the truce with his Sanctuary. Cain, Pleasant, and the Council of Elders prepare for the global scale unsanctioned war that is sure to follow.

Reception
Patrick Wan, writing in SF's Crow's Nest, complimented the skillful use of cliffhangers which made the book "almost impossible to put...down."

In 2012, Kingdom of the Wicked was shortlisted for the Senior Irish Children's Book of the Year, losing to Artemis Fowl and the Last Guardian.

References

External links
Skulduggery Pleasant UK, Australia and New Zealand Official Website
Skulduggery Pleasant US and Canada Official Website

2012 children's books
2012 Irish novels
HarperCollins books
Irish fantasy novels
Skulduggery Pleasant books


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What Really Happened When O.J. Got Busted
April 8, 2008 / 11:20 AM / CBS
O.J. Simpson and two other men are slated to stand trial in September on a dozen felony charges stemming from an alleged botched robbery of sports memorabilia dealers at a hotel in Las Vegas this past September.
The charges range from armed robbery to conspiracy and kidnapping. An armed robbery conviction carries mandatory prison time. A kidnapping conviction could bring a life sentence with the possibility of parole.
Thomas Riccio is one of the men who was in the room when the whole thing went down. He says he led Simpson to the dealers.
Riccio has struck a deal with prosecutors for immunity in exchange for his testimony.
And Riccio has penned a book about the incident and more, "BUSTED!: The Inside Story of the World of Sports Memorabilia, O.J. Simpson, and the Vegas Arrests."
Riccio says he wrote "Busted!" to give real story about that night, and his life.
The majority of the book focuses on Riccio's personal life, including trouble he's had with the law. He also talks about the sometimes shady world of sports collectibles.
Photos: O.J. Arrested in Vegas
In the introduction, Riccio makes it clear he wrote the book because his reputation had been ruined when the media uncovered his prison record, and he wanted to talk about some of the good things that he had done with his life.
Riccio discussed all that and more with co-anchor Maggie Rodriguez on The Early Show Tuesday.
Click on the arrow below to see the segment:
First published on April 8, 2008 / 11:20 AM


My son, Navy has a girlfriend. She's MORE than just a girlfriend. They are living together and it's getting serious, I guess. She texted me, wanting me and the husband to meet her mom and grandmother soon. She said we could all meet for lunch or dinner, sometime in October.
They've talked about having babies after she finishes nursing school in 2 years. They've talked about buying 40 acres so that she can have cows and chickens. I mean, THEY ARE SERIOUS!
I met my first husband when I was 15. (He was 18) I was shy and so I didn't meet his parents until I was 17 years old. At 15, all I wanted to do was make out! It was weird. His mother kept checking me out and his dad kept smiling at his son.
I'm a little nervous about it because I am not a very social person. I spend my days, talking to the cats and the dog. I am lousy at small talk. This is when I count on the husband to bail me out. He's the yacker while I sit and smile.
Okay, so we don't talk religion (they are Morman) or politics. What else should be off limits???? I don't want to blow this for my son.
I'm the worst at sticking my foot in my mouth so I should know a long list. I'm sure you will find common ground. Aren't you lucky that your husband is a talker. It certainly takes the pressure off.
Chickens and cows, It is good they are going to do this while they are young. There is a horsefarm next to me which is on it's third set of middle aged dreamers. It sounds wonderful. But that energy to pull it all off is hard in your fifties. This last set has divorced.
She sounds like a keeper. I don't know that much about Mormonism; but, your future grandkids will keep you up to date. You have had a lot of changes lately. This one sounds good.
Yeah, I believe this one is a keeper. I hope my son, doesn't blow it.
I don't think any conversations should be 'off limits' We all have our right to our opinions. We are a wonderfully diversified nation. Good luck with the visit.
Yeah I could do that! I just want to get them talking more, since I don't like to talk that much.
I find it always save to tell stories about your child as a youngster; especially funny ones. But when we met son's then girlfriend (now wife) mom and sister a few years back over dinner at their place, we got the introductions, dinner was served, and then they put a movie in to watch over dinner. Talk about a bit strange. We have a good relationship with the DIL, but really not much of a one with her mom and sister. Good luck!
A Movie? No, that wouldn't feel right to me.


