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Domino's Pizza - San Diego

1350 6th Ave Ste 185

San Diego, California 92101 | (619) 238-2323
  • Mon-Wed: 10 am to 1 am
  • Thu: 10 am to 2 am
  • Fri-Sat: 10 am to 4 am
  • Sun: 10 am to 1 am
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Spicy, Sweet or Savory: Get Pizza at 1350 6th Ave

When you're craving a heavenly slice of cheesy, meaty, veggie-loaded goodness, we know your tastebuds don't want just any old pizza in San Diego. You want a heavenly pizza topped with a robust tomato sauce, expertly sliced pepperoni, heaping piles of melted mozzarella and a hand-tossed crust that's crunchy, crispy, and chewy. You want pizza, perfected. You want Domino's.

At Domino's on 6th Ave, it's never been easier to get the fast and delicious pizza your stomach is grumbling for! Stop by to place a takeout order, order your pizza online, or give us a call at (619) 238-2323!

First, start by selecting from one of our handmade crusts, like our hand-tossed crust that's packed with buttery flavor, a pan crust featuring two huge layers of cheese, a crispy thin crust, or a gluten-free pizza crust! And then, select your sauce and start loading up on the toppings of your choice. Whether you're a serious fan of mushrooms and spinach or love spicy pepperoni and tangy asiago cheese, you can be sure your local Domino's has it all.

We've got slices to suit any taste. How do we know? Because there are more than 34 million ways to craft a single Domino's pizza. Build your own pizza from bottom to top or choose one of our many crowd-pleasing specialty pizzas, like the popular Spinach and Feta, Cali Chicken Bacon Ranch, or MeatZZa™, and have it delivered to your doorstep, today!

Order San Diego Pizza Delivery Near 6th Ave

At your Domino's on 6th Ave, we take pizza delivery pretty seriously. In fact, we promise your pizza will arrive hot and fresh at your door, right out of our oven. Can't wait for your pie to arrive? Use our patented Pizza TrackerⓇ system and follow your pizza order as it's prepped, baked, and headed out the door for delivery... and try not to drool on your keyboard while you wait.

Order online or call (619) 238-2323 now for pizza delivery near you. Our delivery experts are fast and our pizzas are fresh, just the way you like it!

Nearby Points of Interest

  • SAN

  • California International Business University
  • Newschool of Architectural Design

High Schools

  • E3 Civic High School
  • King-Chavez Community High School

  • San Diego American Indian Health Center


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Health & Fitness Issues

The magazine for Women that want a Healthy and Fit Lifestyle

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Sporting Gun Issues

Sporting Gun is the leading monthly magazine for clay, game and rough shooters. With editorial offices in the Lincolnshire countryside, it can justifiably claim to be at the heart of the shooting community. Monthly features range from gundog training to pigeon shooting, game shooting to wildfowling

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Market Validation
WIFBI've seen people spend months working to bring a product or service to the market only to find, after they have put all the work into creating that product or service, that there wasn't enough interest to make that product or service a profitable venture.

I have personally created a service that I knew would be highly valuable to those who signed up for it, where I had successfully sold that service to its full capacity, only to find that the work in delivering that service did not align with the type of lifestyle I desired for myself.

In this week's episode of Podcast Answer Man, I share a conversation with my great friend, Pat Flynn, where we talk about his new book titled “Will It Fly? How to Test Your Next Business Idea So You Don't Waste Your Time and Money.

I know that this book will a valuable resource to those of you who are looking for a great strategy to test the market viability of the next big idea that you consider going after.

Podcasting A to Z
Do you want to learn how to podcast but don't know where to start? Podcasting A to Z is a four week online training course that walks you through each step in the process of setting up a podcast. You not only get step-by-step tutorials, but you also have the ability to get answers to all your questions during the four week session.

If you have been thinking about starting a podcast, this is the course for you. Just head over to http://PodcastingAtoZ.com for full details. I look forward to potentially working with you.

Free Month of Media Hosting With Libsyn!
Because of all the years of sending clients to sign up for accounts with Libsyn, they have created an affiliate program only given to a hand selected group of podcasting experts. I'm delighted that I am now able to offer your ONE MONTH FREE when you sign up for a new account with Libsyn. Simply use promo code GSPN when you sign up! For my complete thoughts on podcast hosting, click here.

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Archive for the ‘Laura Kasischke’ Category

poem is in bowl on second from the bottom shelf

poem is in bowl on second from the bottom shelf

Kitchen Song

by Laura Kasischke

The white bowls in the orderly

cupboards filled with nothing.

The sound

of applause in running water.

All those who’ve drowned in oceans, all

who’ve drowned in pools, in ponds, the small

family together in the car hit head on. The pantry

full of lilies, the lobsters scratching to get out of the pot, and God

being pulled across the heavens

in a burning car.

The recipes

like confessions.

The confessions like songs.

The sun. The bomb. The white

bowls in the orderly

cupboards filled with blood. I wanted

something simple, and domestic. A kitchen song.

They were just driving along. Dad

turned the radio off, and Mom

turned it back on.

I’ve recently become enamored of Feldenkrais, a slow-paced non-exercise class in which students explore unfamiliar movements in order to break through rigidity and harmful neuromuscular habits.  That may sound like a load of Felden-krap, but it’s one of those practices more fruitful to try than to try to explain.

I bring this up because reading Laura Kasischke’s “Kitchen Song” is a little like practicing Feldenkrais.  It’s unfamiliar.  My habitual way of reading and presenting a poem on this blog—drilling in for meaning until I’ve nearly destroyed it with holes—wasn’t opening up “Kitchen Song” for me.

