Wuunferth the Unliving is an elderly sorcerer from Windhelm, in the service of Ulfric Stormcloak. He is a common trainer in Destruction and, like all court wizards, sells magic items. Wuunferth plays a big part in the quest Blood on the Ice.
He lives on the second floor of the Palace of the Kings and mostly keeps to himself. He wakes up at 4am and then paces around his quarters all day long, at times using the arcane enchanter or the alchemy lab. He is supposed to sleep in his own bed between midnight and 4am, but a bug causes him to go to Sifnar's bed elsewhere in the castle.
Wuunferth wears blue mage robes and a pair of boots. He carries an iron dagger and a selection of upper-class items and gold.
When you approach him, he will say: "Whatever you've heard I can do is probably true.", "If Ulfric needs a favor, he has it. Anyone else better pay well for the service.", "I'd explain my research, but you'd just be confused." and "Yes, I'm a powerful wizard. No, I won't put on a magic show for you." When asked for training he will remark: "Mind what - or who - you practice this on." He will bid you farewell with: "Strength and steel are well and good, but magic is the true power in this world." and "A strong sword-arm wins battle, but a keen mind wins wars." Wuunferth also buys nightshade from town merchant Hillevi Cruel-Sea who will admit: "I also do a little herb growing. The court wizard, Wuunferth, pays us to plant a little Nightshade. Who knows what he uses it for? Hey, could you deliver this bottle of Nightshade Extract to Wuunferth?" When you make the delivery, Wuunferth will take it off your hands with: "Ah yes, the extract, good. Poisonous, of course, but it has its uses. I suppose you want something for your trouble? Here."
The quest Blood on the Ice places Wuunferth in a rather awkward position when you find evidence of necromancer rituals inside Hjerim, and a journal, as you present this to both Viola Giordano and Calixto Corrium who will point you towards the court wizard. Viola will remark: "Wuunferth. There have been rumors swirling about him for years. As long as I can remember. But he's a dangerous man. It's why they call him "the Unliving." I wouldn't approach him directly. This information needs to go straight to the steward. He'll listen to you." Calixto will take a look at the strange amulet and further the suspicion about Wuunferth: "Let me see... ah, yes. This is the Wheelstone. It's an heirloom symbol of the power of Windhelm. Traditionally it's carried by the court mage." He will then offer to buy it, although he doesn't think Wuunferth will have any interest in his 'own' amulet: "Wuunferth? Bah. It's purely ceremonial, and he has no use for it. Besides, I wouldn't want to be the one to give it to him. Gives me the creeps. They say he dabbles in necromancy."
What you do next is a matter of instinct and how you read the clues. If you choose to follow Viola's advice, speaking to Jorleif will land Wuunferth in jail (see this section). Going directly to Wuunferth and confronting him will solve the mystery much quicker – and save the life of a Windhelm citizen (see this section).
Wuunferth: "What is the meaning of this?"
Jorleif: "You're under the [sic] arrest, for the Murder of Susanna of Candlehearth Hall. And Friga Shatter-Shield. And all the rest. We're wise to your scheming, you coward."
Wuunferth: "Has the whole city lost their brains? I've been scrying and auguring to find the murderer myself."
Jorleif: "Make your excuses from the Bloodworks, wizard. Get him out of my sight."
Guard: "Yes, sir! I'm sorry, sir. But you'll have to come with me."
Wuunferth: "This isn't over, Jorleif!"
Wuunferth will then have no choice but to take the long walk to the bloodworks underneath the barracks. The guard will open his cell with: "In you go." and Wuunferth will enter. After a few days, however, your accusations are put to shame as the killer claims yet another victim, this time Arivanya from Windhelm Stables. A guard will be near her body and will say: "I... I thought you captured the Butcher. You said the city was safe, now. How could this have happened?" The guard will then give you an order, starting the quest once again: "Obviously. You should visit the Bloodworks to talk to Wuunferth -- we need to figure out where the evidence went wrong." When you approach Wuunferth in his cell, the wizard can't resist the temptation and will mock you due to the failed investigation: "Oh, isn't that a shame. And here I am in the Bloodworks. Looks like you aren't such a sharp investigator after all." You can choose between two options, both of which net you: "What made you think I was to blame in the first place? I've actually been after the killer myself."
If you choose to confront Wuunferth instead of talking to Jorleif, you will not only shorten the quest but also save a life in Windhelm. When you confront Wuunferth with the rumor that he dabbles in necromancy, he will ask: "I beg your pardon? Necromancy? I am a member of the College of Winterhold, in good standing! They haven't allowed necromancy for hundreds of years!"
NOTE: From this point forward, Wuunferth's dialogue will be the same as if he were imprisoned.
"Looks like you aren't such a sharp investigator after all."
Once again, two options. Tell him you found his journals about necromancy and he will say: "Necromancy? I am a member of the College of Winterhold, in good standing! They haven't allowed necromancy for hundreds of years!" If you tell him you found his journal back in Hjerim, he will be surprised: "My what, now? I've never kept a journal, I can assure you. What exactly did this amulet look like?" When you describe it, he will be quick to recognize it: "I know it well. Or at least, I've heard of it. I would wager that carving once depicted a skull. That is the Necromancer's Amulet, of legend. It appears you were at least half-right. There is necromancy at the heart of this." When you tell him that Calixto said it was a Wheelstone, Wuunferth will just remark: "Eehh.. Calixto and his books are often confused about such matters. It happens to the best of us." He will also share an interesting theory on how to catch the real killer: "I've been noting a pattern to when the killings happen. Now that we know they're tied in to some sort of necromantic ritual, I think I know when the next might occur. Let's see. From a Loredas of Last Seed until a Middas of Heartfire... it will happen soon. Very soon. Keep watch in the Stone Quarter tomorrow night. That's almost certainly where the killer will strike next." You will not have any choice but obey orders and head out into the Stone Quarter at night to find the killer and clear Wuunferth's name.
When all is said and done, you are to return to Jorleif for your reward. He will let Wuunferth go if you've previously got him arrested: "I'm glad you were able to correct your mistake. I'll release Wuunferth immediately." At the end of the hall, you will see Wuunferth return to his quarters and his quiet life, now a free man.
This is the merchandise found in Wuunferth's merchant chest. These items are only available if purchased from the merchant; they cannot be pickpocketed or stolen. They are restocked every two days.
Between quest stages 100 and 250, Wuunferth was supposed to have additional dialogue. On the question "Does Ulfric have much need for magic?" he should have said: "No, but then I don't have much need for Ulfric. We both leave well enough alone." On the question "What kind of magic do you study?" he should have said: "Whatever I don't already know. Power is the crux of this world. There's always more of it to be had, if you look in the right places."
If you chose to implicate him during Blood on the Ice, Wuunferth will not offer his services until he is freed.
Wuunferth's claim that the College of Winterhold hasn't allowed necromancy for hundreds of years is false; the College has no such policies, although they avoid flaunting the practise in public.
Wuunferth was assigned to the wrong bed for his midnight bedtime, specifically Sifnar's bedroll underneath the throne room. Since Sifnar goes to bed two hours prior to Wuunferth, he typically ends up wandering around the throne room all night.
Despite being a mage, Wuunferth knows no spells.
This page was last modified on 22 June 2018, at 04:59.


