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Global Reconstruction
Posted on June 29, 2013 by Theatre Room Asia
Now for those of you have been reading my blog for a long time will know that I am no big fan of Shakespeare in the context of teaching in an international environment. I don't see a lot of point trying to teach theatre practice through an arcane language that obfuscates its meaning at every turn – see what I mean?
However, I do like Shakespeare's plays and have seen some incredibly powerful performances in my time. Also the history and myth behind the man is really interesting. One of the most enjoyable experiences I have had is being stood in the pit, in the open air, watching a production of Measure for Measure at The Globe Theatre in London a few years ago. If you don't know anything about The Globe, it is a reconstruction of an Elizabethan playhouse on the south bank of the River Thames, London, that was originally built in 1599.
It is well worth a visit if you are ever in London. So why am I writing about it today? Well The Globe is in the process of finishing the building of another theatre on its site, but this time a reconstruction of a Jacobean playhouse (which has a roof this time) and will be lit by candles. The new theatre opens next year and will be known as the Sam Wanamaker Playhouse, named after the american actor and director who is credited as the person most responsible for the modern recreation of The Globe.
This is a rendering of what it will look like when it is finished:
I am fascinated by this theatrical archaeology. The Globe have produced a series of videos about the building of this new theatre and how you go about it. This is the first here:
There was a great article in The Independent last week, written by Holly Williams that traces this fantastic project
All the world's a stage (or two): Shakespeare's Globe to be joined by a candlelit indoor theatre
'Oh, for a muse of fire that would ascend, the brightest heaven of invention…" So begins William Shakespeare's Henry V; but it was a wish that would come back to haunt the playwright with unfortunate literalism a few years (and Henrys) down the line.
Four hundred years ago this week, on 29 June, during a performance of Henry VIII at the Globe theatre on Bankside, wadding from a stage canon did indeed ascend up through the theatre's 'wooden O' – setting fire to that circular thatched roof. The Globe burnt to the ground; a contemporary account records that the blaze "burned so furiously, as it consumed the whole house, all in less than two hours, the people having enough to do to save themselves". Not that the Jacobeans were too precious about it: the Globe was rapidly rebuilt – only this time, with a tiled roof. It lasted till 1644, when it was demolished after the Puritans closed England's theatres.
Its 17th-century resurrection was certainly swifter than the modern project to rebuild Shakespeare's Globe on the banks of the Thames. American actor Sam Wanamaker conceived of the idea way back in 1949, and founded the Shakespeare Globe Trust in 1970, but it didn't actually open its doors to the public till 1997 – after Wanamaker's death. Even then, it couldn't be said to be wholly complete.
For Wanamaker's vision was always that both of Shakespeare's theatres should be brought back to life – an outdoor playhouse and an indoor theatre, too. It is, to some degree, a testament to the huge popular success of his plan that the public concept now of what Shakespeare's theatre was like, is the Globe: almost circular, open-air, highly decorated, with a standing pit for rowdy groundlings.
But that's only half the story. Each year from 1609 onwards, the company Shakespeare acted in, and wrote for, The King's Men, played indoors at the Blackfriars theatre across the river during the winter. His plays, being year-round popular, would have to work indoors and outdoors, but it is thought The Winter's Tale and The Tempest were written, initially and ideally, for an indoor venue.
So when Shakespeare's Globe was being rebuilt in the Nineties, they also threw up a brick structure next door that could, at a later date, when more funds were raised (the Globe does not receive subsidy), be fitted with an indoor Jacobean theatre. This is currently, finally, being realised; christened the Sam Wanamaker Playhouse, its first season opens January 2014.
The structure is based on drawings which were found in the 1960s; falling out of a book in Worcester College Oxford, they showed detailed plans of a Jacobean theatre space. It felt like a gift – but has, in fact, complicated matters somewhat… The drawings were thought to hail from the early 17th century, but at an architectural symposium held at the Globe in 2005, an art historian who had studied the documents dropped a bombshell: drawn by John Webb, they dated from 1660, and were therefore certainly not 'Shakespearean' (he shuffled off this mortal coil in 1616).
These plans were radically different to Blackfriars anyway, which we know was itself a conversion of an old medieval hall. Should they try to recreate that instead? But the outdoor brick shell was already in place – it will provide modern entrances and access to a traditional timber-framed structure built actually inside it – and this existing footprint followed the size and spec of the Webb drawings.
So it was decided that they should stick with plan A: it would not be, like the Globe, an as-close-as-possible best guess at an actual named playhouse, but instead a "Jacobean archetype", a theatre that Shakespeare and his contemporaries would, at least, have felt at home within. And it should recreate the conditions and atmosphere of playgoing in the early 17th century. The wooden space is intimate, will be rather magically lit by candles, and promises very different acoustics to the open-air Globe.
"We wouldn't have done this if it wasn't historically viable or feasible," insists Dr Farah Karim-Cooper, head of the Globe's Architecture Research Group. "We also did a lot of research into the acoustics and visual effects of Shakespeare's Blackfriars playhouse – I keep describing it as haunting the project. So we've taken elements of that space, and we've used the [1660] drawings as a spatial map."
Which was handy for Peter McCurdy, the man who built the Globe and who is now the master craftsman for the Sam Wanamaker Playhouse (SWP). While the building may have been a dream for decades, once they got the green light, funding-wise, it's all happened astonishingly quickly; McCurdy began building in his workshop last September, and moved on site in April. I was given an early look in at the start of this month, and while scaffolding was still being pivoted above our heads, you already get a good sense of the space – a 320-seater, with two levels of galleries curving round three sides of the stage and a small pit for seats in front.
It feels very intimate; the stage is about a quarter of the size of the Globe's, and some seating is right up flush to it. In Shakespeare's day, some of the Blackfriars audience even sat on stage, on stools – it was very much a 'see and be seen' place, with tickets much more expensive than the Globe's. The Shakespeare author and professor at Columbia University, James Shapiro, quips "if you wanted to impress somebody, you'd take them to Blackfriars, like date night, throwing round the money; if you were looking to pick someone up, you'd go to the Globe…". Even the cheapest tickets at the SWP will be twice the price of those at Shakespeare's Globe (£10 instead of £5).
McCurdy, an expert in historical reconstruction and traditional building methods, oversees everything from what type of wood is used (oak for the main structure; Scots pine for the seating and stage) to researching the correct shapes for the pillars and the amount of decorative painting – which is still being debated.
"It's a lot of detective work. You have to find historic precedent and models; without that you're just inventing history," says McCurdy, who spends much time researching still-standing Jacobean buildings, as well as drawings and contemporary accounts.
"It is almost experimental archeology: one is learning the process," explains McCurdy. "One has got to be careful it doesn't become a pastiche. It doesn't want to look like you've cherry-picked [Jacobean features]; it's trying to subtly bring them together so they have both harmony and integrity." All of the wood is hand-finished to give as historically accurate a look and feel as possible, although modern-day power-tools are used in the construction process for speed and affordability. Even so, the project has cost £7.5m.
The question of historical authenticity is one that previously plagued the whole Globe project. In the Seventies, Wanamaker's vision of rebuilding the first 1599 Globe was widely derided: "the concept of reconstructing the theatre seemed quite ridiculous to a lot of people in those days, and even in the 1990s there were a lot of naysayers, people who thought it was going to be destructive to Shakespeare and the history of theatre, rather than instructive – which is what it's turned out to be," says Karim-Cooper. The fear was of a "Disneyfication of Shakespeare, historicising him to such an extent that he no longer has that cultural relevance that we worship now".
Some scholars and commentators sniffily pointed out it was impossible to recreate the experience of Elizabethan theatre – there were just too many practical unknowns, and we, as audiences, are different anyway – and that to try was to ensure modern productions became mere "museum theatre". Heavens – the whole thing was even proposed by an American.
When Shakespeare's Globe finally opened, under the artistic direction of Mark Rylance, it became not just a laboratory for investigating historical stage practices (Rylance has called it "the most experimental theatre space in England"), but a huge popular success. However, there were initially still many disgruntled voices: academics for whom it wasn't accurate enough, and directors, designers and actors for whom it was too accurate. Many felt there was no room for their artistic vision in the elaborate design of the building, or felt exposed by the proximity of the standing audience, the daylight and the British weather.
Then there were critics who were snobbish about tourist audiences who laughed at the wrong places. Anyone who has seen a show at the Globe will recognise the effect the open-air space has, re-invigorating interaction between audience and actors. Rylance has suggested that unexpected comedy was "truly revealed in Shakespeare's writing by the reconstruction", but critics have not always agreed. Productions were accused of being pantomimic, or likened to football matches.
But today, the Globe is an established part of the theatrical landscape of Britain, and under the more recent directorship of Dominic Dromgoole, has also been home to new writing and international companies, as seen last year during the Cultural Olympiad. It's still not to everyone's tastes, but many scholars have found performance experiments there into Original Practices (all-male casts; traditional costume and music) illuminating, while many actors and audiences have found the immediacy of the space throws up new insights into Shakespeare (and other writers), be that unexpected laughter or moments of poignancy.
The cries of Disneyland and museum theatre have abated, then, and the new SWP has, so far, met with little resistance. "I haven't received any hate mail yet!" jokes Karim-Cooper, before adding that they are still careful to keep "very clear of the word 'authenticity' – that word was applied to us, really. As an academic, authenticity is unachievable. [But] I think, overall, reception should be fairly calm, and positive."
So what is so exciting about this new, old theatre – and will the SWP shed a different light on plays and the playgoing experience than the reconstructed Globe? McCurdy thinks so. "It's a real contrast to the Globe, even without considering daylight versus candlelight. Although the structure has similarities at the moment, by the time we've got the finishes, the lime plaster, the panelling and carving, I think it will be very, very different."
What effect it will have on performances remains to be seen; much as the construction is a process of discovery-through-doing, so practitioners, playing with plays in a new playhouse, may be surprised by what emerges. But there are a few features that are notable: the intimacy, the candlelight, the actors holding torches onstage, plus much more subtle acoustics, and therefore greater impact from music.
Would Shakespeare have written differently for these conditions? Shapiro thinks so. "Shakespeare had to write indoor-outdoor plays, playable in both. But [moving indoors] absolutely changed the kinds of plays he was writing; they had to take advantage of the music and atmospherics." He adds that having this space today is "very important", too, in helping us understand the Jacobean era. "When I started teaching I never really thought of the Blackfriars – now when I teach I'm hyper-conscious of playing space. And Jacobean is not Elizabethan; that's the main thing for me about the indoor theatre, it's going to remind us that it was quite a different set of concerns and cultural preoccupations in the early 17th century."