Not that this poem is especially experimental or opaque.  It’s just not the type of poem I feature on PoemElf.  If I don’t understand a poem after a quick couple of read-throughs, usually I’ll put it aside. But something drew me to this poem, and I kept it in my purse for a few weeks.

“Don’t worry about it,” my Feldenkrais teacher often says.  “Just explore.”  Could the Feldenkrais approach—moving with ease, not forcing a result—help me with Kasischke’s poem?

I tried to just be with the poem.  I sat amongst the disturbing images, felt around the disjointed line breaks, listened to the biblical and gothic overtones.  Soon I felt like I was in a creepy game of word association, where every word refers back to death:  the empty white bowls that fill with blood; the lobsters boiling to death; the funereal lilies in the pantry.

A fatal car accident keeps popping up in the kitchen like a knife-wielding poltergeist.  The speaker turns on the faucet, opens the cupboards, looks through a cookbook and out jumps the grisly end of her parents. She tries to escape in “something simple, and domestic.”  But her kitchen song is nothing like Cinderella’s—that is, unless Cinderella happens to be cleaning Bluebeard’s castle.

But after all that gore and surreal imagery, the end of the poem arrives quietly, so moving to me in its familiarity and ordinariness:

They were just driving along. Dad

turned the radio off, and Mom

turned it back on.

My husband and I play this game all the time.  Most couples probably do.  It’s a wordless disagreement that is indeed simple, and domestic. The speaker got what she was asking for but not what she wanted.  The final surprise of this horror show:  her kitchen song becomes that last song her parents heard on the radio.  And she can never turn it off.

I still don’t understand everything here.  I don’t get the applause in the water faucet, the drowned people, the sun and the bomb.  (Please let me know how you interpret those images!)  But the poem unsettles me and won’t leave me be, so I think I “get” it after all.

I couldn’t resist leaving the poem in a white bowl at a home goods store, a store that sells domestic fantasies to people who crave order, simplicity, cleanliness. If only we could banish clutter and complication from our lives for the price of a bowl.

Laura Kasischke was born in 1961 in Grand Rapids, Michigan.  She went to University of Michigan and teaches in the MFA program there now.

She’s won multiple prizes, including Pushcart Prizes, and received fellowships from the NEA and the Guggenheim Foundation. She’s written eight novels to date, two of which (The Life Before Her Eyes and Suspicious River) have been made into movies.  According to Wikipedia, Kasischke is particularly popular in France, which puts her in the strange company of Benjamin Franklin and Jerry Lewis.

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 PolicyCastle Home Insurance PolicyCastle Home Insurance
  • kenburns6
    Subsidence insurance
    without the headache
    Or call us on 0333 305 8474
    1 minute to get your quick quote
    5 minutes to complete your application
    365 days of five star service

Subsidence insurance:

Alternative accommodation cover

Discount for combined buildings and contents cover

Up to £500,000 rebuild cover under Buildings insurance

UK customer support team

Subsidence occurs when the ground under your home sinks lower, taking some of your foundations with it. Cracks appear in your building as one side moves away from the rest of the structure. Subsidence is usually covered by home insurance, but many insurers do not want to cover properties that have previously suffered from subsidence in the past. PolicyCastle’s panel of insurers wants to protect specialist risks, and can cover homes that have had subsidence.

It is important that you provide the right details about your property so that we can help you find the right cover.

Signs of Subsidence

Not all cracks are caused by subsidence, they may be caused by temperature changes causing walls to shrink or expand, and in new homes the structure may take a while to settle. Signs that cracks may be caused by subsidence include:

Cracks more than 3mm
Cracks that are diagonal, and wider at the top than the bottom
Cracks that are visible on the plaster inside and the brickwork outside
Cracks near doors or windows
Cracks where an extension joins the house
Other signs that subsidence may be occurring are wallpaper crinkling and doors and windows sticking

If you think your home is subsiding, don’t ignore the problem. Contact your insurer and they will arrange for a survey. The problem may be monitored to try to find out the cause and how fast it is happening. Usually the cause of the problem will be found and removed; some situations will require foundations to be strengthened.

How to deal with subsidence

The solution to subsidence depends on what is causing it. There are a number of potential causes:

Hot temperatures and / or drought causing soil to dry out and shift
Roots of trees and shrubs extending under your property as they search for water
Shallow foundations under older homes
Leaking drains and water mains washing soil away
Local mining, or instability in nearby former mining or quarry sites.

You can’t prevent hot temperatures or drought, but you can avoid planting trees and shrubs too close to your building. If trees and shrubs are already planted close to your home, then it may be worthwhile pruning them to reduce the amount of water they require. A tree surgeon would be able to help you.

Maintain your drains and pipes to avoid leaks that might wash away soil.

Want to learn more?

If you would like further information regarding the PolicyCastle subsidence home insurance, please fill in your details below and a member of our team will be in contact.

*We look forward to hearing from you.

Trustpilot testimonials for PolicyCastle

“Great website. Everything I needed and a quick quote I was happy with- great to see how the quote changed when i added information. And pleased with the level of cover.”

C Coughlan

“Really pleased with the service. Easy to use.”

“Very pleased with the help I got online and on the phone. Very clear”

Spot the signs of damage inside your home

You need to be able to spot signs of damage to your home as soon as possible, before it becomes a big problem.

The building bricks, how to be covered whilst works are in progress

Looking to do some improvements or renovations to your property? Whether the works require you to vacate your property or not, always advise your insurer prior to the works beginning. Be prepared to have a Schedule of Works to hand, showing full details of the works to be carried out.

Victim of burglary? What should you do?

Hopefully your home will never be burgled. It is a horrible experience, and expensive; the average cost of a burglary in the UK, including damage to property and stolen property, is well over £2,000.