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Humanities › Visual Arts
Post Office Buildings in the United States
Great Buildings
An Introduction to Architecture
Famous Architects
Famous Houses
Tips For Homeowners
Jackie Craven
Art and Architecture Expert
Doctor of Arts, University of Albany, SUNY
M.S., Literacy Education, University of Albany, SUNY
B.A., English, Virginia Commonwealth University
Dr. Jackie Craven has over 20 years of experience writing about architecture and the arts. She is the author of two books on home decor and sustainable design.
Who Can Save the US Post Offices?
This Geneva, Illinois Post Office was named to the 2012 list of America's 11 Most Endangered Historic Places, National Treasures. Photo ©Matthew Gilson / National Trust for Historic Preservation (cropped)
Not dead yet. They may end Saturday delivery, but the US Postal Service (USPS) still delivers. The institution is older than America itself—the Continental Congress established the post office on July 26, 1775. The Act of February 20, 1792 permanently established it. Our photo gallery of Post Office Buildings in the US showcases many of these federal facilities. Celebrate their architecture, before they close completely.
The Endangered Geneva, Illinois Post Office:
This post office in Geneva, Illinois, and iconic post office buildings across the USA, are endangered, according to the National Trust for Historic Preservation.
The post office building in America often reflects a region's architecture, whether it be colonial designs in New England, Spanish influences in the southwest, or the "frontier architecture" of rural Alaska. Throughout the US, post office buildings reveal the country's history and a community's culture. But today many post offices are closing, and preservationists worry about the fate of the fascinating and iconic PO architecture.
Why Are Post Offices Difficult to Save?
The US Postal Service is generally not in the real estate business. Historically this agency has had a difficult time deciding the fate of buildings they've outgrown or have no use for. Their process is often unclear.
In 2011, when the USPS cut operating expenses by closing thousands of post offices, an outcry from the American public stalled the closures. Developers and the National Trust became frustrated with the lack of a clear vision for preservation of architectural heritage. However, most post office buildings are not even owned by the USPS, although the building is often a centerpiece of a community. Preservation of any building often falls to the locality, who has a special interest in saving a piece of local history.
The National Trust for Historic Preservation named America's Historic U.S. Post Office Buildings to its list of endangered buildings in 2012. Let's journey across the US to explore this endangered piece of Americana—including the largest and smallest of them all.
Springfield, Ohio Post Office
The Art Deco post office in Springfield, Ohio began construction in 1934. Enormous eagles top the corners of the facade. Select the image to view full size in a new window. Photo ©Cindy Funk, Creative Commons-licensed on flickr.com
Building Springfield, Ohio:
The post office building has been an important part of America's colonization and expansion. The early history of the city of Springfield, Ohio goes something like this:
1799, first settler (first cabin)
1801, first tavern
1804, first post office
The Post Office During the Great Depression:
The building shown here was not the first post office, but its history is significant to American history. Built in 1934, the building reflects the classic Art Deco architecture popular in the early twentieth century. Built of stone and concrete, the building's interior is decorated with murals by Herman Henry Wessel—no doubt commissioned by the Works Progress Administration (WPA). The WPA was one of the top ten New Deal programs that helped the US recover from the Great Depression. Post office buildings were often the beneficiaries of the WPA's Public Works of Art Project (PWAP), which is why unusual art and architecture is often part of these government buildings. For example, this Ohio post office's facade displays two 18-foot eagles sculpted near the roof line, one on each side of the entrance.
Preservation:
As energy prices rose in the 1970s, public buldings were remodeled for conservation. The historic murals and skylight in this building were covered during this time. Preservation efforts in 2009 reversed the cover-up and restored the historic 1934 design.
Sources: History at www.ci.springfield.oh.us/Res/history.htm, Official Site of City of Springfield, Ohio; Ohio Historical Society INFO [accessed June 13, 2012]
Honolulu, Hawaii Post Office
United States Post Office, Custom House and Court House, 1922, Capitol District, Honolulu, Hawaii, in January 2012. Select the image to view full size in a new window. Photo ©Michael Coghlan, Creative Commons-licensed on flickr.com
New York architects York and Sawyer designed this 1922 multi-use federal building in a style reminiscent of the Spanish influences common to southern California. The building's thick, white plaster walls with Mediterranean-inspired open archways make this Spanish Mission Colonial Revival design historically significant with Hawaii's growth and development.
Preserved:
The Hawaiian Territory became the 50th state of the US in 1959, and the building was protected in 1975 by being named to the National Register of Historic Places (#75000620). In 2003 the federal government sold the historic building to the state of Hawaii, who renamed it the King Kalakaua Building.
Take a Walking Tour of Historic Honolulu >>
Source: Star Bulletin, July 11, 2004 , online archive [accessed June 30, 2012]
Yuma, Arizona Post Office
The 1933 beaux arts, mission, and Spanish architecture of the old post office in Yuma, Arizona. Select the image to view full size in a new window. Photo ©David Quigley, poweron, Creative Commons-licensed on flickr.com
Like the post office in Springfield, Ohio, the old Yuma postal facility was built during the Great Depression, in 1933. The building is a fine example of time and place architecture—combining the Beaux Arts style popular at the time with the Spanish Mission Colonial Revival designs of the American Southwest.
The Yuma building was placed on the National Register of Historic Places in 1985 (#85003109). Like many buildings from the Depression era, this old building has been adapted for a new use and is the US corporate headquarters of the Gowan Company.
Learn more about Adaptive Reuse >>
Sources: National Register of Historic Places; and Visit Yuma at www.visityuma.com/north_end.html [accessed June 30, 2012]
La Jolla, California Post Office
Photo of Spanish-inspired post office building in La Jolla, California. Select the image to view full size in a new window. Photo ©Paul Hamilton, paulhami, Creative Commons-licensed on flickr.com
Like the post office in Geneva, Illinois, the La Jolla building has been specifically identified by the National Trust as endangered in 2012. Volunteer preservationists from the La Jolla Historical Society are working with the US Postal Service to Save Our La Jolla Post Office. Not only is this post office "a beloved fixture of the village's commercial area," but the building also has historic interior artwork. Like the post office in Springfield, Ohio La Jolla participated in the Public Works of Art Project (PWAP) during the Great Depression. A focus of preservation is a mural by artist Belle Baranceanu. The architecture reflects Spanish influences found throughout southern California.
Visit the La Jolla Area >>
Sources: National Trust for Historic Preservation at www.preservationnation.org/who-we-are/press-center/press-releases/2012/US-Post-Offices.html; Save Our La Jolla Post Office [accessed June 30, 2012]
Ochopee, Florida, the Smallest Post Office in the US
The smallest post office in the United States, Ochopee, Florida, in 2009. The sign used to be on the roof. Select the image to view full size in a new window. Photo ©Jason Helle, Creative Commons-licensed on flickr.com
Smallest Post Office in the US:
At a mere 61.3 square feet, the Ochopee Main Post Office in Florida is officially the smallest US postal facility. The historic marker nearby reads:
"Considered to be the smallest post office in the United States, this building was formerly an irrigation pipe shed belonging to the J.T. Gaunt Company tomato farm. It was hurriedly pressed into service by postmaster Sidney Brown after a disastrous night fire in 1953 burned Ochopee's general store and post office. The present structure has been in continuous use ever since - as both a post office and ticket station for Trailways bus lines - and still services residents in a three-county area, including deliveries to Seminole and Miccosukee Indians living in the region. Daily business often includes requests from tourists and stamp collectors the world over for the famed Ochopee post mark. The property was acquired by the Wooten Family in 1992."
This photo was taken in May 2009. Photographs previous to this show the sign attached to the top of the roof.
Compare Ochopee with the Michael Graves' post office in Celebration, Florida >>
Source: USPS Facts page [accessed May 11, 2016]
Lexington County, South Carolina Post Office
The historic Post Office at Lexington Woods is preserved by the Lexington County Museum. This photo was taken on September 21, 2011. Select the image to view full size in a new window. Photo ©2011 Valerie, Valerie's Genealogy Photos, Creative Commons-licensed on flickr.com
The 1820 post office building at Lexington Woods, Lexington, South Carolina is a modified colonial saltbox, deep gold with white trim and very dark shutters.
This historic structure is preserved at the Lexington County Museum, which allows visitors to experience life in South Carolina before the Civil War. Some say that the song "Give Me That Old Time Religion" was composed in this very building.
Source: Lexington County Museum, Lexington County, South Carolina [accessed June 30, 2012]
Chicken, Alaska Post Office
Log cabin post office in Chicken, Alaska, August 2009. Select the image to view full size in a new window. Photo ©Arthur D. Chapman and Audrey Bendus, Creative Commons-licensed on flickr.com
One postage stamp allows a piece of mail to move across the street or all the way to rural Chicken, Alaska. This small mining settlement of fewer than 50 inhabitants runs on generated electricity and without plumbing or telephone service. Mail delivery, however, has been continuous since 1906. Every Tuesday and Friday an airplane delivers the US mail.
Frontier Post Office Buildings:
The log cabin, metal-roofed structure is just what you would expect in the Alaskan frontier. But is it fiscally responsible for the federal government to provide mail service to such a remote area? Is this building historic enough to be preserved, or should the US Postal Service just move out?
Why do they call it Chicken? >>
Source: Frequently Asked Questions, Chicken, Alaska [accessed June 30, 2012]
Bailey Island, Maine Post Office
U.S. Post Office of Bailey Island, Maine, in July 2011. Select the image to view full size in a new window. Photo ©Lucy Orloski, l.e.o, Creative Commons-licensed on flickr.com
If the log cabin architecture is what you would expect in Chicken, Alaska, this red-shingled, white-shuttered saltbox post office is typical of many Colonial Houses in New England.
Bald Head Island, North Carolina Post Office
Post Office at Bald Head Island, North Carolina, December 2006. Select the image to view full size in a new window. Photo ©Bruce Tuten, Creative Commons-licensed on flickr.com
The post office in Bald Head Island is clearly part of that community, as evidenced by the rocking chairs on the porch. But, like other very small facilities, does mail delivery cost too much to service too few? Are places such as Bailey Island, Maine, Chicken, Alaska, and Ochopee, Florida in danger of being closed? Should they be preserved?
Russell, Kansas Post Office
Post Office in Russell, Kansas, in August 2009. Select the image to view full size in a new window. Photo © Colin Grey, C.G.P. Grey, Creative Commons-licensed on flickr.com
The modest brick post office in Russell, Kansas is a typical federal building design issued in mid-twentieth century America. Found throughout the US, this architecture is the stock Colonial revival style design developed by the Treasury Department.
The practical architecture was dignified but simple—expected for both the Kansas prairie community and for the function of the building. The elevated steps, hipped roof, 4-over-4 symetrical windows, weathervane, center cupola, and eagle over the door are standard design features.
One way to date a building is by its symbols. Note that the eagle's outstretched wings is a design typically used after World War II to differentiate the American icon from the upturned wings of the Nazi Party's eagle. Compare the Russell, Kansas eagle with the eagles on the Springfield, Ohio post office.
Does the commonness of its architecture, however, make this building any less historic—or less endangered?
Compare this Kansas post office design with the PO in Vermont >>
Source: "The Post Office — A Community Icon," Preserving Post Office Architecture in Pennsylvania at pa.gov (PDF) [accessed October 13, 2013]
Middlebury, Vermont Post Office
The Middlebury, Vermont Post Office strives to be classical. Select the image to view full size in a new window. Photo ©Jared Benedict, redjar.org, Creative Commons-licensed on flickr.com
"Mundane" Architecture?
"I take photos of the mundane" says this photographer of the Middlebury, Vermont Post Office. The "mundane" architecture is typical of small, local, government buildings built in mid-twentieth century America. Why do we see so many of these buildings? The US Treasury Department issued stock architectural plans. Although the designs could be modified, the plans were simple, symmetrical brick buldings characterized as colonial revival or "classical moderne."
Compare this Vermont postal building with the one in Russell, Kansas. Although the structure is similarly modest, Vermont's addition of columns demands that this small post office also be compared with those in Mineral Wells, Texas and even New York City.
Mineral Wells, Texas Post Office
The classical Mineral Wells, Texas post office was decommissioned in 1959. Select the image to view full size in a new window. Photo ©QuesterMark, Creative Commons-licensed on flickr.com.
Like the old Cañon City Post Office in Colorado, the Old Mineral Wells Post Office has been preserved and repurposed for the community. The nearby historical marker describes the history of this majestic building in the middle of Texas:
"A surge of growth in this city after 1900 created a need for a larger post office. This structure was the third facility built here after postal service began in 1882. It was constructed between 1911 and 1913 of reinforced concrete and clad with stuccoed brick. Classical details standard to post offices of the era were highlighted with limestone trim. Interior lighting was originally both gas and electric. The design is credited to U.S. Treasury architect James Knox Taylor. The postal facility was closed in 1959 and the building was deeded that year to the city for community use."
Miles City, Montana Post Office
This brick building has been the Miles City, Montana post office since 1915. Select the image to view full size in a new window. Photo ©2006 David Schott, Creative Commons-licensed on flickr.com.
Four symmetric Palladian windows on the first floor facade are each topped with a symmetric pair of double hung windows. The eye's vision rises further to what appears to be dentil molding beneath a roof balustrade.
Made in America, 1916:
This modest Renaissance Revival was designed by US Treasury architect Oscar Wenderoth and built in 1916 by Hiram Lloyd Co. The Miles City Main Post Office was placed on the National Register of Historic Places listings (#86000686) in Custer County, Montana in 1986.
Source: "History of the Miles City Post Office" at milescity.com/history/stories/fte/historyofpostoffice.asp; and National Register of Historic Places [accessed June 30, 2012]
Hinsdale, New Hampshire Post Office
The post office building in Hinsdale, New Hampire. Select the image to view full size in a new window. Photo © 2012 Shannon (Shan213), Creative Commons-licensed on flickr.com.
Post Office Since 1816:
The McAlesters' A Field Guide to American Houses describes this design as a Gable Front Family Folk house common on the East Coast of the US before the Civil War. The pediment and columns suggest a Greek Revival influence, which is often found in American Antebellum Architecture.
The Hinsdale, New Hampshire post office has been operating in this building since 1816. This is the oldest continuously working US Post Office in the same building. Is this oddity enough to call it "historic?"
Sources: McAlester, Virginia and Lee. Field Guide to American Houses. New York. Alfred A. Knopf, Inc. 1984, pp. 89-91; and USPS Facts page [accessed May 11, 2016]
James A. Farley Building, New York City
James A. Farley Building, New York City's Post office, in June 2008. Select the image to view full size in a new window. Photo © Paul Lowry, Creative Commons-licensed on flickr.com.
Built in the early 20th century, the Beaux Arts style James A. Farley Post Office in New York City was for years the largest post office in the United States—393,000 square feet and two city blocks. In spite of the majesty of its Classical columns, the building is on the US Postal Service's downsize list. New York State has bought the building with plans to preserve and redevelop it for transportation use. Architect David Childs heads the redesign team. See updates on the Friends of Moynihan Station website.
Who was James A. Farley? (PDF) >>
Cañon City, Colorado Post Office
The 1933 Cañon City Post Office became the Fremont Center for the Arts in 1992. Select the image to view full size in a new window. Photo ©Jeffrey Beall, Creative Commons-licensed on flickr.com.
Like many post office buildings, the Cañon City Post Office & Federal Building was constructed during the Great Depression. Built in 1933, the building is an example of late Italianate Renaissance Revival. The block building, which is listed in the National Register of Historic Places (1/22/1986, 5FN.551), has foyer floors made of marble. Since 1992, the historic building has been the Fremont Center for the Arts—a good example of adaptive reuse.
Source: "Our History," Freemone Center for the Arts at www.fremontarts.org/FCA-history.html [accessed June 30, 2012]
St. Louis, Missouri Post Office
From 1884 until 1970, this Second Empire architectural gem was the U.S. Post Office in St. Louis, Missouri. Select the image to view full size in a new window. Photo ©Teemu008, Creative Commons-licensed on flickr.com.
The old post office in St. Louis is one of the most historic buildings in the United States.
Opened: 1884, as part of Civil War Reconstruction
Original Function: US Custom House, US District Court, and Post Office
Architect: Alfred B. Mullett, who also designed the Executive Office Building in Washington, D.C.
Architectural Style: Second Empire
Innovations: elevators; central heat; fireproof cast iron used throughout; a private railroad tunnel for mail
Preservation: The city post office closed in 1970 and the building fell into disrepair. Through a series of partnerships, developers preserved the building for adaptive reuse between 1998 and 2006.
Source: St. Louis' U.S. Custom House & Post Office Building Associates, L.P. [accessed June 30, 2012]
Old Post Office, Washington, D.C.
Photograph of the Old Post Office tower in Washington, District of Columbia. Photo by Mark Wilson / Getty Images News / Getty Images (cropped)
Washington, D.C.'s Old Post Office skirted the wrecking ball twice, once in 1928 and again in 1964. Through the efforts of preservationists like Nancy Hanks, the building was saved and added to the National Register of Historic Places in 1973. In 2013, the U.S. General Services Administration (GSA) leased the historic building to the Trump Organization, who renovated the property into "a luxury mixed-use development."
Architect: Willoughby J. Edbrooke
Built: 1892 - 1899
Architectural Style: Romanesque Revival
Construction Materials: granite, steel, iron (the first steel-frame building erected in Washington, D.C.)
Walls: five-feet-thick granite masonry walls are self-supporting; the steel girders are used to support the interior floor beams
Height: 9 stories, second-tallest structure in the nation's capital, after the Washington Monument
Clock Tower: 315 feet
Preservation: The 1977 - 1983 renovation plan included a mix of retail commercial spaces on the lower level and federal offices on the upper levels. This adaptive reuse approach received national attention as a viable approach to historic preservation.
"The most remarkable feature inside is the nine-story light court topped by an enormous skylight that floods the interior with natural light. When it was built, the room was the largest, uninterrupted interior space in Washington. The building's renovation uncovered the skylight and added a glass-enclosed elevator on the clock tower's south side to provide visitor access to the observation deck. A lower glass atrium at the east side of the building was added in 1992."—U.S. General Services Administration
oldpostofficedc.com/
GSA and Trump Organization Reach Deal on Old Post Office Lease, June 5, 2013, GSA Website
Old Post Office, Washington, DC, GSA Website
Old Post Office Redevelopment, GSA Website
How the Trumps landed the Old Post Office Pavilion by Jonathan O'Connell, The Washington Post, August 17, 2012
Source: Old Post Office, Washington, DC, U.S. General Services Administration [accessed June 30, 2012]
Craven, Jackie. "Post Office Buildings in the United States." ThoughtCo, Feb. 16, 2021, thoughtco.com/post-office-buildings-united-states-178502. Craven, Jackie. (2021, February 16). Post Office Buildings in the United States. Retrieved from https://www.thoughtco.com/post-office-buildings-united-states-178502 Craven, Jackie. "Post Office Buildings in the United States." ThoughtCo. https://www.thoughtco.com/post-office-buildings-united-states-178502 (accessed February 1, 2023).
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redpajama_set_name: RedPajamaCommonCrawl