Karim-Cooper agrees. "When you bed [texts] into the particular space they were written for, things are unlocked. If you take The Winter's Tale, where Hermione's statue comes to life; in candlelight, it can be quite a spectacle, the way Shakespeare draws attention in that scene to looking and seeing… it's an incredibly intimate moment, and the indoor theatre brought you that much closer."
Sadly, you won't get to see that magical transformation in the SWP's opening season in January. It's ambitious in its programming: there's a co-production with The Royal Opera of Cavalli's L'Ormindo, and a new company of talented teenage actors – mimicking the Jacobean craze for 'boy players' performing satirical adult dramas – will stage John Marston's The Malcontent. But there is, oddly, no Shakespeare; in a bizarre programming move, Dromgoole begins with John Webster's Duchess of Malfi and shuns Will entirely. Very strange – although he's promised that "in time we will perform the plays of Shakespeare in there". Whether or not the company will transfer summer Globe hits into winter SWP shows, as The King's Men would have seasonally re-housed their repertory, is not yet clear.
Either way, the company at the Globe, like Shakespeare's own, now has two houses to play with. Asked what impact such reconstructed – or archetypal – theatres have, Shapiro is an enthusiastic advocate: "they do amazing things towards making you feel the immediacy and excitement of these plays when they were first staged. You learn that these plays have legs; even if you miss 10 or 20 per cent of the language, the plays carry the audience. It's quite extraordinary that these difficult plays, written 400 years ago, still work – and Shakespeare's best of all."
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Practical Explorations
Well, I'm now on vacation. I have spent the last week packing up my department. When we return in August we are moving into brand spanking new facilitates, state of the art teaching and performance studios, and we are all very excited. So many possibilities. Amongst all this I watched a truly inspired performance of Artaud's Spurt of Blood by our Theatre Arts students, more of which I will share in another post. What a week!
But enough of all that. What I want to share today is another blog Chasing The Trickster. It is written by Ashley Scott-Layton, who is an English writer-director and it charts his travels across Europe to discover more about European theatre practice (and how it differs to that of his homeland). In his own words, the blog will track my forays into the rehearsal rooms of Europe, where I hope to learn more about the exciting theatre cultures of each country.
It is a fascinating read and you can drop in and out as you wish.
By the way, the name of his blog comes from European folklore where The Trickster is a shape shifting rogue known for disobeying normal rules and conventional behaviour.
Posted in Theatre, Theatre Practice, World Theatre	| Leave a reply
Puppets For Peace
In another much more serious article, also from The Observer, David Betty writes about a group of puppeteers from Syria who are taking their work on tour in an attempt to bring about a peaceful end to the awful atrocities that are taking place there. If you click on the first image below, you can watch a short documentary made by Betty and Mona Mahmood, about the making of Top Goon: Diaries of a Little Dictator
Syrian satirists take puppet show into war-torn towns to mock Assad regime
Masasit Mati launched the online show Top Goon in 2011 to lampoon Assad. Now they're taking it to the streets
For a group of anonymous Syrian artists who have mocked Bashar al-Assad and criticised the armed resistance, it is a bold move. Masasit Mati, creators of the YouTube finger-puppet show Top Goon: Diaries of a Little Dictator, have begun to perform the satirical series live inside the war-torn country in an attempt to bolster peaceful protest and spur the revolutionary art movement.
The series, which will be shown in London next month as part of the Shubbak festival of Arab culture, caricatures Assad through the puppet Beeshu, the brutal, childish son of a dictator with a beaky nose and saucer-shaped ears. He is protected by his sinister and unquestioning henchman, The Goon, while ordinary Syrians are portrayed as brave and idealistic.
Speaking via Skype from Lebanon, the show's director, Jameel, said they decided to use puppets to protect the identities of the 10 artists involved and because their small size "was a good way of lampooning the regime that presents itself as godlike".
The episodes were filmed in Beirut, with the puppets and props smuggled out by the artists. "We disguised the puppets, especially the one of Beeshu," said Jameel. "We gave him a moustache and extra hair. Otherwise, everyone would have recognised him."
The first series, launched in autumn 2011, attracted more than 200,000 views on YouTube and was broadcast on the Dubai-based Syrian opposition channel Orient TV. But escalating violence and power blackouts shrank the domestic audience for the second and third series. So in January the group surreptitiously travelled into the rebel-held town of Manbij in the northern region of Aleppo to perform live in an arts festival organised by local activists. The town had enjoyed relative calm for a month, with no attacks or kidnappings, but on the day they arrived it was bombed by Assad's forces, leaving 12 dead and dozens more wounded.
"We were very shocked and the organisers of the festival thought it should be delayed," said Jameel. "We felt we couldn't wait another week, but we didn't want to gather people indoors in case there was another air strike. So we performed some of the episodes in the street during a protest [about the bombings]."
Top Goon draws on Assad's speeches and biased state TV coverage of the uprising to highlight and subvert the regime's propaganda.
In the episode Prostitute Media, a protester is forced to confess to being a violent criminal on an official news programme, saying: "I held an olive branch in my hand … I mean I was holding an RPG [rocket-propelled grenade], a nuclear bomb, pistols, rifles I got from al-Qaida."
The series has also been critical of the armed resistance. In the episode Monster, Beeshu tortures a protester and taunts him to take his revenge. The prisoner attacks and strangles the dictator, who then gloats: "I told you, you're a monster, just like me."
Jameel said the live performance was "also about testing out the boundaries of the new regime in the liberated areas". He added: "It's one of the regions suffering now from the temptations of the Islamists and sectarianism. We were apprehensive about how they would react to one actress – hearing the voice of a lady who was making fun of a famous singer with this kind of sexy voice. But we felt very welcomed and respected."
The group is preparing for live performances in Aleppo and the northern regions, which it hopes will support local artists. Arts committees and newspapers have been set up in rebel areas, but some have been shut down by hardline elements of the Free Syrian Army.
"There's a whole civil society that's being ignored by activists and the estern and Arab media, " said Jameel. "We're trying to come up with a concept of street theatre where we'll go to an area, put on a show, then teach the people how to make puppets and put on shows. What keeps people alive is bringing them hope."
If you want to read more you can here in The Washington Post, or here in Global Post and there is a fantastic documentary here: Little Dictator – Witness – Al Jazeera English.
Posted in Theatre, Theatre and politics, Theatre Practice, World Theatre	| Leave a reply
A couple of posts from me today. Firstly this article published in The Observer today. Written by Dayla Alberge, it is a bit of a tirade from two leading figures in the theatre world who consider that language is being mangled on stage in bid to imitate American film stars – and audiences are being let down.
Imogen Stubbs hits out at mumbling actors
Too many actors mumble their way through their lines, neither enunciating nor projecting words clearly enough for audiences to understand them, according to leading figures in theatre.
Edward Kemp, artistic director of the Royal Academy of Dramatic Art (Rada) and actress Imogen Stubbs are infuriated by the mutterers, who they believe let down playwrights and audiences. Kemp said that some directors and producers encouraged mumbling, believing that "laidback mumbling is more truthful".
Stubbs, who has appeared in scores of stage roles, including the part of Sally Bowles in Cabaret and Desdemona in Othello as well as film and television dramas, added that muttering – with its lack of variety and tonal interest – was perhaps a misguided attempt to imitate American film stars. "It was so drummed into us at drama school that 'it's unforgivable not to be clear and heard'," she said.
The problem is so serious that Kemp fears "plays of language" – including works by Shakespeare, Wilde, Coward and Pinter – could eventually become so opaque that audiences will stay away. Already, he said, "we are on a knife-edge with Restoration comedy … It's hard to find people who can teach and direct it"
Kemp and Stubbs regularly encounter stage mumblers. Kemp said: "There's usually someone [about whom] you think, 'sorry, what?'" Stubbs appeared in one production where she even found herself having to lip-read a mumbling co-star.
Although their criticisms focus on theatre, they are also irritated by mumbling in film and television, including Baz Luhrmann's The Great Gatsby. Stubbs, a Rada council member, questioned whether Luhrmann had heard of commas or full stops.
"You're just longing for it to stop and breathe. I thought the actors looked embarrassed. They were rather garbling their lines."
Kemp, also a playwright, feels that part of the problem lies in actors being encouraged to improvise scripts, delivering "something like [what's] on the page", rather than the writer's finely crafted original. "A lot of directors want you to jazz it up," he said. The demise of repertory theatres has robbed young actors of opportunities to learn the craft of using the voice, while typecasting has also taken its toll, Stubbs suggested.
"The naturalistic, mumbling acting style tends to go with people who are playing something closer to their obvious self … People who are playing against their obvious self tend to embrace the acting a bit more," added Stubbs.
While keen to acknowledge the excellence of some young actors, Stubbs senses that others are terrified of being caught sounding "like an old-fashioned actor". But she added: "Acting is playing. You are pretending. Simon Russell Beale or Alex Jennings are theatrical actors who are naturalistic. You can hear them and people love them."
Part of the problem also lies in the education system. Teenagers leave school unable to understand what they are asked to read, with no apparent relationship with language, let alone a sense of how to shape it, Kemp said. There is no longer a guarantee that even someone with an English degree from a leading university could handle this stuff, he added.
"We've had to change our training to adapt to teenagers [without] the faintest notion of basic grammar," he said. He had a first-year student with English A-level reading a Shakespeare sonnet. "It made no sense to me whatsoever. I said, 'can you just read out the nouns to me?' He had no idea what a noun was."
Rada has introduced grammar classes because of this problem. Kemp spoke of one student – an Austrian – with a finer appreciation of English grammar than a room which included at least one Oxford graduate.
Audiences are voicing frustration online. Stephen Dillane is among actors whose mumbling has irritated them.
"Dillane has been Mumbleman for years," one wrote. "I caught Dillane's Prospero at the Old Vic, like the rest of the audience couldn't hear a word and was bitterly disappointed," wrote another. "I still went along to see him at the Almeida in Masterbuilder but again, he was in a world of his own, totally pre-occupied with his own performance – absolutely no connection with the audience and worse, giving nothing to his fellow actors."
Older actors draw on the subtleties of pitch, timbre and tempo – crucial for big spaces, yet they have "gone out of the culture", Kemp said, with today's actors relying on volume. "You can't stress through volume, you have to stress through other things … I don't always struggle to hear, but I do often struggle to understand. There's the audibility thing and there's the connection thing."
Of course, every actor mutters sometimes, and Stubbs joked that her criticism could come back to haunt her.
Posted in Theatre, Theatre Practice, Theatre Production, Uncategorized	| Leave a reply