Insure the rebuild value of your home, not the market value

Do you insure your home for its market value? If so you may be paying too much premium because it’s the rebuilding cost which should be the amount you insure.


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REVIEW: Colorbar Ultimate Nail Enamel Remover.

According to Colorbar,

Magic in a bottle!

Just dip and twist for spotlessy clean nails with the Colorbar Ultimate nail enamel remover.

Price: INR 295/- for 100ml.

Available at Colorbar counters and outlets and online stores.

My experience:

I was always quite fascinated with this nail paint remover, ever since it was launched but found it expensive. But then I used my brain and did some calculations. My usual Lakme nail paint remover comes for Rs.60/- for 27ml and this one is Rs.295/- for 100ml. I further got it on discount for Rs.280/-. So, basically per ml cost of Lakme is Rs.2.22 and Colorbar is Rs.2.95.

So, is there so much difference in the price, No, there’s not! Read on to know why Colorbar’s remover is still so special.

The nail paint remover comes in a bright red bottle with a black cap. The cap shuts tightly and the bottle is totally travel friendly and sturdy. On opening the bottle, inside you can see only a black sponge which has a small space to insert your finger. It is this sponge that is soaked with nail paint remover.

The remover also has a nice fragrance which does linger on your nails for some time.

To remove the nail paint from your finger, you just need to insert your finger and twist it in the sponge and take it out in a few seconds! Your finger comes out totally clean. Some nail paint can be left in the edges which can be removed by twisting your finger again in the jar. I personally have a lot of fun twisting my finger to remove the nail paint 😛  It is very easy and takes very less time compared to rubbing your nails with cotton! I’m totally hooked to this remover and can’t see myself going back to the traditional way of cotton and remover!

PicMonkey Collage

I’m sure we all have faced the trouble of taking out glitter nail paints, so even with this remover, glitters don’t come out in one time, you need to go back again and again 2-3 times for removing glitter nail paints. But that’s the problem with the glitters, no?

This is actually the perfect thing for when you’re travelling. While travelling you don’t want the hassle of taking cotton, remover etc, so this perfect then! 😀 also, its safe for travelling as no liquid leaks out since it’s all soaked by the sponge!

I also saw this type of remover in Sephora by their own brand, I forgot to check the price but would love to try that too.

Overall, it’s a great idea and also very effective. It is great for travelling or when you’re in a hurry.

Why you’ll like it:

1)     Convenient, travel friendly and attractive bottle.

2)     Very effective.

3)     Less time consuming.

4)     Great for travelling.

5)     Has a nice fragrance.

6)     Saves time, effort, cotton!

Why you’ll dislike it:

1)     Can not be used for toes.

Nothing else to dislike in this! It does what it should!

To buy or not to buy?

My rating:

12 thoughts on “REVIEW: Colorbar Ultimate Nail Enamel Remover.

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Problem reported by echoDreamz - December 21, 2016 at 10:18 AM
Sending to stserv@domain results in getting an undeliverable message. Latest v15 release.
I've confirmed the Mailling list username in the domain's settings. Confirmed the settings for the created mail lists. Always get back that the recipient does not exist.
Anyone else seen this?

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View All Calendars is the default. Choose Select a Calendar to view a specific calendar. Subscribe to calendar notifications by clicking on the Notify Me button, and you will automatically be alerted about the latest events in our community.

January 17, 2018
8:00 AM - 9:00 AM
City Hall >4th Floor > Planning Conference Room
389 Congress Street, 4th Floor Conference Room
Portland, ME 04101
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CDBG Allocation Committee Meeting

Wednesday, January 17, 2018

The CDBG Allocation Committee will be meeting to review applications submitted for CDBG Program Year 2018-19. This meeting is open to the public, but public comment will not be taken. This year the meetings are currently scheduled for 4:00-5:30p.m. on the following dates: Dec. 4 Dec 11 Dec 18 Jan 8 Jan 17 Jan 22 Jan 29 Feb 5 For more information about the CDBG program, please visit the webpage at:


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Stop the madness – Vote for your favorite hashtag

You say theater, I say theatre.

And what about hashtags? While several cities have standardized (more or less) on a {#[CITY]thtr} format for the performing arts (#SEAthtr, #LAthtr), in others the freeform tag wars rage.

It would be better for all involved to go with one. But which do YOU prefer?

NOTE: Turn off Ghostery or other blockers to see poll below.

Another show, another half off fire sale at PCS

Fire sale on Goldstar. PCS tickets are always 50% off.
Fire sale on Goldstar. PCS tickets are always 50% off.

Whatever it is you sell, training your audience not to buy unless there’s a 50% off sale going is not good business.

What you want to be is a brand like Apple, where people line up around the block and clamor to buy cell phones for $1000 a piece.

Of course, to get people to pay full or premium price takes skill. You have to have a good product on offer. And you have to know how to market it.

So why does a place like Portland Center Stage have a permanent half off sale going for any show? To marketers with half a brain, this simply cannibalizes the market. Why would you subscribe to a theatre season if you know you can always get tickets for close to free last minute? If you keep an eye on Goldstar, you know that if there’s a show on at PCS, tickets will be in the booth for 50% off all the time. Simply being listed in the company of this show graveyard is not good for the brand.

Why does PCS do this? Why can’t PCS sell tickets for $100 a pop like Oregon Shakespeare Festival?  Why can’t PCS sell tickets for more than about $25? Is it because the shows are no good? That’s part of it. But part of it may simply be that they have trained people to think that theatre isn’t worth much. And having picked up on that theme, now PCS and other large theatres without unique brands are in a pickle. Also, as theatres become ever more detached from actual ticket sales, the important metrics to show funders and foundations are attendance. No one seems to care if a theatre is in the red. But if an argument can be made that the theatre is “serving the community”, well then it seems like it’s worth subsidizing.