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Marvel Super Hero Island is an area at Universal Orlando's Islands of Adventure park in Orlando, Florida that is themed after popular Marvel Comics superheroes. The area opened in 1999, ten years prior to Universal competitor The Walt Disney Company acquiring Marvel Entertainment in 2009. The island is home to four attractions, including The Incredible Hulk and The Amazing Adventures of Spider-Man. Marvel Super Hero Island's architecture and theming is modeled after a Marvel comic book, with a comic book color scheme, amplified angles, and cutouts of many of the most popular Marvel characters.

History
What is today known as Marvel Super Hero Island was originally conceived as "DC Superhero Land", an area featuring DC Comics superheroes,  which was inspired by the success of Tim Burton's 1989 Batman film starring Michael Keaton. Along with the success of Universal Studios Florida's opening in 1990, MCA Inc. (then-owner of Universal Pictures and Universal Parks & Resorts) and Warner Bros. began entering negotiations in the early 1990s for theme park rights to DC Comics for the "second gate" adjacent to Universal Studios Florida, originally known as "Cartoon World" (later changed to Islands of Adventure). Ultimately, the deal fell through, as Time Warner acquired Six Flags in whole in 1990 and obtained the full license to DC Comics, and due to the heated dispute regarding royalty payment for the characters' park presence between Warner Bros. and MCA.

Meanwhile, Marvel Entertainment Group, Inc. sold off their characters' film rights to several major film studios, including Universal Pictures. MCA then eventually negotiated with Marvel for the theme park rights to their characters and both companies signed an agreement on March 22, 1994. This contract stipulated that "MCA will construct a complex of attractions, stores and food venues heavily themed around the Marvel properties" under the Marvel Universe banner at the second gate. The agreement remains in perpetuity (aka good faith), or indefinitely, unless Universal decides to close the Marvel Universe area, stop making payments for property usage, or Marvel opts out of the contract providing that it needs a reasonable explanation that Universal is mishandling the usage of their property.

Construction of Islands of Adventure began in 1997, with the Marvel Universe area being officially named "Marvel Super Hero Island". Islands of Adventure opened up to soft openings on March 27, 1999, and officially opened two months later on May 28. Marvel Super Hero Island is among the six of the original islands in the park.

Attractions
Marvel Super Hero Island currently features four attractions.

The Amazing Adventures of Spider-Man is a motion-based 3D dark ride, which was considered a huge technological achievement, combining 3-D film, ride movement, and special effects for the very first time. The ride takes place in New York City and features Spider-Man taking on the Sinister Syndicate, when it is learned that they seize the Statue of Liberty with an anti-gravity gun and threatens to destroy the statue if the city does not surrender to them. Guests enters through the Daily Bugle with empty offices and apparently all of the reporters have fled in the midst of the carnage. With no reporters left, the Bugle's Editor-in-Chief J. Jonah Jameson hatches a plan to send guests as would-be-reporters to cover the story in the news-gathering vehicle, known as the SCOOP.