Singing Sweetly?
The crazy nature of the end of the academic year has kept me away from here for a couple of weeks; so much to do and so little time to do it in. I've got a backlog of things to post and will get going once term is over. However, I thought I would share this article with you that was published in The Independent a few days ago. It is written by playwright and dramaturge, James Graham and talks about his adaptation of Tennessee Williams' play Sweet Bird of Youth.
Sweet Bird of Youth: A journey in search of Tennessee
Sweet Bird of Youth was torment for its author to write, and in adapting it James Graham had to confront his own fears of ageing
My confession is that I'd never read, seen or barely heard of Sweet Bird of Youth before the director Marianne Elliott introduced me to it. Possibly you haven't either. For many it's the blind spot in an otherwise familiar catalogue by that genius American playwright. It has something of a reputation for being… well, a "bit of a problem". It's a gruelling challenge to produce, certainly. But having been on this journey for the Old Vic's new production of the play, I firmly believe it's a valuable one. And, as a playwright used to writing original work (my latest This House just ended its run at the National Theatre), the notion of dramaturging someone else's play – whereby an existing text is analysed and edited – was unknown territory for me.
This is without doubt Tennessee's most personal piece. His life's turmoils are blazoned throughout it – the loneliness, regrets, the self-loathing and self-doubt. It is a day in the life of Chance Wayne, who used to be "the best-looking boy in town", returning to St Cloud at the age of 29 – not old, but not young-young any more – to get the girl. But there is violence in the air, accompanying the prodigal son's return…
What I hadn't expected was not just how the themes of this neglected masterpiece would grow to haunt me as a young(ish) man, but how much my journey in search of Tennessee, and the discovery of how much this one tortured him – really, truly, tortured him – would affect me as a playwright.
So why does Sweet Bird of Youth need someone to dramaturg it? First, I hope it goes without saying how presumptuous and unworthy I felt and still feel, fiddling and faffing at the altar of a master and one of my heroes. The reason we felt justified in our quest is because Tennessee himself confessed that this play eluded him. He spent nearly two decades writing and rewriting, long after productions had opened and closed, long after film adaptations and printed texts appeared. There are an eye-watering numbers of performable versions. In some of them characters survive, in others, they don't. Endings are sometimes hopeful, in others gruesomely tragic. Most theatres will pick one version and do that one. Not good enough said Marianne and the producers at the Old Vic. So we set off on an adventure to pull together all the strongest elements of all the drafts of all the versions in order to create the very thing that Tennessee failed to find himself – the perfect version of Sweet Bird of Youth. If such a thing is possible…
And to avoid any hubris, it obviously isn't. Art is too subjective a thing for there to be a "best" or "perfect" type of anything. All I could hope to do was compile the version that made most sense to me. And to do that, I had to work out what Tennessee's obsessions and motivations were when writing it and refusing to let go. And to find that out, I had to go to Texas. This is the world of Williams – all Southern Belles and raw masculinity; hot nights and tequila and piano music in the dusty streets.
My first thought as I pulled up a chair in the reading room of the Harry Ransom Center in Austin was an odd sort of sadness at the realisation that I and my contemporary playwrights hardly write anything down any more, physically on paper. Any future collection of my own humble dramatic efforts will be assembled entirely on a USB stick. Where's the romance in that?
Thank God Tennessee was writing in a different age, where his typed manuscripts still bore the coffee stains and the yellowing of cigarette smoke. Where his actual, real-life handwriting adorned the pages (I got far too excited by this).
It's funny how, when playwright meets playwright, the first thing we often want to talk about is not the themes of our work, or style or form or all that arty stuff. It's what font we type in. Do we double space? Final Draft or Microsoft Word? Get up early or stay up late? The process. Well here was a window into Tennessee's. He wrote Sweet Bird hopping from hotel to hotel along the gulf coast – very much the world of the play. I know this because he typed his draft on the hotels' own stationery, with their logos inscribed upon them. Names like "The St Charles, New Orleans" or "The Robert Clay, Miami". It made it possible to track his progress through the States and through the play. As though he were chasing it back to his own troubled past in the South. Or running from something in his present, perhaps.
It was seeing comparatively mundane aspects of playwriting that excited me – like watching him search for character names (which always feels overly important – I'm sure my contemporaries will agree). He got more confident and romantic. Valerie becomes the much more quixotic Heavenly. Phil Beam becomes the more screen idol-sounding Chance Wayne. As Kim Cattrall, who plays the Princess, also known as Alexandra Del Lago, in our show, observed in rehearsal to me: once our hero was given that name, his tragic fate was sealed.
Names are important.
Punctuation is also important. It was a thrill to work out Tennessee's code – how his ellipsis (…) would differ in meaning to a dash (–) in ways that are different from my own. These are a writer's tools (I've recently discovered the joy of the semicolon in expressing the intended rhythms of my sentences). In building my own draft, it felt like slipping on someone else's tool belt. It wasn't mine, but it fitted.
And so what are the results? Well, I encourage you to come and see. My commitment from the beginning, in uniting the different narrative strands, was to return the play to Chance Wayne. Possibly this is because his dilemmas resonate so strongly with my own. He is 29 years old, and so was I when I began, obsessing irrationally about age in that hinterland between youth and middle age. He is beginning to panic about the choices he has made, which render him unsettled when friends back home have grown roots. He is a self-destructive character, standing in the way of his own happiness in relationships and life due to his insecurities and flaws. He is paralysed by the unstoppable passage of time, and his inability to reconcile past bad behaviour. Ditto, ditto, and so on. And it's this raw pain that I have tried to bring to the fore, amid all the poetry and romance that is standard Tennessee. Everything that hurts about the human condition is here. Tennessee once described this writing period as the toughest of his life. He looked himself straight in the mirror and asked hard, ugly questions about what he saw. I think it only right we don't shy away from that here.
That's not to say it isn't funny. Because life is funny, even when it hurts. That's not to say there isn't humanity, and hope. There is hope simply in the writing of, and telling of, and in our case retelling of, these stories. Because in getting together in theatres and looking at who we are and what we do, there must always be hope that we can save ourselves.
But does Chance save himself? Well, that would be to give away our ending…
Posted in Theatre, Theatre History, Theatre Practice, World Theatre	| 1 Reply
Silent Listening
Posted on June 2, 2013 by Theatre Room Asia
Following on from my post about mime a few days ago, I have found audio interviews with the some of the performers I mentioned, courtesy of Exeunt Magazine.
Firstly from UK-based theatre company Stan's Cafe (pronounced 'caff') on their latest production The Cardinals, 'a chaotic and jubilant romp through key Bible stories, the Crusades, and with a final gesture towards Israel/Palestine's current turbulence'. Graeme Rose, Gerard Bell and Craig Stephens, and director James Yarker, discuss the show with host Dorothy Max Prior:
https://ibreadingroomasianedition.files.wordpress.com/2013/06/stans-cafe.mp3
And secondly, Phil Soltanoff discusses the revival of his piece Plan B, a collaboration with Aurélien Bory's Compagne 111 (of Sans Objet in my previous post), celebrating its tenth anniversary as part of the London International Mime Festival. With Dick McCaw, he explores issues surrounding circus, authorship, visual dramaturgy and geometry onstage:
https://ibreadingroomasianedition.files.wordpress.com/2013/06/c111-post-show.mp3
And finally one I didn't mention, but would like to share is, Letter's End, by theatre clown Wolfe Bowart of whom it is said
combines the pensive humour of French physical theatre with the slapstick of Charlie Chaplin, [and] with the aid of an array of marvellously inventive props and surprises
In this discussion, hosted by Dick McCaw, Bowart discusses trade secrets, the nature of the clown, and his 99-year-old grandmother-in-law's take on his work:
https://ibreadingroomasianedition.files.wordpress.com/2013/06/wolfe-bowart.mp3
Posted in Multimedia Performance, Theatre, Theatre Practice, World Theatre	| Leave a reply
24 Hours In Theatre
When I saw this tweet this week I was intrigued. I wrote about Not I recently but a play that lasts 12 hours? I got researching. It is the first time I have heard of the Nature Theater of Oklahoma and their work, Life and Times. I started to read the reviews for the show (which is not yet finished – it will be 24 hours long when it is complete) and they were uniformly rapturous – usually getting 5 stars – The New York Times, The New Yorker, The Telegraph – and so on. So what is it all about?
Well essentially it is a suburban American life story told in 10 episodes (1 to 5 have been completed so far). It is the brainchild of Kelly Copper and Pavol Liska, the team behind the Nature Theater of Oklahoma, which has been gathering kudos, commissions and cultural awards all over the world. They specialise in collecting the raw material of life, its conversations and events, and conveying them straight to the stage. Verbatim theatre in its essence
Sixteen hours of telephone conversations will eventually form 10 episodes to make 24 hours encompassing the whole of a young life. The chats used as raw material for the piece are all collected from Kristin Worrall, a performer and musician who works with the company and were promoted by the question, Can you tell me your life story? You can read about the whole, totally fascinating process here in an article entitled 'Theatre is awkward, weird and dirty': Nature Theatre of Oklahoma head this way.
There is some more great information here.
Caden Manson wrote on the Contemporary Performance Network
The Life and Times draws its source from the minutely detailed narrative that Kristin Worrall, a member of the Nature Theater of Oklahoma, transmitted by phone to Kelly Copper and Pavol Liška. For 16 hours, this 34-year-old American answered their questions, recounting her very ordinary life, from the cradle to the present day to them. From birth to the age of seven, then from eight to 14, from the most trivial to the most striking memories, episodes 1 and 2 probes her childhood and early adolescence in a cosy American suburb.
It is the period for first times, first emotions, first pain, first rebellion: the period in which molehills seem like mountains. This daily life obviously has something to tell us. We share it in one way or another. It concerns us but, the victims of habit, we no longer see it. Kelly Copper and Pavol Liška's idea consists in fact in giving this banality a literary, aesthetic and emotional value: the phone conversation was therefore transcribed word for word, without any cuts or corrections, including the "huhs" and "ums", the "you knows" as well as digressions, slips of the tongue and pat expressions. Set to music and sung in the image of a musical, rigorously choreographed following a totally Soviet inspiration, the conversation turns out to be a genuine dramatic chronicle. Funny, intelligent, fetishist, hypnotic through their repetitive loops, the first two episodes of Life and Times, among the 10 that the cycle will have, which can be seen consecutively or separately, have the virtue of establishing an almost inseparable relationship between the actors and the spectators. Anyone can become dependent on them, in the same way as we can become dependent on an American TV series that goes into the thousand and one details of daily life. But here we also discover all the magic of theatre: regulated with virtuosity, the acting of the fabulous actor-singers constantly challenges the spectators who identify with this bittersweet apprenticeship of life.
Posted in Theatre, Theatre Practice	| Leave a reply
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text:
module M where