Of course it costs money to put on shows in a place like PCS, with all the absurd overhead and unions. So if tickets go for cheap to the end consumer, who makes up the difference? You do, my dear People’s Republic of Portland comrade. It’s one bail out after another, via PDC or arts tax, to keep the leviathan of PCS afloat.

In the real world this ship would have been scuttled long ago. But she keeps drifting along, practically giving away tickets while receiving zillions of dollars in grants to help leadership “find an audience”.

News flash: There’s not much of an audience for the kind of mediocre fare PCS loves. But make the best of it. At least if you have to go to shows there, you know it won’t cost much.

If it doesn't cost much, it isn't worth much. Surprise. The next show at PCS is going for next to nothing on Goldstar.
If it doesn’t cost much, it isn’t worth much. Surprise. The next show at PCS hasn’t even started yet and it’s going for next to nothing on Goldstar.

If a show is crap, walk out or leave at intermission

One of the most sacred of all bovines close to the hearts of the purple beret-wearing theatuh crowd is the belief that if a theatre critic leaves a show before the end, they should not write a review of it.

First, on the logic of continuing to consume something when what’s on offer isn’t any good.

The idea that you should continue to watch a crap show because it might get better is like asking a restaurant patron to keep eating because, yes, the soup sucks, but really we’re just about to knock your socks off with the primi! Or maybe you should keep buying AMC Gremlins because, really, the engineers are just about to nail this thing!

Let’s get real here, folks. Apply this nonsensical principle to any – ANY – other facet of your life, and see how it holds up. Do you continue to shop at a store with horrible service because it might get better? Do you continue to read through a botched resume because it might get better? Do you continue to use Comcast because it might bet better?

No. You don’t. Why?

Because life is short.

Continue reading “If a show is crap, walk out or leave at intermission”

Seattle Rep in potential death spiral | 2015-16 will be a make or break year

More interesting news from the Jet City on Seattle Rep’s plight.

Despite debt of around $800K, Seattle Rep is plunging full steam ahead into a big expensive season that, if all goes according to plan, will land the company another $800K deeper in debt. Huh? The thinking seems to be, something will happen in the future to turn the ship around. But what would that be?

The company’s situation seems to be even worse than the debt number indicates, for it has been spending on average 8% of its endowment annually since 2008 to help keep the lights on.

The main problem here that shows little sign of changing – one that all the outreach, marketing, and audience building in the world won’t fix – is that Seattle Rep is not exciting. It’s a rusting institution trapped inside a Kennedy era arts ghetto that needs serious work. Like a lot of regional theatres, the Rep simply carts in the latest slate of prefab offerings every other theatre in America is doing. But there’s precious little new or original. There’s very little local about doing the nine zillionth regional production of DISGRACED. Meanwhile glittering new Seattle is soaring sky – er – cloudwards on all sides around the theatre. If something doesn’t change, the Rep’s relevance and era may be done.

Paradoxically, the big hit Seattle Rep has had in recent years, last year’s imported OSF production of Robert Schenkkan’s double header on LBJ (ALL THE WAY and THE GREAT SOCIETY), was with new work – not the trucked in ham. This clearly ilustrates that Seattle audience members want to experience original and exciting new plays and will line up down the block for them. They’re not afraid of new plays – that’s what they want. Seattleites don’t want to be the last people in the country to see plays that have already been on everywhere else in America. They want to be on the other end of the curve. They want to be the FIRST to see new work made in Seattle that is headed to the rest of the country – for Broadway and beyond. Seattle makes – the world takes. That’s the way it should be.

But while OSF has created a new play machine that is turning out exciting works by top tier writers, left to their own devices the Rep limps along with world premieres by decidedly less skilled playwrights. The audience isn’t dumb. Your average Seattle theatregoer is only going to throw herself on pleasureless grenades like THE COMPARABLES or BO-NITA so many times before she comes to her senses and opts out. Or gets on a plane for New York, London, or Ashland. Life is way too short for bad theatre.

Seattle Rep has the physical plant of a Lincoln Center, a National Theatre or a Steppenwolf. But unfortunately the stuff on the inside doesn’t come close in quality to what the world’s biggest theatres can do. What’s the solution? Take a page from OSF and start creating brand new world class work. Start a new company ensemble a la Steppenwolf, hire some real writers, and start creating new plays that will make Seattleites wait on line in the hopes of maybe getting a standing room ticket (as they did for ALL THE WAY and THE GREAT SOCIETY).

This shouldn’t be that hard to do. Pony up, call Sarah Treem, John Pollono, Craig Wright, Simon Stephens, Johnna Adams, Kenneth Lonergan, and Leslye Headland and say: “People. We need you to help us out here and be part of revitalizing a theatre power in America’s greatest city of the moment. Will you give us a play?”

What playwright – of any stature – wouldn’t want to be a part of that? Of course you have to pay them.

Go big or go home indeed.

It could happen here | Seattle Rep shows America’s largest regional theatres are vulnerable

The theatre is dead. Long live the theatre.

If there’s anything constant in the besieged world of the performing arts, it’s that the theatre is always dying and yet always being reborn – usually at the same time. On any given day, data points can be found to support either trajectory. It can be quite perplexing to figure out what is really going on.

On the one hand, Broadway (and Oregon’s homegrown version of Broadway – OSF) is booming. On the other, white bread, flagship regional theatres are teetering. In between, innovative projects and companies that create authentic experiences for the audience and take on real issues are generally doing well. In the current landscape, small is beautiful, and big – unless you really know what you’re doing – can be deadly.