The Incredible Hulk Coaster is a launched roller coaster themed after comic book superhero character, the Hulk. From 1999 to 2015, guests entered the science laboratory of Dr. Bruce Banner with many televisions showing a cartoon of the story centered around the Hulk. After the Hulk roller coaster was opened in 2016 as part of the refurbishment, a new, original storyline was added with a completely redesigned queue experience that places guests inside a perilous scientific experiment led by General Thaddeus Ross, which shows CGI animations of test subjects being exposed to gamma radiation and being transformed into Hulk-like creatures.

Doctor Doom's Fearfall is a space shot ride based around the Fantastic Four's main villain, Doctor Doom. The plot involves Doom's latest invention by using the guests' fear as part of an effort to defeat the Fantastic Four. The guests become a subject of Dr. Doom and traps them so he can have their fear extracted.

Storm Force Accelatron is a teacup ride themed after a popular member of X-Men, Storm. It opened on May 28, 2000,  a year after the rest of the Marvel Super Hero Island attractions opened. Riders are made to spin around in order to power the Accelatron, a device that amplify the mutants' abilities, to allow the X-Men, Professor X and Storm, to defeat Magneto.

Dining, merchandise shops, and meet and greets

Marvel Super Hero Island is also home to dining and merchandise shops. Cafe 4 is a futuristic command center-like restaurant themed after characters from the Fantastic Four universe, featuring a cafeteria with Italian-American cuisine options. Captain America Diner is a restaurant themed around Captain America and other members of the Avengers (e.g., Iron Man, Thor, Scarlet Witch, Ant-Man, etc.) as well as its related villains, featuring typical fast foods like cheeseburgers, chicken sandwiches, chicken fingers, crispy chicken salads, and more. Merchandise items can be bought from a variety of themed stores including Spider-Man Shop (which guests exits from The Amazing Adventures of Spider-Man ride), Marvel Alterniverse Store, Comic Book Shop, and Oakley. "Meet Spider-Man and the Marvel Super Heroes" is a meet-and-greet attraction, where guests can meet superheroes including Wolverine, Storm, Cyclops, and Rogue, Spider-Man, and Captain America.

Disney's acquisition of Marvel
On August 31, 2009, The Walt Disney Company (Universal's largest rival in the theme park market) agreed to purchase Marvel Entertainment for $4 billion. The deal was finalized on December 31, 2009 in which Disney acquired full ownership on the company. Universal stated that the acquisition would not impact its theme park licensing agreement with Marvel, while Disney CEO Bob Iger acknowledged that Disney would continue to honor any contracts that Marvel currently has with Disney competitors.

The 1994 agreement between Marvel Entertainment and Comcast/NBCUniversal (Universal's current parent companies) governs the use of Marvel properties in non-Universal theme parks and dictates what parks in the region can use such properties. Currently, Islands of Adventure uses the Avengers, Spider-Man, X-Men, and the Fantastic Four, while Universal Studios Japan only employs Spider-Man, as it has operated the Islands of Adventure cloned ride The Amazing Adventures of Spider-Man since 2004. The contract forbids Walt Disney World and the Tokyo Disney Resort from installing these characters, as well as the other characters in the same "family" (i.e. any team members, side characters, and villains closely associated with the superheroes). In addition, Disney is not allowed to use the "Marvel" name in all of the U.S. and Japan, nor create a Marvel-themed simulator ride within the legal designated regional distances of any Universal theme park in the U.S. and Japan regardless of whether the Marvel characters are being used by Comcast/NBCUniversal.

The Disneyland Resort is not constrained by the agreement, as the contract allows Disney to utilize any Marvel character (regardless of whether it is being used by Comcast/NBCUniversal) west of the Mississippi River. However, the resort is still bound by the clause of not being able to use the "Marvel" name. Disney parks outside the United States and Japan are permitted to use any Marvel properties, the Marvel name, as well as any type of ride they want. Both Hong Kong Disneyland and Disney California Adventure have opened Marvel attractions since the acquisition, including Iron Man Experience and Ant-Man and The Wasp: Nano Battle! at the former and Guardians of the Galaxy – Mission: Breakout! at the latter. In 2017, Disney announced plans to erect a series of Marvel Cinematic Universe-themed lands called Avengers Campus at Disney California Adventure, Hong Kong Disneyland, and Disneyland Paris, with the first one opening in June 2021 at Disney California Adventure. Shanghai Disneyland also have plans to incorporate Marvel attractions, while Tokyo Disneyland opened a Big Hero 6 attraction called "The Happy Ride With Baymax".

Meanwhile, Disney World has taken other measures to promote its Marvel properties within the Resort. At the D23 Expo on July 14–16, 2017, Disney announced that Guardians of the Galaxy: Cosmic Rewind would be coming to Epcot which forced the closure of Ellen's Energy Adventure on August 13. Monorail trains have been wrapped in advertisements promoting films such as The Avengers, Iron Man 3, and Captain America: Civil War. As these monorail trains feature Marvel characters that are used at Islands of Adventure, they are operated only on the Resort and Express lines of the Walt Disney World Monorail System, which run entirely outside the theme parks, unlike the Epcot line, which enters and loops through its namesake park. The resort does have a Marvel-themed store, Super Hero Headquarters. However, it is also located outside of park gates in Disney Springs. Marvel characters not connected with the ones at Islands of Adventure also appears at Disney's Hollywood Studios in form of meet and greets, such as Star-Lord and Gamora from Guardians of the Galaxy, as well as Dr. Strange from Doctor Strange.

Halloween Horror Nights
In 2002, during Halloween Horror Nights 12, Marvel Super Hero Island was converted into a scarezone known as "Island Under Siege", loosely based upon the 14-part comic book story, Maximum Carnage. It featured an alternative plot where Spider-Man's archenemy, Carnage, killed most of the Marvel superheroes and took over the island. Criminal gangs running amok the streets, and law and order has been broken down as a result. A haunted house, "Maximum Carnage",  was also featured in which guests had to explore through Carnage's hideout containing all his henchmen and the bloody remains of several superheroes.

Characters used at Marvel Super Hero Island
The following list of characters are or may'' be seen at Marvel Super Hero Island. This includes from actual costume appearances to 2D drawings all around buildings to videos seen at attractions.

Gallery

References

External links

Marvel Comics in amusement parks
Amusement rides introduced in 1999
Universal Parks & Resorts attractions by name
Licensed properties at Universal Parks & Resorts
Islands of Adventure
Universal Studios Florida
1999 establishments in Florida