import Control.Monad.Primitive
import qualified Data.Vector.Unboxed.Mutable as V
import System.IO.Unsafe (unsafePerformIO)

foo :: ()
foo = unsafePerformIO $ do
    _ <- V.replicate 1 0.0 :: IO (V.MVector RealWorld Double)
    return ()

redpajama_set_name: RedPajamaGithub


A power shut-off is scheduled to allow HELCO crews to upgrade electrical facilities on North & South Kulani Roads at Hwy 11. We recommend that refrigerators and freezers be opened only when absolutely necessary. If refrigeration or medical needs are critical, other arrangements should be made.
Big Island police are asking for the public's help in identifying the person or persons responsible for the theft of two saddles in Honokaʻa. The brown Hawaiian Tree saddles were removed from a home on Kapuna Road sometime between March 1 and June 7.
Big Island police are asking for the public's help in identifying the person or persons responsible for a Hilo burglary in February. A black Honda 110 cc dirt bike and a Suzuki 50 cc quad all-terrain vehicle were stolen from a home on Kaiwiki Road on February 13.
About 18,000 GRIGRI 2 belay devices in the United States and about 2,000 in Canada are recalled. Excessive force on the handle can cause it to become stuck in the open position. When stuck open, the assisted braking function is disabled, posing a fall hazard to consumers.


I think that's plumbago (leadwort). We have it cascading over a rock wall and its cobalt blue is, indeed, one of the glories of the season.
Ah, beautiful flower, and thanks to Vicki Lane we know its name.
Wonderful! And you so rarely see a truly blue flower--so when you do, it's sublime.
One guess Merisi......which is my favorite flower?????
I wonder why we call them "the blues" when they make me so happy?
Ah, very refreshing! I love your take on fall.
My eyes are just overflowing with the beautiful blues and creams in these posts. I don't know enough about photography to understand your skill, but it is clear.
I like your gentle gaze. I really like the way you invoke Renoir. Exactly right.
Flowers set with lapis lazuli.
Beautiful blue - the blue I paint with - ultramarine blue.
Wonder who the Strudlhof children are who you dedicated it to?
The Strudlhof children are my own four.
I read Heimito von Doderer's novel "Die Strudlhofstiege" ("The Strudlhof Steps") long before I ever visited Vienna and through this novel those steps somehow acquired a great importance in my image of this city. Life being stranger than fiction, these steps and my children are closely connected, ever since they moved here (I leave it at this hint for privacy reasons).
Every time I walk down those steps, I feel at home, if one may say so.
There was just this little batch where a few sunrays alighted on the newly planted flowers (the stairs have undergone a yearlong rennovation).
Thank you for answering the question about the flower's name so quickly!
Interestingly, Google brought forth a series of flower images that seemed to be different from the one in my picture.
a low growing groundcover that blooms from late summer until frost, its green foliage will turn a reddish bronze in late autumn.
I am looking forward to see these flowers grow and change with the season!
According to Herr Dipl.Ing Retter, there is a ceremony going on as I am writing, officially reopening the Strudlhof Steps after a successful restoration!
I especially like the little frieze of cumulus in the lower picture.
That blue flower is stunning.
Beautiful flower for a beautiful blue sky.
Ah but Winter is coming soon. My local Waltmart is starting to put the Christmas stuff. Then, if all goes right on Friday. I might be photographing a little snow.
Blue is the perfect color for fall...thanks for telling me!
so brave too, blooming into late autumn!
I hope you do not get too much rain!
yes, the were in perfect symmetry!
oh yes! You wouldn't want to know what I see looking out my window right now!
thank you for this beautiful description, something to remember them by, those exquisite days of true autumn blues!
Now I know and I hope my next destination will be Vienna !


CLEARMONT — The Clearmont Branch Library will host the program "Cowboy Tales on the Eaton Trail in Yellowstone" by author Don DeJarnett March 20 at 4 p.m.
DeJarnett also spent some time as an Eaton cowboy and his program will "travel" through today's Yellowstone, following as closely as possible Eaton's trail, and "camping" in the same spots where Eaton and his guests spent their nights.
DeJarnett will share a wonderful collection of stories about Eaton's adventures, along with tales of the early days in the park, historic characters and their exploits.
DeJarnett was born and raised in Big Horn.
He worked for Eatons' Ranch and attended Sheridan College. After college, he worked for The Sheridan Press, the Cody Enterprise and The Billings Gazette.
The call of the cowboy became so strong that he began making saddles, opened his own saddle shop and stayed on the edge of the cowboy life for 35 years.
The Clearmont Branch Library is located at 1254 Front St.


Does your son or daughter have a big test or quiz coming up? If so, you can find lots of online math pre-tests available for the grade level and math topic you need. Keep reading for details!
Many parents are anxious about how their children will perform on high-stakes math tests. If you fall into this group, giving your child an online pre-test can be a great way to get a sense of how he or she measures up to the standards. Even better, you can use the test results to identify the areas where your child is struggling and get him or her up to speed before test day.
To get standards-based online practice tests, visit your state's the department of education website. Most states have a section on their websites devoted to testing, and it usually includes practice tests and answer keys categorized by subject and grade level. Some states even offer tests from the past several years, so your child can take multiple pre-tests.
Most of these tests are in PDF format, so you can download and print them for your child. If you don't have access to a printer, just have your child read the questions directly from the computer screen and write the answers on a separate sheet of paper. Then, you can score the test and go over the correct answers with your child.
Online pre-tests can also be an effective way to help your child prepare for an upcoming math exam or quiz. However, you can search the Internet for tests, worksheets that specifically cover the topic your child needs to study.
Searching for resources online can be overwhelming due to the huge quantity of content that's available, so you should get a clear idea of what your child will be tested on before you start your search. For instance, simply knowing your 8th grader has a geometry test coming up probably won't be enough.
First, you'll need to know the scope of the test. Is it just over a specific skill, like calculating the volume of a cylinder, or will it cover a whole chapter or unit, like finding the volumes of three-dimensional shapes? If it's just a quiz on a certain skill, you can use that information to target your search; however, if the test covers a whole unit, it's unlikely you'll find a free online pre-test that closely matches the content of your child's test. It may be easier to search for separate online worksheets covering each specific topic (like volume of a cylinder, volume of a cone, etc.) and create a pre-test using questions you select from each worksheet.