Big works if you’re the National Theatre, Lincoln Center, Oregon Shakespeare Festival. But if you’re big and don’t know how to create work appropriate to the largest of stages – big can be a sentence of doom. The imperative becomes: FILL THE SEATS.

At all levels, theatre artists who know how to create good work are attracting audiences. Meanwhile entrenched bureaucracies more about employing former theatre artists in admin jobs where they yammer on about “developing audiences” and “outreach” (when what the audience wants instead are unforgettable live experiences) are kept alive only by tax subsidies and largesse from 1% donor types. Tickets are often sold for next to nothing at these theatres.

As a close to home example of the syndrome, Portlanders already know about the leviathan, mostly uninteresting Portland Center Stage, which only still exists today because the city (which never met an arts tax it didn’t like) has funneled millions of dollars toward the fortress-like boondoggle in the Pearl over the years. Hey, it’s not like Portland needs the money for schools or roads. Given the sheer quantity of public greenbacks that have been been set aflame down at PCS, maybe the theatre’s tag line should be updated to “telling stories at unexpected cost”. PCS spends a huge amount of money, but by and large Portland gets unexceptional franchised art of the same flavor you could get anywhere. In a Portland of internationally known brands, products and technologies, PCS has failed to put the city on the map in any meaningful way when it comes to theatre.

By contrast, one need only look across the street to the reputation and success of PICA’s annual TBA festival to see what can be done on the world performance stage with vision and leadership. Or a little farther south down I-5 to the lil’ hamlet of Hamlet, where under AD Bill Rauch OSF has become a major launch pad for new plays – and Broadway.

Continue reading “It could happen here | Seattle Rep shows America’s largest regional theatres are vulnerable”

Sold out shows, fans desperate for tickets – Must be a rock concert, right? Surprise! Summer theatre is hot stuff in Ashland

For theatre, this is as good as it gets.  People want to get in that theatre by any means necessary.
For the theatre, this is as good as it gets. People want to get in and see that show by any means necessary. Photo: @BarzinAkhavan

When a live performance event is good, they’ve gotta have it. They = the audience.

When it’s good, whatever “it” is, they, the audience, come from over hill and dale. They come because they must have this experience. Because there’s nothing else like live performance. When it’s good.

We’re used to people camping night and day for tickets to see The Who or The Grateful Dead or Wilco or the Seahawks.

But theatre does not usually see such pandemonium. Unless it’s Hamilton.

If you’ve hit the Bricks in Ashland lately, you may have noticed scores of people with signs waiting outside theatres trying to find a ticket – any ticket. In fact, the impulse to make a “Tickets wanted” sign is now such a normal part of the daily routine in Ashland that the OSF box office is making signs for people! Now that’s service.

This is good. This is how it should be. A ticket to see David Kelly or Miriam Laube or Kimberly Scott or Kevin Kenerly live in Ashland should be in demand. BIG TIME. Because there is nothing else like this. This is the show you have been waiting for.

When it’s good, the only crisis of the American theatre today is how can we fit more people in the room, where will they all sleep, where will they all wait in line and not block traffic, and is there enough food in town to feed them?

They’ve gotta have it. And this summer in Ashland, they’re coming for it.

One of the lovely signs made by OSF staff.  At this point, they probably reuse them daily.  Because Pericles is SOLD OUT!!
One of the lovely signs made by OSF staff. At this point, they probably reuse them daily. Because Pericles is SOLD OUT!!

A common misperception: Because they’re already “done” – photos should be “free”

Would this ever happen to a writer?

An editor of a major magazine (let’s say one that focuses on running) contacts you and says:

“Hey, we’re wondering if you wouldn’t mind writing a story about this race coming up next month and giving it to us to use for free. You’ll have to travel to the race, then write the story, then send it to us. If you feel like giving us a piece like that, we’d be happy to use it and credit you.”

Would that ever happen? Probably not. Why? Because the story doesn’t exist yet. So the fact that producing it is creative work someone has to do would (normally) limit the ludicrous impulse to suggest that someone do all that work for free.

But what if a photo already exists? A photo of the exact subject the magazine wants. Like the race in question is in the rear view mirror a month ago and you happened to be there. All the work and expense of getting the photo is “done”, the photo’s sitting right there, and boy is it nice. The magazine sees it, and makes the same request. “Do you mind if we use your photo?” The implication is: for free.

For some weird reason, the perception is that because the photo is “done” it should be free.

Note this same mindset doesn’t apply to a slice of pizza sitting on the counter, or a car in the lot, or a coat in a store. You would never walk in to a store and say “Do you guys have any coats around we could use?” You mean – “buy”?

But it happens all the time for photos. All the time. Even people and groups that should know better do it. All. The. Time.

For example, here’s a bizarre request from the clueless Oregon Arts Commission asking photographers to give their work away for free.

Of all groups, shouldn't the Oregon Arts Commission support artists getting paid for their work?  Apparently they expect photographers to give it away for free.
Of all groups, shouldn’t the Oregon Arts Commission support artists getting paid for their work? Apparently they expect photographers to give it away for free.

“All images used will be credited.”

Note that weird sense that photos just somehow magically make themselves and lie around waiting to be used?

Hello? Isn’t the whole point of the bureaucracy-encrusted OAC to help make life better for artists in Oregon?? Why is the OAC promoting the misperception that photos have no commercial value and should be given away for free? Is the OAC staffed by volunteers? Does the OAC ask event planners and organizers to donate their time to help put on their annual Arts Summit (which isn’t free) and tell them that while they won’t be paid their efforts will be credited?

I’m betting not.

For almost any other service or product, OAC would not dream of asking someone to give them something for free. But somehow photos are different.