redpajama_set_name: RedPajamaWikipedia


text:
Helen W Mallon
Healing Is Never a Solo Journey
Developing intimate connection with even one other person can create fertile soil for social transformation. — Is it selfish to focus on healing my personal trauma? Shouldn't I care more about people who have it far worse? The very question comes from the heart of a spiritual warrior, someone whose history makes them acutely aware of injustices done to other people. Such a person is primed…
What My Grown Children Have Taught Me About Love
It's not too late. It was never too late. This is the most precious thing my two grown children have taught me about love. — My son Frank hasn't lived at home for more than ten years. My daughter Charity, quite a bit younger, is catching up with that span of time. …
Q is for Quaker: A Conspiracy Theory
When life is stressful, the stressed become…paranoid. — I can confidently say that the chest pains I'm suffering are due to stress. See, I'm not unhinged! Therefore, the following is fully verifiable…if you know how to interpret the signs. Stay with me, and I'll unveil the Grand Truth Tying It All Together. Life has a way of scrambling…
On Grieving a Narcissistic Mother
I Googled "pissed-off grief." Apparently, "professionals" find it to be "unhealthy." But what if it's all you got? — My mother died last night. I like the brutality of the word "died." To say she "passed" implies that she's merely lost in the neighborhood, having passed by my house because of…well, her fog of narcissistic preoccupation. There. I said it. My mother did a great job of taking care…
'The missing ingredient in contemporary spirituality is critical thinking'
Jules Evans
Awesome interview! Jules, this question sparked something in me: "But people want to go on workshops about healing your emotions or manifesting abundance or having ecstatic experience. A workshop on critical thinking?" It's illuminating how you lumped those together--I would normally eyeroll over people wanting to "manifest abundance," but the way you put it underlined what I actually believe: That most people are driven by emotional trauma of one kind or another. How desperate they are to escape, how desperate I have been to escape. But I've been forced by circumstances (thanks, God!) to explore my trauma as a path to spiritual awakening. It's grueling, often terrifying, and probably just as rigourous as taking a monastic path. Western culture created an artifical separation between psychological healing and spirituality. This separation is still the domanant paradigm, but it's shifitng thanks to Gabor Mate and others. How desperately people need support!
Postcard from Tulum: bohemian chic dreamcatchers and COVID deniers
Really enlightening story!
Really enlightening story! Bad pun. I applaud these women for their integrity, and it's heartening to hear of their commitment to ethical practices. The way the word "shadow" is misused calls to mind the shadow that Peter Pan folded up and put in his pocket. It's tempting to roll our eyes at people who fall into spiritual bypass, but I get it. I have actually longed to pull off a such a magical escape--it sounds rosy and wonderful. But all my spritual practice (ALL) has thrown me smack against the walls of my trauma history. Healing can be brutal, grueling work. From a divine perspective, I'm probably lucky that I've never been able to get away with inauthenticity. From a human perspective, a spiritual bypass might be a nice vacation. These people really deserve our compassion. The disillusion, when it comes, will be so hard for them.
When Self-Care Doesn't "Work"
You can't fail at self-care. If something isn't helpful, maybe you haven't yet found your own way. — "Have you tried meditation?" "You really should do yoga." "Journaling always helps me." All of these are tried, true, and well-researched healing modalities. But self-care doesn't look the same for everyone. What serves you at one point in life might be counterproductive later on. Sometimes, practices that some people swear…
When You Deeply Love Your Abuser
There's always a good reason why we respond to trauma the way we do. Healing means being gentle with ourselves as we understand why. — "Where is your anger?" My husband Steve asks me. He's been a phenomenal support to my healing from a sexual assault that happened when I was very young, but I never had a much of an answer. I simply didn't feel the rage he thought I should feel. When I…
Stepping Out of Shame, Into Home
The cure for shame is to be vulnerable with someone else who is equally vulnerable. — I'm writing this as an experiment in human connection. It's about shame, the force that severs connection between me and other people, between me and the divine. It's about my slow, aching turn toward home. Shame told me I didn't have a spiritual home. Healing is leading me, slowly, hesitant…
Healing Trauma Is a Creative Art
Our creative and spiritual energies come together in healing to restore the whole self, over time. — "Every child," said the great Flemish painter Peter Paul Rubens, "has the spirit of creation. The rubbish of life often exterminates the spirit through plague and a soul's own wretchedness." In the almost-500 years since Rubens was born in 1577, we've gained a few things: For one, it's easy to…
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Above 'g' is the gravity constant, 'm1' and 'm2' are the masses of the bodies and 'r' is the distance between the bodies. In other words, the higher the mass, the stronger the force. The shorter the distance, the stronger the force. The force is inversely proportional to the square of the distance.
Because the gravity simulation system follows Newton's laws of motion, one can simulate planet systems and other physical phenomena.
1. Create two spheres: one near the top edge of the view and another one near the bottom edge of the view.
2. Open the Property Window and set the mass for the both spheres to 100000000 kg. The default 1 kg mass is way too light to generate a noticeable gravity field.
3. Further down on the Phys tab, set the Velocity of the first sphere to '-0.1 0 0' and that of the second sphere to '0.1 0 0'.
4. Go to the Sim tab and set Gravity to 'Both' for both spheres.
As always, make sure the parent level has its 'Simulation' option set and play the animation.
If the velocities of the spheres are too high, the spheres fly away from each other. If velocities are too low, planets approach each other along a spiral orbit and eventually collide.
Let's add a moon to the 'orbiting planet' example created above.
1. Rewind the animation back to frame 0. Move the spheres further apart to make room for the moon.
2. Set the velocity of the moon to [-0.35 0 0]. This will prevent the moon from falling into the upper planet. Set the mass to 100 for the moon.
A three planet system. The moon orbits the upper sphere.
3. Go to the Sim tab and make sure that for all spheres gravity is set to 'Both'.
Play the animation. If you defined the masses and velocities correctly, the moon should orbit the upper sphere. Note how both planets affect the orbit of the moon.
Gravity treats all individual objects, such as spheres, as if their entire mass were collapsed to a single point called 'center of gravity'. Because of this, gravity cannot affect the 'spin' property of single objects. Two orbiting spheres will never start to rotate.
You can define non-homogenous mass distributions by constructing objects from several sub objects. For example, you can create a long pendulum object, which will start to oscillate in space because the gravity pulls its ends with different forces.
1. Drag & drop a 0.1 meter grid into the view window to activate grid snapping.
3. Create a level object consisting of three sub objects: two spheres at the ends and a cylinder connecting the spheres. This is our 'pendulum' object. The pendulum object must be positioned exactly in the center of the two heavy spheres.
The pendulum simulation consists of three objects: two heavy spheres and the pendulum.
4. Rotate the pendulum about its center point slightly (say 30 degrees).
5. Select the two heavy spheres and set Gravity to Cause through the Sim tab of the property window. This way the two heavy spheres affect only the pendulum, but they don't attract each other.
6. Set Gravity to Both for the pendulum.
Turn on Simulation option for the parent level and play the animation. The Pendulum starts to oscillate.
If you wish to treat an object, which consists of several parts, as a single entity in gravity computations, just define a mass for the whole composite object using the property window's Mass control. The mass value defined by the level overrules its children's mass values. This naturally speeds up the simulation, because only one single point, the center of gravity, is considered. If you have set a mass value for the complete level and later wish to restore the use of child-defined mass distribution, click the Clear button behind the mass control.
The previous tutorial demonstrated how gravity affects the spin of hierarchical objects. Gravity can also deform objects (a poor astronaut falling into a black hole can turn to spaghetti).
1. Create an analytical sphere representing a heavy planet. Set the mass of the sphere to 100000000 kilograms.
As usual, we have to define some initial velocity, which allows the elastic sphere to orbit the heavy sphere. In this case the velocity should be such that it gives a very elliptic orbit for the elastic sphere.
The 'Elasticity' property means that the elastic sphere has internal string forces, which attempt to restore the initial shape. The higher the value, the stronger the string forces are. The result is a 'jelly' like material.
'Rigidity' 0 means that the object can be deformed. For example, warm butter is a good example of a material which can be deformed but which is not elastic. Jelly is an example of an elastic and non-rigid material.
'Rebound Energy' determines how much energy is lost in deformations. If the rebound energy is 1, no energy is lost and the elastic planet would keep jiggling forever. A rebound energy of 0.1 means that jiggling will fade rapidly (due to friction between material particles).
3. Select both spheres and set 'Gravity' to 'Both' through the 'Sim' tab. Then activate 'Simulation' for the parent level.
Play the animation. The elastic sphere deforms significantly when passing by the heavy sphere.
Let's create a galaxy, which has a massive black hole in its center.
1. Create a small but heavy (100000000 kg) sphere representing the black hole.
2. Use the particle tool to create lots of stars (1D particles) around the black hole.
3. Set gravity for both objects to 'Both'.
5. Set the Simulation option for the parent level and play the animation.
The particle object is made completely non-rigid so that gravity can affect each particle as aseparate object. Some initial spin was added for the particles so that they orbit around the black hole instead of falling into it straight away.
Use a high frame count to preview this animation (say, 1500 frames). After some seconds the particles should form a spiral galaxy. You also may have to increase the Spin value to see the effect.


Established in 2006, this scholarship is made possible by the generous support of Jim and Wendy Franzen.
The Fred Johnson Graduate Scholarship was established to honor Professor Fred Johnson's impact as a teacher and his academic achievement as logician in the Department of Philosophy. <p.Fred's ability to create an open and nurturing environment for his students and friends, his love of music, and his great humility, continuing wonderment, and genuine concern for his students, and his retirement were the impetus for setting up this scholarship. Johnson is an avid chamber music player and enjoys international travel.


I'm doing better as i have gotten out a bit, over the past day or so.
It hasn't been too bad.
But got a little fancy. Will get pictures up later.
That and I bought myself some anime.
But one thing to hopefully cheer me up this weekend is camping.
Its another 48 hour non-stop foam fighting.
I may go into it afterwards but its the same old drama that i have written about before.
Have you seen Read or Die yet?


lilylily54321 said: Cost-effective room. can repeat next time.
beili1008 said: Very good location, beautiful environment. in the vicinity of the Park. suitable accommodation for the holiday.
bingdaowolf said: Good. prices can be.
realie said: Great location for my United States friend and she loved it.
doodoo said: Room very comfortable!
aileenlove said: Xujiahui area one of the most satisfying hotel, highly recommended.
The Hengshan Hotel (Hengshan Binguan) was established in 1936 as the Picardie Apartments and today is known as a French Concession classic. Offering reasonable rates, a low-key location, large rooms with high ceilings and more than a hint of Shanghai history, the Hengshan is a great base from which to explore the former Concession and its abundance of tourist-friendly bars, restaurants and boutiques. With a nearby metro stop and a steady stream of cabs, getting to Xujiahui, Xintiandi, People's Square and the Bund only takes a half hour or so, making this hotel a truly great location.
Rooms and suites in this hotel are all decorated with a European flare, elegant and polished, and come with all the standard amenities for a modern-day guest. Each room is provided with high-speed Internet access and most rooms have a fantastic view.
Hengshan has multiple different dining options that guests can choose from. The two main hotel restaurants offer Chinese, Western, and Japanese cuisine for guests to enjoy. For guests who are not as hungry, the cafe and bar and lounge are available to socialize over a drink or guests should visit the bakery to see what's baking.
The business center is can easily attend to all the needs of any business guest. Along with the center, meeting and conference rooms are available to use and furnished with the standard amenities.
Guests in this Shanghai hotel can relax by getting a massage or heading to the steamy sauna. For something a little more active, they can play a game of ping pong or use the fitness facilities.
I first times encountered such of hotel, first times comments of so let I wants to spit finished this days to of upset, just met what big characters also in here, all door parking not let stopped, also let we again to turned several circle, since scheduled of somehow to a phone notification about, led is people people is people! plans time all was upset! and from staying to left Hotel I no see had a smile also no any a people on I said a sentence Hello! service quality is poor to pole! Breakfast is Chinese not Western enough foreigners there, eating noodles. snack 158. HO HO, but will not step into this hotel again next time!
Is an old hotel, the location, exercises ordinary feeling so-so.
Also is the second time I have seen a five-star hotel shower is used to pull the curtain, complained a on me, I was powerless to ridicule.
Large area of very old hotel rooms facilities clean refrigerator noise level is very high. Breakfast quality could improve a lot.


text:
Жан-Кристоф Роллан (, ) — французский гребец и спортивный функционер, чемпион летних Олимпийских игр 2000 года в двойках, бронзовый призёр Игр 1996 года, двукратный чемпион мира, 18-кратный чемпион Франции. С 2014 года президент Международной федерации гребного спорта (FISA). Член Международного олимпийского комитета.