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text:
Three Rivers Home Latest News Front & Center Calendar
Th3 La$t M$G
Distracted driving has consequences by Jeanni Brosius | January 22, 2012 at 3:39 a.m.
MOUNTAIN VIEW — Many car accidents are caused by drivers who are distracted. Whether distracted by using a cellphone, eating lunch or handing a passenger a soda, if the driver's attention is taken from the road for only a few seconds, a deadly crash can occur.
"It's mostly from cellphone use," Mountain View Police Department patrolman Donald Crispell said. "It's the No. 1 killer of teenagers when it comes to driving, especially with all the smartphones out there."
But he also added that anything can distract a driver, even turning to talk to a passenger.
"They don't think it will happen to them," Crispell said.
And he wants to change that mentality by having the first program in Arkansas to actually simulate what could happen in a situation where the driver is distracted.
"I want to open their eyes to how easy it is to not be in control when they think they are," he said.
With a new program called Th3 La$t M$G, the Mountain View Police Department, the Stone County Office of Emergency Management and the Mountain View Environmental and Spatial Technologies program are collaborating to make Arkansans aware of the dangers of distracted driving.
The odd spelling of The Last MSG is intentional. The idea of the EAST students is that the dollar symbols represent the costly effect of having an accident. The rest is just texting lingo.
A Virtual Driver Interactive trainer will be purchased and be in place in March for demonstrations. The trainer is a simulator that mimics the consequences of distracted driving, Crispell said.
"The system will be housed in a trailer," Crispell said about the portable system, which will be taken to schools and communities throughout the state.
He said the way it works is that a person sits behind the wheel in the simulator, which has the same feel as a real car, and there are various scenarios that are based on the driver's actions and the severity of the mock accident, if there is one. The simulator is not a gaming system, and it has actual and functioning components that a car has.
"Using your cellphone to text a number it gives you, it texts a conversation back to you," he said. "It'll show you every driving mistake you made. It also has a built-in DWI simulator."
When Crispell was putting together the plan for The La$t M$G, he approached students in the Mountain View EAST program to help out. The EAST Initiative focuses on student-driven services that can be provided to their communities through the use of the latest technology.
After hearing his pitch, Crispell said the students were eager to help. In addition to coming up with the name for the program, the students are developing a video detailing the program and the consequences of a driver's actions.
Because the distracted-driver program will cost around $25,000 to get started, Crispell said he is looking for grants and corporate sponsorship.
"Distracted driving is a major concern and the No. 1 killer among teenage drivers," Mountain View Police Chief Steve Brondhaver wrote in a grant application letter. "We feel this type of program could greatly reduce the amount of cellphone usage by not only teenage drivers but adults as well. Our officers are passionate about the job that they do and are willing to put this program on without pay."
Staff writer Jeanni Brosius can be reached at (501) 244-4307 or jbrosius@arkansasonline.com.
Mountain View Police Department patrolman Donald Crispell provided the statistics below from his research and experience on distracted driving.
• At any given time, someone is texting, and it's estimated that 110.4 billion text messages are sent monthly.
• Four out of five drivers drive while distracted.
• Six percent of traffic accidents — which equals 636,000 crashes, 33,000 injuries, 12,000 serious injuries and 6,000 deaths — are preventable.
• When a teenager is texting and driving, he spends about 10 percent of time outside the proper lane.
• Distracted driving can make a teen's reactions as slow as that of a 70-year-old driver, or of a person with a blood-alcohol concentration of .08 percent.
Three Rivers, Pages 115 on 01/22/2012
Print Headline: Th3 La$t M$G
TR RVO HS Baseball Softball 2020
All Arkansas Preps 2020
trnews@arkansasonline.com
Terry Cody
tcody@arkansasonline.com

redpajama_set_name: RedPajamaCommonCrawl


One of the primary functions performed by JBossESB is the routing of messages between services. (Remember that, on an ESB, everything is either a message or a service.) The messages that JBoss ESB handles conform to org.jboss.soa.esb.message.Message. Service endpoints that can process messages in this format are described as being "ESB-aware." This is all well and good for services and applications that were designed and written with this message format in mind, but what about other services, including legacy applications, that communicate through other non-ESB aware data formats?
JBossESB handles connecting services that communicate in non-ESB aware message formats through its gateway listeners. These listeners route incoming messages from outside the ESB to ESB services. The ESB's set of gateway listeners (generally referred to as "gateways") support a variety of message formats such as files, FTP, and JMS. These gateways accept messages in a non-ESB aware format onto the ESB and then convert them (actually, they wrap the message payload) into ESB-aware messages before sending them to their service's action pipeline.
Line 1: Service name and category are used to differentiate the services. Every service has a category and name attribute. JBossESB uses these attributes to register a service's listeners (gateway listeners or ESB-aware listeners) endpoints in a service registry. The InVM transport enables services to communicate using the same JVM and without having to go through a second non-gateway provider. This makes things more efficient as the services don't have use any networking protocols between JVM instances. The "GLOBAL" value indicates that the this service can be invoked using the InVM transport using the same JVM.
Line 3: Here's the definition of the http gateway.
Line 5: Remember that since the gateway is servlet based, it requires a request/response message exchange pattern (or "mep" for short).
Line 6: And, here's where the pipeline of actions would be defined.
Simple, right? Before we move on, did you notice what's not here? Dude, where's my service provider?
The host and port number come from the ESB server. The "<.esbname>" token is the actual name of the deployed .esb archive, minus the .esb extension. Note that while this string is an HTTP URL, it's also an endpoint. The prefix of "http" is actually a namespace that is used for all the http-gateway endpoints.
The http-gateway uses this property to determine whether the request payload should be decoded into a Java String before it's given to the service, or if the payload should stay as a Byte array, and have the Service perform the decoding itself in an action. The http-gateway can also over-ride the default MIME type with the "payloadAs" attribute. This attribute enables you to have the gateway treat the payload as either "BYTES" or "STRING." For text payloads, the gateway uses the same character encoding from the request.
What about the other information in the incoming HTTP request?
Let's switch gears now and look at a more extensive example.
This "global" section is new with the http-gateway in JBossESB 4.7. Like the comment says, this defines the global security setting for all the http and EBWS providers in this application. The other supported settings for the war-security method are: DIGEST  and CLIENT-CERT.
Line 2: Here's where the http-bus definition starts. Note the name chosen for the busid ("secureFriends"). We'll reference this in the definition of the http-gateway in a moment.
Line 5: The set of allowed roles starts here.
Line 14: Here's another global (global to the http-provider, that is) definition. We'll come back to the exception mappingsFile in a bit. This definition enables you to define status codes to be returned for exceptions.
Line 1: The service definition begins here. Note the "GLOBAL InVM scope that we talked about earlier.
Line 5: The http-gateway definition is here. Note the reference to the busidref that we defined in the http-bus. Also note the urlPattern. We'll use this pattern when we run the quickstart.
Line 6: The message exchange pattern (mep) is RequestResponse as, remember we're dealing with HTTP.
Line 7: Our customer action. This class prints out informatin from the request.
OK - let's run the quickstart and see the results.
For the sake of illustration, we'll use the lynx (text) browser.
30:  Caused by: org.jboss.soa.esb.samples.quickstart.httpgateway.MyActionException: MyActionException!!!!
Line 5: This is where the asynchronous response definition starts. Note that the return code is 202.
Line 6: And. we're also able to specify a file, the contents of which will be returned as a static payload in the response along with the return code.
5:   configue a http gateway to pass the http request into ESB service.
11:   and a more detailed descripton of the different ways to run the quickstarts.
15:   1. In a command terminal window in this folder ("Window1"), type 'ant deploy'.
22:       in your JBoss ESB/App Server.
25:       to any bus and so simply uses the "default" http bus.
29:       mappings defined globally on the <http-provider>.
33:       on the <http-provider> to return a 503 (Service Unavailable) status for the "MyActionException" exception.
36:       payload of this readme.txt.
40:       to the gateway. The service should respond successfully this time!!
41:   3. In this folder ("Window1"), type 'ant undeploy'.
Line 7: And, here's the exception that we'll throw, with a return status code of 401.
2:  HTTP: Access authorization required.
3:      Use the -auth=id:pw parameter.
8:  HTTP request sent; waiting for response.
Now, we could just provide login credentials manually through the browser UI, but we want our client code to be able to do this programatically. The answer to avoiding this exception, is ot have request that we send has to include login credentials. The quickstart's build.xml file provides an ant target to do this for you by invoking the JBossESB HttpRouter action (org.jboss.soa.esb.actions.routing.http.HttpRouter). This action is one of the JBossESB's large set of "out-of-the-box" actions.
The JBossESB's new http-gateway provides great flexibility in integrating HTTP applications across the ESB. The http_gateway quickstart illustrates some of this flexibility, and, incidentally, shows just how much you can do without writing a lot of custom code. Did you notice while eading this post, that we didn't have to write support routines to handle authentication, exception handling, and dealing with URL patterns? The http-gateway and the JBossESB did the heavy lifting for us.
Thanks to the JBossESB community and its contributors (see http://anonsvn.jboss.org/repos/labs/labs/jbossesb/trunk/Contributors.txt) - and to Kevin Conner for his timely review comments!


text:
Economic Impact Report Shows Tourism a Steady Producer for Mississippi
Jackson, Mississippi — March 23, 2017— Travel and tourism continue to have a consistent, positive impact on the state, the new 2016 Visit Mississippi Economic Impact Report reveals.
"Tourism plays a tremendous role in Mississippi's economy," said Governor Phil Bryant. "Our state's wealth of unique sights, sounds, tastes and experiences attracted an estimated 23 million visitors last year, contributing to $6.3 billion spent in the state and generating $395.1 million for the state's General Fund."
The travel and tourism industry provides a reliable source of revenue for Mississippi. Over the past decade, contributions to the General Fund from travel and tourism averaged $385.8 million per year. The FY 2016 amount, which accounts for 7.4 percent of the total General Fund, is a 2.4 percent increase over the ten-year average and a 2.3 percent increase over FY 2015.
Estimated direct employment in travel and tourism reached an 11-year high of 86,600 in FY 2016, a sign of steady growth over post-Katrina and Great Recession-era lows. The total number employed in the industry is also higher than the 20-year average.
"Nearly 98 percent of people working in travel and tourism in Mississippi are employed in the private sector," said MDA Executive Director Glenn McCullough, Jr. "Without travel and tourism, Mississippi would lose more than 124,000 direct and indirect jobs. This is a vital component to our economic health that cannot be outsourced."
Mississippi hosted approximately 23 million total visitors for overnight and day trips in FY 2016, including domestic leisure, business, group and international travel, up 3 percent over FY 2015 and slightly higher than the average 22 million visitors per year during a 20-year period from 1997 to 2016. Out-of-state visitors to Mississippi spent an estimated $4.8 billion in FY 2016, making up more than three-quarters of total travel and tourism revenue.
"When visitors dine in our restaurants, stay overnight and play at our golf courses and casinos, they experience genuine hospitality," said Visit Mississippi Director Craig Ray.
Economic areas bolstered by travel and tourism include lodging, retail, attractions, gaming, outdoor recreation and transportation such as air and rail, among others cited in the report.