This is something photographers need to work hard to change.

Photography is a creative art just like any other. Today good images are more essential and integral than ever to wondrous online experiences. That’s why everyone is asking for them.

Like writing or painting or dancing or any other creative art, photography (if it’s good – and any time anyone uses a photo, that means they think it’s good) should be paid for.

So don’t give it away. If you see someone asking for free creative work, point it out. Say no. Ask them why they expect photographers to contribute their work for free – when everything else is paid for.

Photos are not free.

Seattle’s Forward Flux shows what the future of theatre looks like

The future audience you want is in this photo. #WhatTheFloat from Seattle's Forward Flux.
#FutureTrip. The audience you want is in this photo. #WhatTheFloat from Seattle’s Forward Flux on Capitol Hill last night.

Another day, another new [FILL IN BLANK].

In the larger economy, new products, services and companies appear (and disappear) daily. Change or die they say. And many companies do die – while others go from 0 to billions in market cap in 18 months. If you have something people want, the sky’s the limit. Because the audience is hungry for the real thing.

The theatre world is a little different in that while it is easy to start something new, the die off part of the cycle does not happen as fast as it should.

In theatre as in business, it is very hard to START a new company that is irrelevant or dated. At that moment of creation, most theatres burn with a unique fire and vision that only founders with skin in the game can have. Assuming you find success and the years start going by, the trick becomes how to tiptoe past those tiger traps of institutionalization, professionalization and generic status quo drudgery. Theatres (like companies) have to continually disrupt themselves – or someone else will do it for them. Look at what Andrew Russell at Intiman is doing for an example of how to make the old and entrenched new again.

When a theatre loses its edge or relevance to the audience, it can take a lot longer to die off than a company whose products are no longer being purchased. In the real world, if your sales go off a cliff, so do you. Because many arts groups depend on donations and foundation grants as opposed to ticket sales for revenue, once established an organization can surf a death spiral for years – whether or not anyone is coming to see the shows. With the price signal from the market (“we want less of this”) largely removed, groups keep on doing what they do zombie style. When the art is gone, organizational focus turns to bureaucratic empire building goals like “outreach” and “education” and “developing an audience” – all beloved funding sweet spots for gigantic foundations. Ticket prices drop to near zero under the rationalization of providing better “access”. Cities and foundations plow good money after bad in an attempt to prop up yesterday’s organizations. But the thrill – the thing the audience wanted once upon a time, the reason we go to live performance in the first place – is gone.

Every single audience member has in their pocket the single most effective marketing tool you could ever dream of.  And you're telling them not to use it?
#SocialTheatre. DUMP SITE at Seattle Immersive Theatre. Every single audience member has in their pocket the single most effective marketing tool known to humankind. And you’re telling them not to use it? “Whatever you do, don’t tell anyone about our show.”

It’s always inspiring and interesting to see what a newly minted and brightly burning theatre group looks like. Usually they are formed by young people, and so the digital aspects are going to be very sharp. But often new behaviors and styles enter the scene with the newcomers. If successful, these innovations spread to the mainstream. New theatre ventures are petri dishes of what younger audiences want to create and experience. And everyone else in the established bureaucracies would do well to pay attention.

So here with your afternoon IPA or morning coffee (or vice versa) is an example of the new: Forward Flux (@Forward_Flux), a Seattle outfit that also operates in New York.

Check out the digital channels. Looks pretty exciting, right? Notice the gigantic, exclusive focus on the excitement of the experience. These is no plea for money (yes, much lower down you can donate if you want to). The focus is on showing you all the amazing things they have. Want some? I bet you do. If the web site is this beautiful you have to wonder how great the actual experience on offer is, right? First things first – create a product people want. Get your audience involved and active. Once you do that, they will support you – both by attending shows and donating.

Goregously simple. A gallery of experiences we must have. #DigitalExcellence at Forward Flux.
Goregously simple. A gallery of experiences we must have. #DigitalExcellence at Forward Flux.

The future of theatre is not in the theater. It’s outside in non traditional spaces. It’s in the street, in the park, in the gas station, in the coffee shop. It is not inside $40 million dollar LEED certified malls. It’s almost anywhere other than the old-fashioned theatres of yesterday, where blue hairs take group naps against a backdrop of Shakespeare.

Location is not the only thing that will change in the theatre of the future. What theatre is like will be different. The fundamental experience will evolve. Theatre – like the media – will be more “social” in the future. It will be a more active experience than the old-fashioned warehousing of half asleep citizens in fixed seats. It will involve moving around. The audience will have input. They will take photos. They will dance. They will shout stuff. They will eat food and sing Neil Diamond (if requested).

The audience will be co conspirators, authors, stars. The lines between audience and performer will become more blurred. Theatres will both put on shows and do other social activities their audience wants. Because remember, the real art form is not putting on a show – it’s building an audience. Anyone can put on a perfectly good show that no one wants to see – Peak Shakespeare anyone? The real art form, the skill that any theatre that wants to do more than struggle by on grant checks must learn, is attracting an audience. How do you make exciting, interesting people come to your events? How do you make them want to spend $50 on a ticket? You do it by creating unforgettable live experience that talks to them.

So check out Forward Flux. Check out what they did last night on Capitol Hill in Seattle with #WhatTheFloat. An event like this is exciting enough to draw media coverage – unlike the 9 millionth amateur production of Shakespeare.

And if you missed #WhatTheFloat last night? Next up from Forward Flux is a double header of GREEN WHALES and STILL LIFE in September. Be there.

The future is coming and the audience of tomorrow is hungrier than they have ever been for authentic live performance. The companies that can deliver will sky rocket over the rainbow on purple, organically raised unicorns trailing streamers of silk. Wearing glitter-encrusted super hero costumes.