Биография
В детстве Жан-Кристоф Роллан занимался регби и плаванием, но в 12 лет вслед за старшим братом занялся греблей в клубе Condrieu, откуда перешёл в Rowing Union Nautique de Lyon, за который выступал на протяжении всей карьеры. В 1989 году Роллан начал выступать в паре с Мишелем Андрьё. В 1991 году французская двойка пробилась в финал чемпионата мира, где заняла 5-е место.

На летних Олимпийских играх 1992 года в Барселоне Роллан и Андрьё только через отборочный заезд смогли пробиться в полуфинал соревнований, где уверенно выиграли заезд и вышли в финал. В решающем заезде французские гребцы не смогли оказать серьёзную конкуренцию призёрам соревнований, и заняли 4-е место, уступив в борьбе за бронзу почти 3 секунды. После окончания Игр Роллан хотел завершить спортивную карьеру и сосредоточиться на работе, но в итоге принял решение совмещать оба вида деятельности и в течение следующих двух лет Роллан и Андрьё выступали в четвёрках и стали чемпионами мира 1993 года и серебряными призёрами 1994 года. На мировом первенстве 1995 года Роллан и Андрьё вновь участвовали в соревнованиях двоек, и заняли там третье место, уступив гребцам из Великобритании и Австралии.

В 1996 году Роллан и Андрьё приняли участие в летних Олимпийских играх в Атланте. На предварительном этапе французские гребцы одержали уверенную победу и напрямую прошли в полуфинал. В своём заезде французы стали вторыми, позади австралийских спортсменов. В финале Роллан и Андрьё вместе с британскими и австралийскими гребцами оторвались от остальных конкурентов. На финише французы чуть отстали от соперников и завоевали бронзовые медали. В 1997 году Роллан и Андрьё во второй раз в карьере стали чемпионами мира. В 1998 году Роллан принял решение приостановить карьеру и вернулся в греблю только в 1999 году, ради выступления на Олимпийских играх в Сиднее. На предолимпийском чемпионате мира Роллан и Андрьё завоевали серебряные медали, уступив только австралийцам Дрю Гинну и Джеймсу Томкинсу.

На летних Олимпийских играх в Сиднее Роллан и Андрьё считались одними из главных фаворитов, потому что их основные соперники и действующие олимпийские чемпионы британцы Мэтью Пинсент и Стив Редгрейв выступали в четвёрках, а Дрю Гинн получил серьёзную травму и пропускал Игры, в результате чего партнёром Томкинса стал малоопытный Мэттью Лонг. В результате французские гребцы выиграли все три заезда, в которых участвовали и стали олимпийскими чемпионами. После окончания Игр Жан-Кристоф Роллан завершил спортивную карьеру.

По завершении карьеры Роллан начал активно участвовать в деятельности Международной федерации гребного спорта (FISA). В 2002 году француз стал председателем комиссии спортсменов, в которую был избран ещё в 1994 году. С 2004 по 2011 год входил в исполнительный комитет FISA. В 2013 году Роллан был избран новым президентом Международной федерации гребного спорта, сменив на этом посту швейцарца Дениса Освальда, который возглавлял организацию в течение 24 лет. В 2017 году Роллана переизбрали на новый срок. Также в 2017 году Жан-Кристоф стал членом Международного олимпийского комитета.

Личная жизнь
В 1991 году получил степень магистра по электротехнике, электронике и связи в Высшей школе физической химии и электроники Лиона.

Примечания

Ссылки

Гребцы (академическая гребля) Франции
Олимпийские чемпионы от Франции
Олимпийские чемпионы по академической гребле
Чемпионы летних Олимпийских игр 2000 года
Бронзовые призёры летних Олимпийских игр 1996 года
Гребцы (академическая гребля) на летних Олимпийских играх 1992 года
Гребцы (академическая гребля) на летних Олимпийских играх 1996 года
Гребцы (академическая гребля) на летних Олимпийских играх 2000 года
Чемпионы мира по академической гребле
Члены Международного олимпийского комитета


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Welcome... to Blogtobia. : Kyla gets her FIRST haircut!
... and here she is in the stylist's chair for her FIRST haircut!
She looks a bit concerned... and the pouty face is kinda coming out here... but we got through it!
Should I post more? Let me know!
Yes, you let us see the begining and the middle. We have to see the end picture too, after she got her hair cut.
so how did it turn out?????
please please please post more!!!
yes keep posting! Glad all is well with you and your adorable little one!


text:
New at Changeling Press: Killian Unbound by Rebecca York #darkfantasy #paranormalromance @RebeccaYork43
Posted on October 1, 2021 by JessicaS
Princess Sabina has always obeyed her father, King Norwen. But when he plans to marry her to a ruthless prince, she runs away. Soon captured, she's thrown into a tower cell to await her punishment.
The prison is already occupied — by a terrifying ghost. Hiding her fears, she befriends him, hoping they might help each other. As they grow close, she realizes he's not a phantom but an enchanted mortal who remembers nothing of his past. Physical contact with Sabina is the key to bringing back the memory of the man she learns is named Killian. The more intimate they become, the more he remembers.
Their shared adversity forges a bond between them, but will they be free to acknowledge their love for each other, or will her ruthless father capture her and drag her away from the man she's coming to love?
Save 15% at Changeling Press
Copyright ©2021 Rebecca York
Returning to the straw, Sabina curled on her side and drew her knees up, lying with her eyes closed. She had thought she was in the worst trouble of her life when her father had decreed that she would marry Bayard. Apparently, things could always get worse.
When she felt a ripple of movement in the air of the chamber, her eyes blinked open, probing her surroundings. The afternoon sun was dimming, turning the corners of the room into dark wells. She saw nothing, heard nothing, yet now that she was lying here quietly, she sensed an unseen presence watching her. The hairs on the back of her neck prickled, and she sat up.
The sods had primed her expectations, and tension sizzled through her as she waited for the specter to show itself. She must stay awake and watchful, but exhaustion tugged at her. After a few minutes, she dropped off to sleep, and for a few blessed hours, she was lost to the world — until a moaning noise made her jerk awake. Disoriented, she struggled to remember where she was and why.
All the horror came rushing back. Her father had sent men to find her. Now she was in a prison cell that was supposed to be haunted. Moonlight filtered in through the window. But from where she lay in the corner of the room, she could see little. In the darkness, she strained to bring the scene into focus.
Inching back, she sat up and pressed against the wall, creating a false sense of comfort. At least nothing could sneak up behind her. Or might a specter have that ability?
The moan came again, raising the hairs on the back of her neck. It sounded like something out of a ghost story. In the next moment, she felt an eerie vibration in the air around her that sent invisible fingers walking up and down her spine. It was followed by a low hum that steadily increased, jarring her teeth as the sound reached a painful level.
She might have screamed for it to stop if she'd thought that would do any good. Clamping her hands over her ears and pulling her elbows in close, she hunched down, trying to make herself a smaller target for whatever was making itself known in this fashion. But the wind rose to gale levels, blowing through the room like a winter storm. In a desperate effort to find shelter, she pulled the blanket over her head, but a strong gust came out of nowhere, ripping the covering from her fingers.
It was a deliberate assault. Or mayhap a display of power. Clenching her teeth, she fought not to scream. The presence in this room, whatever it was, wanted to scare the spit out of her, and it was doing an excellent job. The bowl and pitcher, plate and cup on the table began to rattle. Then one by one, they flew off the horizontal surface and bounced against the wall. She put her arms over her head for protection, but none of the flying objects hit her. After they'd crashed to the stone floor, the slop bucket clattered to its side.
There was nowhere for her to hide from the whirlwind. All she could do during the storm was flatten herself against the wall, her fists clamping around handfuls of straw. She would have sworn the room was rocking, although she didn't know how that would be possible. She let out a sigh of relief as the swaying stopped, but there was more to come. A finger of wind came down, poking at her body. Touching her face, her neck, her breasts, then farther down to the juncture of her legs.
She slid to the side, trying to get away from the too intimate assault, wondering how much more of this she could stand. "Stop it," she shouted into the tempest. "Stop it! You're not going to drive me mad with these childish tricks."
She wasn't sure where the bold words came from, mayhap from her frustration at one more indignity.
The wind had lessened in response to her order. Encouraged, she sat up and stared across the room. There was nothing to see, only a sense of whirling air. "Stop your ridiculous temper tantrum," she ordered. "If we're locked in here together, don't you think it's better to be friends?"
The wind calmed.
Building on her success, she switched to her best princess voice. "I'd be grateful if you cleaned up the mess you've made with the bucket."
For a long moment nothing happened. Then in the dim light, Sabina saw the wind attack the puddle that had spread onto the floor when the makeshift chamber pot had tipped over. As she watched, the liquid began to flow toward the crack at the bottom of the door, then out onto the landing. She hoped one of the human vermin out there would slip in it.
"Thank you," she said politely.
The bucket righted itself. The other items in the room began returning to the table one by one, as though someone was gathering them up and carrying them. But she still saw no one. The response amazed her. Emboldened, she asked, "Were you trying to frighten me?"
There was a long pause before a low voice that came from the wind answered, "Yes."
Elated that they were communicating, she asked, "Who are you?"
After another hesitation, it answered, "I do not know."
Again the hesitation. Again a mournful reply, "I wish I knew."
The words and the defeated tone of the disembodied voice made Sabina's stomach clench. "Do you know how long you've been here?" she asked.
"No." The voice was deep and masculine.
"Mayhap we can figure it out together."
"Why would you do that?" he challenged.
She thought about her own situation — and his. "Because I can tell you are suffering."
When he spoke again, she caught a mixture of roiling emotions — anger, surprise, hope. "Nobody else who came here ever wanted to help me."
"Mayhap because of the way you introduced yourself."
When the observation was met by silence, she asked, "What can you tell me about yourself?"
This time the response was angry. "Nothing. My memory is wiped clean, like ripples from a still pond. Everything before I… found myself here is a black void." He made a frustrated sound. "I do not even know where here is."
"This is a room in an old fortress, or maybe a small castle."
"What country is this?" he asked suddenly.
"Longmead."
"I do not know it."
"I think we are in the eastern part of the country. I've never been to this place before, either. Armed men brought me here after a long ride through the countryside. They did not wear the gold and black livery of my father's guards. They were dressed like ruffians, but that could be a disguise."
"My father is the king of Longmead. I ran away from his castle. I'm sure he has sent men to search for me, but he might not want it widely known that I have absconded."
"So the wrong people will not know I am missing. My father wants to cement an alliance with a neighboring country by marrying me to the prince there." It was her turn to feel frustrated. "But these men may be acting on their own, thinking to exchange me for a fortune in gold." She sighed. "It could be that my father does not know my whereabouts."
"That sounds… messy."
"Yes." She swallowed hard. "And I guess you don't know why you are here."
The answer came in a burst of the ghost's familiar anger. "I told you, I know nothing. I can explain nothing."
She struggled to remain calm as rage and frustration flowed around her in the tower room. "Then tell me what I can do to help you?"
New York Times and USA Today Best-Selling Author Rebecca York began her career as a journalist writing articles for newspapers and magazines, but after several years decided to try writing fiction. She's a highly successful author of over 50 romantic suspense and paranormal novels and is the head of the Columbia Writers Workshop. Her many awards include two Rita finalist books. She has two Career Achievement awards from Romantic Times: for Series Romantic Suspense and for Series Romantic Mystery. Her Peregrine Connection series won a Lifetime Achievement Award for Romantic Suspense Series. She collects rocks, and enjoys cooking, walking, reading, gardening, travel, and Mozart operas.
Visit the author online: Facebook | Twitter | Website
This entry was posted in New at Changeling Press and tagged Changeling Press, Dark Fantasy, Paranormal Romance by JessicaS. Bookmark the permalink.