text:
https://www.myjoyonline.com/gusa-games-grace-obour-steals-show-on-athletics-day-2/-------https://www.myjoyonline.com/gusa-games-grace-obour-steals-show-on-athletics-day-2/
GUSA Games: Grace Obour steals show on Athletics Day 2
10 January 2020 1:40am
University of Ghana's Grace Obour stole the show on Day 2 of Athletics at the ongoing GUSA games as she emerged the winner of women's 400m race by setting a new record.
Grace Obour powered through the finish line to win gold with a time of 53.07s, breaking the record set last year by University for Development Studies' Rafiatu Nuhu at the Mini GUSA held in Tamale.
The bronze medalist at the 2019 African Games was unstoppable as she galloped, leading the pack from start to finish with her closest competitor being former champion Rafiatu Nuhu.
Although Rafiatu Nuhu finished the race in second place, it was an improvement of the 53.30s record she set last year.
Finishing third in the race was Aduntira Grace who is also from UDS.
In the men's event, the 46.75s record set by George Effah five years ago still stands as University of Education Winneba's Owusu Gad crossed the line first to take gold.
Owusu ran a strong race despite being a bit behind his fellow racers at the start but gallantly pulled ahead at the end with Addo Frank of UDS and Abdulai Razak of University of Cape Coast coming in second and third respectively to bring an end to the 400-meter event.
Ali Latifa of University of Cape Coast clinched gold in the women's 200m race. She finished the race in a time of 24.1 seconds.
University for Development Studies' Kate Agyemang, who bagged gold in the 100m race, settled for bronze while Rafiatu Nuhu took silver.
Sarah Koomson, also from University for Development Studies won gold in the women's 5000m. It was an impressive performance on her part as she deservedly won the medal.
University of Education's Mary Dotso and Janet Asraa representing University of Energy and Natural Resources finished second and third respectively.
Also on Thursday, University of Education, Winneba proved too strong as they picked up gold in the men's 4X400m. University for Development Studies won the women's division.
University for Development Studies won another gold, this time in men's javelin thanks to Kingsley Darko Aning.
Grace Obour
GUSA
Government should commit more resources to University Sports – GUSA President
KNUST ready to host 27th GUSA Games
2020 Tokyo Olympics: GUSA asks for government investment in university sports
GUSA beef up security after attack on referee by students
You can't transform basic education if you keep cutting budget for the sector – Eduwatch Executive Director


Consumer confidence in the US rose 1.5 points to 52.5 versus the consensus of 51.0. Prior numbers have been revised from 46.0 to 46.4.
The Consumer Confidence Survey® is based on a representative sample of 5,000 U.S. households. The monthly survey is conducted for The Conference Board by TNS. TNS is the world's largest custom research company. The cutoff date for March's preliminary results was March 23rd.
Consumers' assessment of current-day conditions was less negative in March. Those claiming conditions are "bad" decreased to 42.8 per cent from 45.1 per cent, while those claiming business conditions are "good" increased to 8.6 per cent from 6.8 per cent. Consumers' assessment of the labour market was also less pessimistic. Those saying jobs are "hard to get" declined to 45.8 per cent from 47.3 per cent, while those saying jobs are "plentiful" increased to 4.4 per cent from 4.0 per cent.
Consumers' short-term outlook improved in March. Those anticipating conditions will worsen over the next six months declined to 13.9 per cent from 15.9 per cent, while those anticipating an improvement increased to 18.3 per cent from 16.1 per cent.
Regarding the outlook for the labour market, the percentage of consumers expecting fewer jobs in the months ahead decreased to 21.6 per cent from 24.7 per cent. Those anticipating more jobs will become available increased to 14.6 per cent from 13.2 per cent. The proportion of consumers anticipating an increase in their incomes improved to 10.5 per cent from 10.1 per cent.


text:
Q: Help with VF page RemoteAction getting a List into a Set for update on SObject I have custom VF page styled with JS.
The list of Ids is passed from the VF page based on what the user selects. The List is converted to a Set and The Service method should take the incoming Ids and set the custom field status__c to cancelled.
Should I be using Set(listToCopy)? I'm still learning the ropes of SF and would appreciate any help. I'm sure that pr.getParameters().put('id', classId); is not what I want to use but I'm at a loss. Thanks!
Controller
@RemoteAction
public static StudentScheduleController.ScheduleResponse withdrawClass(List<Id> classId) {
    // Verify inputs

    // Send to service
    try {
        ClassService.removeClasses(new List<Id>(classId));
        PageReference pr = Page.ClassDetail;
        pr.getParameters().put('id', classId);
        return new StudentScheduleController.ScheduleResponse(true, 'Done', pr.getUrl());
    } catch(Exception e) {
        return new StudentScheduleController.ScheduleResponse(false, 'An error occurred while saving grade', null);
    }
}

Service
public without sharing class ClassService {
public static void removeClasses(List<Id> classIds) {
        // create list of ACI's to change status to canceled
        try{
            List<Student_Classes__c> classes = new List<Student_Classes__c>();
            for(Id classId: classIds) {
                classes.add(new Student_Classes__c(Id = classId, Status__c = 'Cancelled'));
            }
            update classes;

        } catch(Exception e) {
            System.debug('An unexpected error has occurred: ' + e.getMessage());
            throw new ApplicationServiceException('Error occurred withdrawing from a class');
        }
    }
}

Payload
public with sharing class StudentScheduleController {
public class ScheduleResponse {
        public Boolean status;
        public String message;
        public Object payload;

        public ScheduleResponse(Boolean status, String message, Object payload) {
            this.status = status;
            this.message = message;
            this.payload = payload;
        }
    }
}

A: What I understood is that you want to pass list of Ids to remote action method and convert that list to set.
you can convert as
set<Id> setIds = new set<Id>();
setids.addAll();

But I am not sure what you want to do with PageReference etc, can you please add your issue in more details.

redpajama_set_name: RedPajamaStackExchange


Not exactly new to the market, but with a style, sound, feel and quality that's sure to raise an eyebrow or two, the Elvin Jones snare is about as jazz specific as you can get. They say that Jones requested a snare drum that would cover everything from intricate brushwork to dynamic rolls. The result was a 14X7in, all maple 7-ply shell, fitted with vintage wood hoops, small gold lugs and finished in 'Gold Sparkle' – to complement the hardware. Fitted with a standard Yamaha coated head, this extraordinary drum has a unique dynamic and timbric quality that will warm the cockles of even the most discerning skin skimmer. Give it a road test – and be amazed.


text:
Hermano João "Nano" da Silva Ramos, född 7 december 1925 i Paris, är en fransk/brasiliansk racerförare.

F1-karriär

|}

Noter

Källor

Externa länkar
Biografi på 8w.forix.com

Brasilianska racerförare
Brasilianska Formel 1-förare
Födda 1925
Män
Levande personer

redpajama_set_name: RedPajamaWikipedia


At TrussCo, we endeavour to help animals in need and to educate the community with primary veterinary care, including vaccinations, sterilisations, as well as primary wound care with the assistance of the local state vet.
Pet and animals owners from these communities are provided with on-going education with regards responsible pet ownership, improving the lives of their animals as well as ensuring an empowered community and children who may one day own their own animals.
We make use of pallets and roof covering to make dog kennels for the people who cannot afford to buy them. Ladybrand is known for cold winters of below zero temperatures and we try to provide comfort to the animals that are left to sleep outdoors.
Volunteers, supporters and donors help us immensely in these endeavours to create a sustainable, responsible, knowledgeable and caring environment for animals.
Happy Children at Yeshua PreSchool.


With a stay at Beacon Inn at Sidney B&B, you'll be centrally located in Sidney, within a 15-minute drive of Swartz Bay Ferry Terminal and Sidney Museum and Archives. This bed & breakfast is 9.6 mi (15.4 km) from Butchart Gardens and 0.3 mi (0.4 km) from Sidney-Washington State Ferry Terminal.
Treat yourself to a stay in one of the 9 individually decorated guestrooms, featuring fireplaces and flat-screen televisions. Complimentary wireless Internet access keeps you connected, and cable programming is available for your entertainment. Conveniences include desks and irons/ironing boards.