But old-fashioned theatuh will be the stuff of museums and grants and TBT posts…

#WhatTheFloat last night on Capitol Hill in Seattle.  Wanna guess when the last time any of these guys bought a ticket to Shakespeare was?
#WhatTheFloat last night on Capitol Hill in Seattle. Wanna guess when the last time any of these guys bought a ticket to Shakespeare was?


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carnism unearthed, or the invisibility of beasts

I am an invisible man. No, I am not a spook like those that haunted Edgar Allen Poe; nor am I one of your Hollywood-movie ectoplasms. I am a man of substance, of flesh and bone, fiber and liquids—and I … Continue reading

Posted in Consumerism | Tagged , , , , , , , , , , , | 1 Comment

Escaping the Cycle

Courtesy of Gawker. I first heard about this graphic from My Face is On Fire. She talks about how veganism isn’t about perfect purity, but minimizing to the best of one can reasonably reduce. As most vegans already know, animal-free … Continue reading

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Thread: SingularityNET, platform for the decentralized AI economy, Zurich, Switzerland

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    Article "This ICO for an AI blockchain is the most tech-hype idea of the year"
    SingularityNET, founded by robotics expert and AI-researcher Ben Goertzel, wants to democratise artificial intelligence research to keep its control out of the hands of Silicon Valley corporations

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    SingularityNET - the single most valuable technology of all time
    December 21, 2017

    SingularityNET is the first and only platform that allows AIs to cooperate and coordinate at scale.

    No longer must AIs exist in silos, only capable of operating within a specific company, infrastructure, or industry.

    The future of AI is here. We hope you’ll join us.

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Thread: Sonic Robots, musical robot instruments, MR-808 robot sound installation, Moritz Simon Geist, Dresden, Germany

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    MR-808 mechanic drum robot live at CYNETART 2012

    Science Fiction Children & Moritz Simon Geist live at CYNETART Dresden Hellerau 2012

    The MR-808 is the first drum robot that reproduces the drum sounds of the 80s - in the real world! The robot installation MR-808 is a replica of the famous 1980s electronic drum machine TR-808 – with robots playing the drum sounds by Moritz Simon Geist.

    Instruments used:
    MR-808 - mechanic sound robot (all drums, miced)
    A mechanic relay controlled via arduino (bass sound)
    Gameboy - Arduinoboy hardware (8 bit chiptune sound)
    Everything was programmed in Ableton, only equing and compression has been applied.

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    Glitch Robot

    Published on Mar 23, 2015

    "Glitch Robot" is a robotic music instrument dedicated to glitch sounds. Sounds from the in-between of error and prediction, little sounds that are amplified, small sounds made big. The installation uses old hard disks, metallic tongues, relays and other mechanic devices to create sound textures that are used in electronic music - with robots!

    Dates of release: Sept. 2014.
    Crew: Moritz Simon Geist (Concept + Realization), Sebastian Piatza, Claudia Lill.

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    Sonicrobots - Live @ ICAS Festival 2015

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    Sonic Robots playing live at the ICAS festival in Dresden 2015

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    Sonic Robots Mapping Festival Interview

    Published on Sep 29, 2015

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    Sonic Robots - automatic drums

    Published on Sep 20, 2016

    Small installation with Clipon Actuators. Made together with for the Drum and Bass Festival Dresden 2016

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Merchant of Venice, Mind Maps

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David Tang

on 16 December 2011

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Transcript of Merchant of Venice, Mind Maps