Trevor Von Eeden and Joe Rubinstein Legends of the DC Universe #27 Splash Page 3 Original Art (DC, 2000). You won't believe the depth of detail in this nearly panoramic splash page featuring the King of Atlantis, Aquaman! The story was set in his early days of interaction with the Justice League and gives a great glimpse into this fish-out-of-water. Ink over graphite on Bristol board with an image area of 10.5" x 15.75". Slight handling and some production tape, but in Excellent condition.


New Albany recently updated its sign code, which will provide new guidelines for developers and business owners, as well as give them access to materials not previously used in the village.
Village council passed an ordinance Dec. 7 to replace the previous code.
Kathryn Meyer, deputy director of community development, said the previous code required more and more variances each year, so the village decided it was time to offer more guidance and set parameters for residents and business wanting to install signs.
The village began development of the new sign code in the spring, and the draft plan was recommended for approval by both the village's planning commission and architectural review board (ARB).
The new code includes examples of appropriate signs in different zoning districts and specifies the number and type of signs that can be used in a particular zoning designation. The village center, for example, will allow different types of signs than the business campuses.
Before approving the new code, council members amended the legislation to include some clarifications provided by Mayor Nancy Ferguson.
Ferguson suggested two modifications. The first amendment ensured that permanent signs are integrated with the design and building on which they are located, while the second gave the ARB the right to deny neon signs if that type of sign was not deemed appropriate for the building and site.
Ferguson also asked that signs with moving parts be prohibited.
"A lot of people have spent a lot of time and money creating signs in the village related to our brand, with the traditional architecture," Ferguson said. "I think that's a winning combination that we should continue to promote."
However, councilman Glyde Marsh said moving signs are being used well in some places, such as on The Ohio State University campus, and can easily be read.
Councilwoman Colleen Briscoe said she, too, thinks the village may need to reconsider moving signs.
"At some point, we may want to put those in," Briscoe said.
At Marsh's suggestion, council also amended the legislation to allow commercial construction signs to be put in place 60 days before construction. Signs must be removed within 14 days of the end of a construction project.
The new code includes a provision for banners, which the village and other entities had discussed as a good option for a building like the Jeanne B. McCoy Community Center for the Arts to help it better promote upcoming shows and events.
Meyer said the amendments provided clarification.
"I think the proposed changes are helpful," she said.
The sign code takes effect Jan. 13. Meyer and village planner Michelle Murphy said no new sign-code applications have been submitted, so none are scheduled for review until the new code takes effect.


text:
Cannabis Technology Company Steep Hill…
Cannabis Technology Company Steep Hill Draws Institutional Investors in $2.5 Million Capital Raise
Published by NCV Newswire
Gotham Green Partners and Co-Investors Close Out Steep Hill's Series III Convertible Notes
BERKELEY, Calif., Nov. 13, 2017 /PRNewswire/ — Steep Hill Labs, Inc. ("Steep Hill") and Gotham Green Partners ("Gotham Green") announced today that funds managed by Gotham Green and co-investor Slifka Asset Management have invested Two and One-Half Million Dollars ($2.5M) into Steep Hill, completing Steep Hill's Series III Convertible Notes funding round. The investment into Steep Hill includes matching stock warrants at a $75 Million Dollar Pre-Money Valuation and converts into Steep Hill's recently announced, Series A Preferred Stock Offering.
We are excited to partner with Steep Hill through this investment. Steep Hill is a clear leader in the cannabis testing space, and the company's unique focus on data and software position Steep Hill to efficiently scale its business to meet growing demand from regulatory testing requirements across the cannabis supply chain.
Jason Adler, Managing Member of Gotham Green Partners
Mr. Slifka, Managing Partner of Slifka Asset Management commented, "We are extremely excited about investing in Steep Hill, and backing one of the most talented management teams in the cannabis industry. Steep Hill is the clear market leader in cannabis testing and analytics, and the company will demonstrate tremendous growth for the foreseeable future. While it has been said that cannabis testing is a "pick and shovel" investment, I see it as a way to ensure that the industry provides products with consistency and accuracy to enable consumers and patients, trusted test results in both the medical and recreational areas. Industry standards are desperately needed, especially over the next decade as cannabis becomes more widely available, and Steep Hill will play a valuable role in advising growers, manufacturers, consumers, as well as, state, and local governments.
We are delighted to have Gotham Green and Slifka Asset Management as investors, and we look forward to working with them to explore a variety of synergistic activities on a go forward basis given their unique position in the space. Steep Hill is actively scaling its business to expand the Steep Hill myLab™ ERP software solution, solving challenges of the burgeoning import/export market including disparate regulations, language translation, labeling, and the seamless global integration of Cannabis Data Analytics.
Jmîchaeĺe Keller, CEO of Steep Hill
We share a similar vision with Gotham Green, and we are excited to lead the movement toward recognized standardization that will ultimately provide the best ROI to all stakeholders and market participants.
ABOUT STEEP HILL
Steep Hill is the world's leading cannabis science and technology company with significant footprints in lab testing, research and development, licensing, genetics and remote testing. No other company brings all of these sectors into one highly synergistic whole. Steep Hill's foundation was built on testing and analyzing medical and recreational marijuana to ensure compliance with public safety standards. In 2008, Steep Hill opened the first commercial cannabis lab in the United States and has been on the cutting edge since its inception. Steep Hill is currently expanding throughout the United States, and globally. With the goal of helping the rest of the world adopt "best practices" in cannabis testing, the company also provides expert consulting services to legislators and regulators in many countries, states and municipalities around the world. Steep Hill: "Leading the Science of Cannabis. Globally."
ABOUT GOTHAM GREEN PARTNERS
Gotham Green Partners is a New York-based private equity firm focused on deploying capital into cannabis and cannabis-related enterprises on a global scale. The firm manages a diversified portfolio of investments and is actively investing across the cannabis value chain.
ABOUT SLIFKA ASSET MANAGEMENT
Randy Slifka is the Managing Partner of Slifka Asset Management (SAM), a Family Office and Investment Firm based in New York City. SAM invests in a broad range of asset classes and investment strategies including: Private Equity Funds, Hedge Funds, and Direct Deals. Mr. Slifka also focuses on a variety of non-market correlated investments including: big data, quantitative analytics, and cannabis related opportunities Prior to founding SAM, Mr. Slifka was a Senior portfolio professional at Halcyon Partners, a $12 Billion Hedge fund, where he was responsible for the distressed debt and special situations investment effort. Mr. Slifka started his career at EM Warburg Pincus and Co, one of the largest and most successful Venture Capital firms.
The NCV Newswire by New Cannabis Ventures aims to curate high quality content and information about leading cannabis companies to help our readers filter out the noise and to stay on top of the most important cannabis business news. The NCV Newswire is hand-curated by an editor and not automated in anyway. Have a confidential news tip? Get in touch.
Cannabis Testing, Gothan Green Partners, Slifka Asset Management, Steep Hill
PathogenDx Introduces Novel Microbial Test for Cannabis Industry
Merida Capital Increases Investment in Steep Hill as Andrew Rosenstein Named Interim CEO
Steep Hill Pennsylvania Announces ISO 17025 Accreditation For Cannabis Testing
A Bull Market in Stock Bashing and 12 Stories from New Cannabis Ventures