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Author Interview: Mae Respicio
Happy Asian American and Pacific Islander Heritage Month! How are you all celebrating? As part of my celebration, I'm sharing my chat with author Mae Respicio . Her middle grade novel The House That Lou Built (Wendy Lamb Books, 2018) is about Lou Bulosan-Nelson and her dream to build a tiny house (only 100 square feet!) all on her own and on land that she inherited from her father. This Filipino American coming-of-age story is the recipient of the Asian Pacific American Library Association (APALA) 2019 Honor Award in Children's Literature . Keep reading to discover more about Mae and the book! Congratulations, Mae! What inspired you to write The House That Lou Built ? There were many things that inspired this book such as my love of building, my desire to write a strong girl at the center of a coming-of-age adventure, and wanting to write a book set in the Bay Area! Although above any of these things what kept me inspired throughout the (sometimes grueling!) writin
Martinez Bags 2019 PBBY Wordless Book Prize
The Philippine Board on Books for Young People (PBBY) declared Nina Patricia C. Martinez as the 2019 PBBY Wordless Book Prize winner. Martinez, a freelance graphic artist and illustrator, bagged the grand prize with her entry Ang Mga Sikreto ng Langit at Dagat. Martinez has a degree in Visual Communication from the University of the Philippines Diliman. She has illustrated and designed for NGOs and businesses, as well as for magazines and books. Martinez shall receive a medal and a cash prize worth twenty thousand pesos at the National Children's Book Day ceremonies at the Cultural Center of the Philippines on July 16. For inquiries about the contest, contact the PBBY Secretariat at telephone number 352-6765 loc. 203 or e-mail secretariat@pbby.org.ph.
Foreshadow: A Serial YA Anthology
I'm excited to introduce you all to Foreshadow: A Serial YA Anthology , a unique new online venue for young adult short stories, with a commitment to showcasing underrepresented voices, boosting emerging writers, and highlighting the beauty and power of young adult fiction. Each month this year we will publish an issue featuring three stellar young adult stories -- original work from acclaimed writers and new voices who have been specially selected by your favorite authors. For example, this month we have stories from New York Times bestselling author Courtney Summers , award-winning author Brandy Colbert , and Maya Prasad (a new voice selected by New York Times bestselling author Cynthia Leitich Smith). Our next and final deadline for submissions is April 1, 2019 and we are especially looking for stories from people of color and Indigenous writers; LGBTQIA+ and gender diverse writers; writers with disabilities; and religious, ethnic, and cult
Author Interview: Jack Cheng
I still haven't gotten over See You in the Cosmos by Jack Cheng (Dial Books for Young Readers, 2017). So after I reviewed the book here and cooked up some classroom and book club activities for it, I just had to grill Jack about his influences and creative process. Read our interview below! Jack with his dog Matisse Hi, Jack! What motivates and inspires you to write for young readers? Getting to meet kids (both in school and through my books) who are at a time in their life when they're really starting to form their values. It's a time when they're really starting to ask the big questions about life and the people around them—the same big questions that we keep asking, I think, even when we grow into adults. I was excited when I saw that the main character of See You in the Cosmos , Alex Petroski, was Filipino American. Is there a particular reason you made Alex Filipino American? To be honest, I thought about making Alex Chinese American but I fe
Call for Entries: The 2018 PBBY Wordless Book Prize
The Philippine Board on Books for Young People is now accepting entries for its Wordless Book Prize. 2018 will mark the first year that the PBBY will be awarding such a prize. The winner shall receive twenty thousand pesos and a medal. Prizes shall be awarded at an appropriate ceremony to be held on National Children's Book Day, July 17, 2018. CONTEST RULES The contest is open to all Filipino citizens except those who are related to any PBBY member up to the third degree of consanguinity. All entries must be e-mailed to pbbywordless@gmail.com. For this contest, all submissions must be in digital form, with each file clearly identifiable by a filename that is actually the pen name of the contestant. Entries may be in color or in black and white. They may be digitally rendered or traditionally done artwork that may or may not have been digitally enhanced. The submission format should be pdf. Entries should use the CMYK color space and should be at actual size fo