Sprawling dramatically across nine acres of land, high on it's rocky perch above the Northumberland coastline, Bamburgh is one of the largest inhabited castles in the Country. It is also in my opinion the most impressive, both in size and location. It sits some 45 metres above sea level on a natural plateau of volcanic dolerite.
The first written reference to a Castle here is 547AD and the Vikings destroyed the original fortification in 993AD. The oldest part of structure that can be seen now (the Keep) was built in 1164AD with stones quarried from nearby North Sunderland that were transported on horseback and by man power. The keep was built with the intention of being impenetrable, with the walls being some 3 - 4 metres thick.
The story of Grace Darling has become famous throughout the world and even inspired the song 'Amazing Grace'. It all started in a small Cottage in the Village of Bamburgh, where Grace was born in her grandfathers house on the 24th November 1814, the daughter of a lighthouse keeper. In 1826, as a young girl Grace and her family moved to the newly built Longstone Lighthouse on the nearby Farne Islands, about 3 miles off the Northumberland Coast. The family lived a self sufficient life on the Farne's tending to both crops and cattle on the nearby island of Brownsman.
It was for her actions during an exceptionally stormy night in 1838 that Grace would become famous right across the world. At approximately 4am the Steamship 'Forfarshire', on route from Hull to Dundee, ran aground on the rocks of Big Harcar. The ship broke in two and was blown off into the sea Southwards in storm force winds. Soon afterwards Grace spotted the forlorn shop from her bedroom window, but it wasn't for a few hours before she and her father saw survivors clinging for their lives to the rocks. Grace and her Father decided to set off in their family Cobble boat, fearing that life boats from Bamburgh would not be able to launch in such appalling conditions. In all their immense bravery rescued the lives of nine, including a Mrs Dawson who was desperately clinging on to the bodies of her dead children.
The news of this heroic act spread quickly across the Country and Grace was showered with awards and invitations to appear at theatres across the land, William Wordsworth even praised her in his prose. Such was her modesty she didn't take up a single offer, nor did she accept a penny of the large sums of money she was offered. Grace eventually died in the Village of Bamburgh at the tender age of 27, despite being treated by the Duchess of Northumberland's best physicians. There is now an effigy of Grace in St Aidan's Church, where she was buried, along with a monument to her everlasting bravery.
Grace's story is 'amazing' and can be explore in full at the RNLI Grace Darling Museum, which thanks to a Heritage Lottery Fund Grant has had a major rebuild. It is located on Radcliffe Road in the Village and the postcode for your SatNav is NE69 7AE. You can also visit Longstone Lighthouse on the Inner Farne, where Grace lived, as part of a boat trip to the Farne Islands.
There has been a church on this site since 635AD when St Aidan was invited to the Castle by King Oswald to establish Christianity in the newly United Kingdom of Northumbria. The original church was wooden and there are now no traces of this structure left apart from a single beam left in the Baptistery. Legend has it that St Aidan was leaning on this beam when he died and it has escaped two fires since. Aidan was the Apostle of Northumbria and also the Apostle of England, making this church the 'mother church' of the Diocese of Newcastle and the centre of Christianity in England. The church now draws a lot of tourist attention because of this and also because of the effigy of Grace Darling inside the church and her grave and memorial outside. The Church welcomes visitors every day from 9am until dusk, visit their website for more information.
The Northumberland Coast is designated as an Area of Outstanding Natural Beauty and as such offers some of the best coastal walking in the country. The Northumberland Coast Path runs from Beadnell in the South, through Seahouses and on towards the magnificent Bamburgh Castle in the North. Bamburgh makes an excellent base for walkers, see our Walking page for more information about the Northumberland Coast Path and other walking routes.
I can think of three lovely walks to choose from in Bamburgh. The first heads up The Wynding toward the coast from the Village and heading North along the bridleway to the beautiful Budle Bay, popular with bird watchers. The second is a walk from Bamburgh to Seahouses, which is approximately three miles each way. There is plenty to do in Seahouses and many opportunities for refreshments and a bite to eat before heading back, there is also public transport between the two Villages if walking one way was enough! Lastly there is a short circular walk that takes in the Castle, beach and golf course. From the Village head along the far side of the Cricket Green next to the Castle and towards the beach. From here you can walk North along the beach until you reach stags rock (an animal painted on the rocks), from here cut through the sand dunes and onto The Wynding. This road leads you all the way back into the Village.
There are also many fine opportunities for cycling from a base in Bamburgh. A popular route is the 21 mile circular route that takes in the Villages of West Fleetham, Bruntam and Embleton before heading off road along the coastline through Low Newton and Beadnell, then back North through Seahouses and back to Bamburgh. Cycles can be hired and delivered to where ever you are staying by the local company Boards and Bikes. For more information about cycling in Northumberland, visit our Cycling page.
Bamburgh has it's own 18-hole Golf course just at the North end of the Village. The course offers stunning views across the beaches, countryside and of course of Bamburgh Castle and the Village itself and is often quoted as the most scenic course in Britain. The course is not as long as other courses nearby, at 5,600 yards, it has a demanding par of 68. The course has a clubhouse that welcomes visitors at all times of the year and also serves food. Visit their website for more information and green fees.
Other Golf Courses nearby include Seahouses Golf Club, Dunstanburgh Golf Club and heading further south there are two course at Alnmouth. For full information about our County's Golf Courses visit our Golf page.
The beach at Bamburgh is popular place for watersports. Not only does it offer the wonderful views of Bamburgh Castle and the Farne Islands, but it is also provides some good waves for surfing through most stages of the tide. Other places nearby that are known to be excellent surf spots include Seahouses beach just to the North of the Harbour and Beadnell Bay, just a few miles to the South. Northside Surf School offer beach surf lessons on several beaches along the Northumberland Coast including Bamburgh. Courses start at 2 hours and go up to 5 days and are run by Jon Nolan, a British Surfing Association Coach and an RLSS Beach Lifeguard so you know you're in safe hands. They operate 7 days a week and 12 months of the year and cater for all needs.
If you need any equipment to have a go at any watersports then the company to get in touch with is Boards and Bikes. They supply and hire wetsuits, boards and bikes to the Beadnell, Seahouses and Bamburgh area. They will even deliver them to wherever you are staying, be that a B&B, Hotel or caravan. They don't just hire equipment, they also run excellent value lessons on the beaches of Bamburgh, Seahouses and Beadnell. They start from 2 hours and include a full safety brief before allowing you in the water as safely as possible with their skilled and friendly teachers.
Bamburgh has many leisure facilities, including a Tennis Court. Hire of the court is just £5 per hour with an additional key deposit of £5. The court is available to book from the reception of the Victoria Hotel, where you also collect and return your key. The Cricket Green in the shadows of the Castle walls has been used since the 1800's. Matches are usually played on a Sunday afternoon, which just adds to the character of this wonderful little Village. If you are interested in playing while you visit Bamburgh you can email the club and they will try and accommodate you, for contact details visit their website. The Cricket Green is also home to Bamburgh's Croquet Club, what better location to enjoy this traditional game? Visit their website for more information.


So it's a new year, meaning that I want to make a few minor changes, and one of them is catering more to my audience! I want to know what YOU think about this blog and what I write about! I want to make sure that what I post about is relevant to you and something that you would like to share with others or learn from.
With that being said, I have a completely anonymous survey to get a few ideas from you! It's a quick, 6 question survey with a few easy questions to answer. This way, I'm able to gauge what kinds of things to write about this year! It will only take a couple minutes, so if you could please take this survey and let me know your thoughts I would love to hear from you!
Thank you so much guys! I got a review coming up on Wednesday but I wanted to get this out of the way!


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Fighting for Victims of Police Misconduct, Harassment, & Abuse in Philadelphia
False Arrest & Malicious Prosecution
Know Your Rights During A Police Encounter
Police Shootings & Tasers
Illegal Search & Seizure
Prison Injuries & Suicides
What are the Main Causes of Police Corruption?
by smbtadmin | Nov 16, 2021 | Uncategorized
Historically, we have seen that police corruption is a serious problem, especially in large cities like Philadelphia. Police corruption involves the abuse of police authority for personal gain. In other cases, police corruption consists of a police officer using their...
Can You Sue the Police for Emotional Distress?
by smbtadmin | Oct 28, 2021 | Uncategorized
The city of Philadelphia recently agreed to pay $2 million to settle a police brutality case. Police smashed the car windows of a Black woman and then beat her and separated her from her nephew and 2-year-old son. She had driven unknowingly into the middle of a...
Does the Fourth Amendment Protect You Against Excessive Force?
by smbtadmin | Sep 24, 2021 | Uncategorized
If you are facing criminal charges in Philadelphia, you may be wondering what type of legal defenses you can make. In the United States, defendants charged with criminal acts are protected by the United States Constitution. The Fourth Amendment of the Constitution...
What is the Difference Between Police Corruption and Police Misconduct?
by smbtadmin | Aug 17, 2021 | Uncategorized
Many police officers are honest and hardworking. Unfortunately, the Philadelphia Police Department has a long history of engaging in police misconduct. Additionally, several recent reports have showcased multiple instances of corruption within the Police Department....
How Do I File a Complaint Against a Philadelphia Police Officer?
by smbtadmin | Jul 27, 2021 | Uncategorized
The Philadelphia Police Department is supposed to protect and serve Philadelphia residents. However, there have been frequent incidents of police officers beating, stealing from, verbally harassing, and wrongfully arresting Philadelphia residents. The Philadelphia...
What Constitutes an Illegal Search and Seizure?
by smbtadmin | Jun 17, 2021 | Uncategorized
The United States Constitution includes many protections for citizens, including protection against unreasonable searches and seizures on private property. This 4th Amendment protection ensures that government agencies and employees cannot come onto someone's...
How Do I Make a Formal Complaint Against a Police Officer?
by smbtadmin | Jun 1, 2021 | Uncategorized
If you have been injured or beaten by a Philadelphia police officer, or you are concerned that your constitutional rights were violated, do not let it be swept under the rug. Police officers are supposed to protect people from harm, not put them in danger. You deserve...
Examples of Civil Rights Violations by Police Officers
by smbtadmin | Apr 22, 2021 | Uncategorized
Civil rights violations by police officers happen every day in Philadelphia and throughout the United States. In the last year, there has been significant media attention on police brutality and civil rights violations. Currently, former Minneapolis police officer...
Can You Sue a Police Officer Personally in Pennsylvania?
by smbtadmin | Apr 6, 2021 | Uncategorized
The Philadelphia Police Department spent much of the last few years involved in a series of scandals. Allegations of police brutality are nothing new in the city, and the Black Lives Matter movement has had a strong presence here since before last summer. The...
What is Police Harassment?
by smbtadmin | Mar 4, 2021 | Uncategorized
On February 1st, a video emerged of police officers in Rochester, New York, pepper-spraying a 9-year-old girl. There were nine police officers at the scene. Three of the officers have been suspended. The bodycam footage showed police officers trying to restrain the...
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What requirements they need for the latest version, is their device compatible with the latest update etc. There were many tutorials, some better than the others, but there are not enough tutorials that would take you step by step.
An article that would take you through every bit of detail or issue that you may encounter.
That's why we arranged this article, so that any Samsung Galaxy user could install Whatsapp on any Samsung Galaxy device.
For all of you that just can't work your way around installing Whatsapp messenger app for Samsung Galaxy devices, here is all you need to know.
At least 50MB of free space on your device. More will be required for updates.
So here is the list of steps you need to take in order to install Whatsapp messenger app for Samsung Galaxy. Go through these steps carefully, and you will have Whatsapp for Samsung in no time.
Find the Apps icon on your Home screen. Touch it so that you can browse through your installed applications.
In Apps menu, look up Play Store application. This is where you'll find Whatsapp for Samsung.
You can find other apps on Play Store, but we'll talk about it another time. For now, just touch Play Store icon.
Once you launch Play Store application you will get to its main menu. On top of the main menu there is a search bar. Touch the search bar and type in "Whatsapp messenger".
When you see Whatsapp messenger icon in the fall down menu, touch it to get to Whatsapp download page.
In order to download Whatsapp for Samsung, you need to touch the "INSTALL" button on Whatsapp download page.
It's a green rectangle button with white "INSTALL" written on it. Touch this button and wait for the confirmation.
After you touch the install button, you will need to confirm that you accept all the terms and conditions. In order to use Whatsapp for Samsung, you will need to share some of your personal info.
Remember that Whatsapp uses your existing contacts so it could create a contact list for you. Also, some other requests and permissions are possible, so read carefully before you confirm.
It's only fair to say that if you don't accept these terms you will not install Whatsapp on your device. In order to accept and install Whatsapp for Samsung, you need to touch "ACCEPT" button in the lower right.
Now you have to wait for the download to finish. When the download is over, your device will automatically start the installation. All you need to do at this point is to wait for the installation to finish.
When the installation is over, you will get a confirmation alert. You can touch the alert message and launch Whatsapp that way.
The other way to start the app is to go to the Apps menu and find Whatsapp icon, then touch it. Either way works, but you can only touch the alert message once, and then it will disappear.
Now you see how easy it is to download Whatsapp for Samsung Galaxy devices.
This is a free app and you can download and update it as many times you like. Keep in mind that Whatsapp needs internet connection in order to function.
So pay attention, because if you are not connected to a Wi-Fi, additional data charges are possible.
Now enjoy your Whatsapp for Samsung Galaxy and talk to your friends and family as much as you like.
Also, let us know in the comments if you already use Whatsapp, what's your experience with this app? Do you like it? Do you prefer some other app?