text:
Michu finally called up to Spain squad but can he fit in?
By Mike PrindivilleOct 8, 2013, 8:53 AM EDT
In case you missed it, Michu has been handed his first call up to the Spanish National Team.
Por fin!
After a 17 goal season at Rayo Vallecano in 2011-12 and a 22 goal season in South Wales last year failed to turn the head of Spain manager Vicente del Bosque, many wondered if the man from Oviedo would ever get a look.
On Monday, it was confirmed that he would.
Michu will be available for selection in La Furia Roja's final two World Cup Qualifiers, Friday's match against Belarus in Palma de Mallorca and next Tuesday's game against Georgia in Albacete. Four points from those matches will see Spain clinch its place at next summer's World Cup.
For those of us who admire Michu's ransacking, all-action style of play, the call up provides an opportunity to see just how good the 27-year-old could be within the context of his Spanish compadres.
There's little dispute as to Michu's effectiveness in the Premier League. But does his style fit into the tiki-taka make up of the national team?
At first blush, possibly not. Under del Bosque, the quintessential Spanish player is one who holds his space and only moves with efficiency and elegance when the time is precisely right. They are not merely a well-trained breed, the Xavi's/Iniesta's/Mata's of the world are the kind of stately canines who are always in the final lineup for 'Best In Show' at The Westminster Kennel Club.
Michu knows nothing of this elegance. He is like a junk yard dog whose owner doesn't feed him. He lives on scraps and at any given moment will break into a full-throttle, slobber flailing sprint if he thinks there is even a slight chance of landing some fare, irrespective of the presence of others.
It's this kind of attitude – take not only what is yours but what isn't yours – that endears Michu to so many a fan. Classic Michu barrels into the penalty area just as the cross is coming and smashes an off-balanced shot into the top corner. For the Swansea hitman, a careful pass of the ball into the net is practically sacrilege.
That being said, Michu's game could be exactly what Spain have been missing. A bit of ferociousness. A bit of unpredictability. A bit of bite. It's the kind of mentality that Spain has missed since the hey-days of Fernando Torres in Euro 2008.
You remember those days, right? When Torres stopped thinking so gosh darn much and just feasted on scraps?
That's the kind of rabid instinct that makes Michu such an effective player. And perhaps most importantly, it's a style that Michu has proven can work wonders in a possession-based system like the one Michael Laudrup employs in South Wales.
Del Bosque called Michu in to camp to replace the injured David Villa and notably, the Oviedo-born striker was summoned ahead of Spurs frontman Roberto Soldado and Juventus striker Fernando Llorente.
The question now becomes, will del Bosque take that final step and let the junkyard dog loose?
Follow @mprindi


text:
<!doctype html>

        <meta charset="utf-8">
        <meta http-equiv="X-UA-Compatible" content="IE=edge,chrome=1">
        <title>D3 in Action</title>
        <meta name="description" content="">
        <meta name="viewport" content="width=device-width, initial-scale=1">

		<link rel="icon"  type="image/png" href="../favicon.png" />
		<link rel="apple-touch-icon" href="apple-touch-icon.png">

        <link href="../dist/css/normalize.css" rel="stylesheet" type="text/css">
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D3 in action

Elijah Meeks

Manning 2015 | 2017

5.4.2 Word clouds

Figure 5.21 A word cloud with words that are arranged horizontally.

Figure 5.22 A word cloud using the same worddata.csv but with words slightly perturbed by randomizing the rotation property of each word.

Figure 5.23 This word cloud highlights keywords and places longer words horizontally and shorter words vertically.

text,frequency
layout,63
function,61
data,47
return,36
attr,29
chart,28
array,24
style,24
layouts,22
values,22
need,21
nodes,21
pie,21
use,21
figure,20
circle,19
we'll,19
zoom,19
append,17
elements,17

// https://bl.ocks.org/d3noob/013054e8d7807dff76247b81b0e29030

var h = 600,
	w = 600;
var margin = {top: 20, right: 20, bottom: 20, left: 20};
var width =  w - margin.left - margin.right,
	height = h - margin.top -  margin.bottom;
// var fillScale = d3.scaleOrdinal().range(["#fcd88a", "#cf7c1c", "#93c464", '#75734F']);

// FONT SIZE
// Uses a scale rather than raw values for the font
var wordScale = d3.scaleLinear().domain([0,75]).range([10,160]);

// ROTATE RANDOM
// // This scale takes a random number between 0 and 1 and returns an angle between -20 degrees and 20 degrees.
var randomRotate = d3.scaleLinear().domain([0,1]).range([-20,20]);

// KEYWORD LIST TO HIGHLIGHT
var keywords = ["layout", "zoom", "circle", "style", "append", "attr"];

function dataViz(data){
	console.log('Hello from dataViz', data);

	d3.cloud()
		.size([width, height])
		.words(data) // Assigns data to the cloud layout using .words()
		.rotate(d => d.text.length > 5 ? 0 : 90) // The rotate function rotates by 90 degrees every word with five or fewer characters.
		// .rotate(() => randomRotate(Math.random())) // Sets the rotation for each word
		// Sets the size of each word using our scale
		.fontSize(d => wordScale(d.frequency))
		.on("end", draw)
		// The cloud layout needs to be initialized; when it's done it fires "end"
		// and runs whatever function "end" is associated with.
		.start();

	// We've assigned draw() to "end", which automatically passes the processed dataset as the words variable.
	function draw(words) {
		console.log('words', words);

		var mySVG = d3.select("#viz")
			.append("svg")
	    	.attr("width", w)
	    	.attr("height", h)
	    	.attr("preserveAspectRatio", "xMinYMin meet")
	    	.attr("viewBox", "0 0 "+ w + " " + h);

		var wordG = mySVG.append("g")
			.attr("id", "wordCloudG")
			.attr("transform","translate(" + width/2 + "," + height/2 + ")");

		wordG.selectAll("text")
			.data(words)
			.enter()
			.append("text")
			.style("font-size", d => d.size + "px")
			// If the word appears in the keyword list, color it orange; otherwise, color it black.
			.style("fill", d =>keywords.indexOf(d.text) > -1 ? "#FE9922" : "#4F442B")
			.style("opacity", .75)
			.attr("text-anchor", "middle")
			// Translation and rotation are calculated by the cloud layout.
			.attr("transform", d =>
					"translate(" + [d.x, d.y] + ")rotate(" + d.rotate + ")")
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#TheEllenShow: Bradley Cooper & Ellen DeGeneres Get A-Cookin'!
Remember Bradley Cooper? Although some of you probably haven't seen him since 2012's multiple award-winning film, "Silver Linings Playbook". Big enough fans would have seen him in more recent movies such as 2014's "American Sniper".
Well, he has got a new movie coming out and he just went on Ellen DeGeneres' "The Ellen Show" very, very recently to promote it!
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Titled "Burnt", the film stars Bradley Cooper (obviously), Sienna Miller, Omar Sy, Daniel Brühl, Matthew Rhys, Alicia Vikander, Uma Thurman, and Emma Thompson. Bradley plays top chef Adam Jones, whose drug use and erratic behavior lead him to lose his restaurant. He attempts to rebuild his life and his career in London, in the hopes of returning to Paris to open a new restaurant that will gain three Michelin stars.
Now, what better way for Bradley to talk about "Burnt" than to do a quick live (sorta) cooking demo with his "epic Oscar selfie" buddy, Ellen DeGeneres?
During his interview on the show, Ellen challenged him to a big of cooking fun in order to help raise money for breast cancer. Channeling his inner top chef, Bradley took it on – but with a twist. Ellen kept her hands behind her back while Bradley stood behind her, using his hands as hers. This means that he controlled everything while Ellen had to quickly vocalise through every action.
Trust us, it's funnier than it sounds.
Watch and laugh:
"Burnt" is scheduled to be released on 30th October 2015.
Tags: #BradleyCooper#EllenDeGeneres#TheEllenShowBradley CooperEllen DeGeneresThe Ellen DeGeneres ShowThe Ellen Show


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The Gospel at Colonus Review: UWG Brings fun to a tragedy
By Erin / October 21, 2019
The UWG Theater Program's production of The Gospel at Colonus brings fun to a tragedy in the musical retelling of Oedipus at Colonus.
The show opened on Wednesday Oct. 9 and ran through Sunday Oct. 13 with a run time of around 75 minutes with no intermission, however it did not feel too long or too short keeping the audience wrapped in the action from beginning to end.
The show's interpretation is set under a bridge in a homeless community where a church group is re-telling the stories of Oedipus as if it were a Bible story. The actors interact with the audience, making everyone feel as if they are a part of the story ready to be preached to, and breaking the fourth wall from the very beginning.
The shows themes of responsibility, reconciliation and redemption are shown in this production through the actors telling a story within a story to the audience. The costumes, set, lighting and music all do a beautiful job helping that story along making this production, visually, one of the most beautiful and realistic on the Townsend stage that this author has seen.
The tragic life of Sophocles' Oedipus is not something that can be brought to life in a way that can be enjoyed by all audiences, however this production seems to have done just that.
The music makes the audience feel as if they are sitting front row of a lively church and keeps the audience locked in, even in moments of great tragedy. Actor Dakota Kuykendall's performance of what can be considered the singing narrator within the story, was amazing. The soothing tones of his voice keeping the audience on the edge of their seats and wanting more and more.
Also the almost angelic sound of Akeria Gant even had one audience member yelling "sing it baby!" and had the crowd going wild with her high notes.
It is hard to say who were the standouts of the production were acting wise, as every single character and ensemble member did a phenomenal job and the amount of hard work put into this show paid off tremendously, however two students that stood out were the two Oedipus's or Oedipi as I kept thinking of them. Shamia Taylor and Sanni Parham played two very different versions of the same character, yet made them feel like they were one.
Taylor's powerful voice and almost demanding personality came forward as preacher Oedipus. This character is the one telling the story, teaching this to her congregation, keeping the show together and was just so much fun to watch.
Parham's portrayal as singer Oedipus was beautifully dynamic, he hardly speaks, instead showing his emotions through song and being both hilarious and tragic all at once.
Overall the show was amazing. The directors, designers and actors all did a fantastic job putting this show on making it one to remember at UWG.
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