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"If one day the speed kills me, do not cry because I was smiling." - Paul Walker
By Riza Ornos on December 03 2013 11:07 AM
Hollywood lost another talented actor whose work in the "Fast and the Furious" series will be forever remembered by its fans. Paul William Walker died at 40 in a tragic car accident on Saturday, November 30 after leaving a charity event that he hosted for Reach Out Worldwide hoping to raise money for Haiyan victims in the Philippines.
The 40-year-old jumped into a red 2005 Porshe Carrera GT with race car driver Roger Rodas of Always Evolving Shop. The two had wanted to take the car out for a spin but they never came back. Minutes after they left, a loud crashing sound was heard, the car with two of its passengers crashed into a tree and burst into flames killing Walker and Rodas instantly.
Firefighters extinguish the fire in the car where actor Paul Walker was killed along with another unidentified man during a car crash in Valencia
"If one day the speed kills me, do not cry because I was smiling," is a quote that is making rounds after Walkers death. But whether or not that the unconfirmed quote was made by Walker, it is seem fitting that the actor was smiling in the last minute of life due to the overwhelming response of his friends to his charity event and him having the chance to ride the famous race car.
A self-confessed adrenaline junkie, Walker loves getting high in adrenaline which is the sole reason he is into fast cars, surfing and other outdoor pursuits. The quote couldn't be more perfect for a guy who is known for his role in the movie about street racing. Paul Walker died too fast and too furious.
Prior to the crash, the blue-eyed actor was at an Always Evolving toy drive where race cars are on display and organizers were collecting toys for super typhoon victims that left thousands of survivors homeless. They founded the non-profit organization Reach Out Worldwide (ROWW) to help victims of calamities and Philippines is the next stop for its volunteers who specialized on this kind of calamity.
Report says that speed is the primary factor of Walker's fatal accident, according to a report by the Los Angeles County Sheriff's Department. Although it will take time to confirm how fast Rodas was, the question now is how come the car quickly burst into flames?
According to reports, the crash may have been caused by a steering malfunction. The lack of skid marks until just before the crash site indicates that the driver may have lost control of the steering wheel. Sources linked to Always Evolving told TMZ that they saw evidence of fluid burst and subsequent fluid trail before the skid marks which could have been the cause of the fiery car cash.
The passengers were so badly burned that it was hard to identify them.
"There was a post-collision fire and bodies are not visually identifiable," said LA County deputy coroner Dana Bee. The coroner requested dental records for both victims before they can properly identify the body.


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La gens Sulpicia fue un conjunto de familias de la Antigua Roma que compartían el nomen Sulpicio. Tienen su origen en la primitiva Roma republicana cuando los Sulpicios Camerinos, de extracción patricia, ocuparon diversos cargos de responsabilidad. Durante las Repúblicas media y tardía se dividieron en varias ramas y aparecen esporádicamente en los fastos. De los Sulpicios patricios desciendía el emperador Galba. Sulpicia Driantila, esposa de Regaliano, usurpador del siglo III, quizá perteneció también a esta gens.

Origen
A finales de la República, los Sulpicios se decían descendientes de Júpiter a través de los reyes albanos, a tenor de las acuñaciones de ciertos miembros de la gens en las que estaba representada la cerda de Lavinium.

Praenomina utilizados por la gens
Los Sulpicii hicieron uso regular de sólo cuatro praenomina: Publius, Servius, Quintus y Gaius.  El único otro praenomen aparecido bajo la República es Marcus, conocido como el padre de Cayo Sulpicio Pético, cónsul cinco veces durante el siglo IV a. C.  El último de los Sulpicii conocido por haber ejercido el consulado en el siglo II se llamaba Sextus, un praenomen desconocido por otra parte en la gens.

Ramas y cognomina de la gens
Durante la República, ramas del gens Sulpicia fueron identificadas por varios cognomina, el tercer elemento del Nombre romano. Estos incluyen Camerinus Cornutus, Galba, Gallus, Longus, Paterculus, Peticus, Praetextatus, Quirinus, Rufus, y Saverrio. Además de estos cognomina,  conocemos algunos otros apellidos que pertenecen a libertos y a otras personas bajo el Imperio. En monedas encontramos los apellidos Galba, Platorinus, Proclus, y Rufus.

El primer miembro de la gens que obtuvo el consulado fue Servio Sulpicio Camerino Cornuto, en 500 a. C., sólo nueve años después de la expulsión de los Tarquinios, y el último nombre que aparece en los Fasti consulares fue Sexto Sulpicio Tértulo en 158 d. C.. A pesar de ser originalmente patricios, la familia también tuvo miembros plebeyos, algunos de los cuales pueden haber sido descendientes de libertos de la gens.

Camerinus era el nombre de una vieja familia patricia de la gens Sulpicia, el cual probablemente derivó su nombre de la ciudad antigua de Cameria o Camerium, en Latium. Muchos de ellos llevaron el agnomen Cornutus, de un adjetivo latino que significa "cornudo". Los Camerini frecuentemente ejercieron los más altos cargos del estado en los primeros tiempos de la República; pero después de 345 a. C., cuando Servio Sulpicio Camerino Rufo era cónsul, no volvemos a oír de ellos durante más de cuatrocientos años, hasta que Quinto Sulpicio Camerino obtuvo el consulado en el año 9.  La familia estuvo considerada una de las más nobles de Roma en el tiempo temprano del Imperio.

Los Praetextati aparecen en la segunda mitad del siglo V a. C. La familia parece haber sido pequeña, descendiente de los Camerini. Probablemente derivó su nombre de uno de los varios significados relacionados. Praetextus, generalmente se refiere a la ropa con un borde decorado, y especialmente a la toga praetexta, una toga con un borde morado llevada por chicos y magistrados. Algo velado o encubierto también podría ser descrito como praetextatus.

Los Sulpicii Longi florecieron durante el siglo IV a. C., desde el tiempo del Batalla de Alia de Roma en 390 a. C., hasta el periodo de las guerras samnitas.  El cognomen Longus puede haber sido concedió al antepasado de esta familia por ser particularmente alto.

El apellido Rufus, significando "rojo", probablemente se refiere al color del cabello de uno de los Sulpicii, y puede haber empezado como rama menor de los Camerini, cuando ambos cognomina estuvieron unidos en el cónsul de 345 a. C.

Los Sulpicii Galli eran una familia de los siglos II y III aC.  Su cognomen puede referir a un gallo, o a un galo.  El más grande de esta familia, Cayo Sulpicio Galo, fue un general exitoso y estadista, así como orador y erudito muy admirado por Cicerón.

Los Sulpicii Galbae se distinguieron primero durante la segunda guerra púnica, y llegaron hasta el siglo I, cuando Servius Sulpicius Galba reclamó el título de emperador.  El apellido puede compartir una raíz común con el adjetivo galbinus, un color verdoso amarillo, a pesar de que su importancia exacta con respecto a los Sulpicii no es clara.

Referencias

Bibliografía

Enlaces externos

Sulpicia