The Merchant of Venice 1: Acts 1 and 2 A 5-in-3-in-1 Mind Map by:
David Tang is important Characters and language distributed. Event 1: Bassanio the Romeo need money to
woo Portia, his...uh... Juliet? In Belmont is a lady richly left,
And she is fair, and, fairer than that word,
Of wondrous virtues.
O my Antonio, had I but the means
To hold a rival place with one of them,
I have a mind presages me such thrift
That I should questionless be fortunate. Event 2: Antonio has no money, but urges
Bassanio to use his credit card(NIOT) Thou know'st that all my fortunes are at sea,
Neither have I money, nor commodity
To raise a present sum. Therefore go forth;
Try what my credit can in Venice do. Event 3: Portia the Juliet awaits her Romeo
who is not amongst the ridiculed princes If I live to be as old as Sibylla, I will die as chaste
Diana unless I be obtained by the manner of my
father's will. I am glad this parcel of wooers are so
reasonable, for there is not one among them but I dote
on his very absence, and I pray God grant them a fair
departure. All that trouble starts here because Bassanio has no money. Antonio's love for Bassanio propels him to let Bassanio use his credit card(NOT). Portia's Dad's Test of Love. Event 4: SHOWDOWN ONE! ANTOINIO VS SHYLOCK! Shylock: Antonio is a good man.
*Antonio Enters, AWKWARD*
Shylock: Fair sir, you spat on me on Wednesday last,
You spurned me such a day, another time
You called me dog, and for these courtesies
I'll lend you thus much moneys?
*Evil plan*
Shylock: If you repay me not on such a day,
In such a place, such sum or sums as are
Expressed in the condition, let the forfeit
Be nominated for an equal pound
Of your fair flesh, to be cut off and taken
In what part of your body pleaseth me. the Spit: the intolerance
the Flesh: revenge Event 5: In Shylock household, Shylock's servant AND daughter prepares to leave him Certainly, the Jew is the very devil incarnation; and, in my conscience, my conscience is but a kind of hard conscience, to offer to counsel me to stay with the Jew. O Lorenzo, if thou keep promise, I shall end this strife, become a Christian, and thy loving wife Poor Shylock is betrayed. Betrayal, happy face. Antonio the Merchant Rich merchant with numerous ships at sea
who is happy to risk his own life (unknowingly)
to rescue his good bro (more like lover). Bassanio the Romeo Rich (NOT) noble-kinda-guy who falls in love with Portia the Juliet. Nice manners, good bro with Antonio. Portia the Juliet Bassanio the Romeo's crush (DUH). Smart lady who didn't want to depend her fate on her dead dad's deal with her. Shylock the Weird-named Banker A discriminated (DUH) Jew who lends money (DUH) with interest (DUH). Pretty admirable guy if not for the pound of flesh. Hates Antonio whose fate is entwined with him (NOT). Colorful imagery by Solanio/Salerio/Whoever And not bethink me straight of dangerous rocks, which touching but my gentle vessel’s side would scatter all her spices on the steam, enrobe the roaring waters with my silks. Scary stuff for merchants whose life (HINT HINT) depended on ships (END HINT HINT). OH MY, MIGHTY CHEWY METAPHOR. Her name is Portia; nothing undervalu’d to Cato’s daughter, Brutus’ Portia; […] and her sunny locks hang on her temples like a golden fleece Referencing to ancient Romans, huh... Soliloquy... say again wut? “[Aside] How like a fawning publican he looks! I hate him for he is a Christian…” Mmkay so this is basically Shylock churning his own stomach and not letting anyone else know. Antonio and Shylock, NOT bros. Monologue Signor Antonio, many a time and oft
oft, many a time and very often, with great frequency
In the Rialto you have rated me
About my moneys and my usances... Basically a long speech. Shylock's contempt is shown clearly and dearly. ...Iambic pentameter. ...THEY'RE ALL OVER THE PLACE.
All the noblemen speak with taht. Shakespeare's signature style; pattern of ten
stressed and unstressed syllables. 2: Acts 2&3 Event 1: MOROCCO the hotshot takes a shot; it's a cold shot, trolololol. Event 2: After taking money out of bank (Shylock)
from Antonio's credit card (NOT), Bassanio goes to
Belmont... with Gratiano the hotshot 2 following. Event 3: As Shylock goes out to give face to the Christians, Jessica the Juliet steals his jewels and escape with her Lorenzo the Romeo Mmkay, so apparently, what all men desires =/= true love for Portia. Good to know that, dead dad. While Antonio is taking a risk for Bassanio his lover, Bassanio the Romeo pretends to be rich and high in status to woo Portia with his facade.

Gratiano the hotshot 2 goes along with his boss to look for some other hot girls in town. Heaven forbid that he actually FOUND ONE later on. Interesting... Jessica wants to become a Christian yet commences the sin of stealing from a household. Her OWN (Or previously her own) household, her father's treasure. You sure you want to be a Christian, Jessica...? Event 4: Shylock's mental breakdown. Shylock, from an unbiased perspective,
deals with the matter fairly in his vocal
payback. However, seriously, the pound of
flesh...? You're just sadistic now. Event 5: "Juliet" urges "Romeo" to not choose and stay by her side...curious. But he chooses anyways, and guess what, HE GET IT AND HER AND ALL HER MOOLA HOOLA. I pray you tarry, pause a day or two
Before you hazard, for in choosing wrong
I lose your company. Realize here that Portia has two promises responsible, one of which she wants to but couldn't disobey, since however rich she was, she was still a woman bound to her father's words. Jessica Interesting girl. She wants to be a Christian, yet she spends her first night-out gambling and extravagantly expending her STOLEN WEALTH, of all the money. Bassanio the Philosopher Torn between two lovers, Bassanio chooses Antonio, since Portia is half his anyways (you lucky man...) Also didn't know that you were the philosopher and the REAL hotshot at the SAME TIME. GOOD JOB BRO. Portia the Strong Woman Who else would force their "newlywed" husband
out of bed and into another lover's b... ahem,
need? Great personal sacrifice there gal. Shylock the Evil Banker Hellbent on revenge, Shylock strikes at Antonio. He wants his heart, which is one pound and satisfies his revenge, partly. Also quite mad at his daughter escaping and spending against Jewish virtues. I understand you, Shylock. Just not that sympathetic now. Death is coming... foreshadowing I will have his heart... VERY SCARY. You don't go arourd telling people you'll cut their heart out unless you have a plan to do it. So Ironic... Since I am a dog, beware my fangs. So uh Shylock, you are murderous, revenge-bent,
and is a dog... you're complex. You really are. Comedic dialogue Yes truly, for look you, the sins of the father
are to be laid upon the children. Therefore, I promise
you I fear you. I was always plain with you, and so now
I speak my agitation of the matter. Therefore be o' good
cheer, for truly I think you are damned. There is but
one hope in it that can do you any good, and that is but a
kind of bastard hope neither. Scenes like this relieve tension so that the audience doesn't die of hyperventilation AND the Shylock doesn't die of projectiles hitting his head. Allusion Shylock, though you act strong and powerful, deep inside, you are just another bullied boy. Rhyme scheme Subtitles on the caskets So apparently the dead dad's a poet
Writing such elegant little couplet MOROCCO:Mislike me not for my complexion,
The shadowed livery of the burnished sun,
To whom I am a neighbour and near bred...
Portia: *facepalms*

MOROCCO:O hell! What have we here?
A carrion Death, within whose empty eye
There is a written scroll.
Portia: *happy that she doesn't have to marry a total idiotic troll* GRATIANO
You must not deny me. I must go with you to Belmont.

Why then you must. But hear thee, Gratiano... Farewell; and if my fortune be not crost,
I have a father, you a daughter, lost.

Here, catch this casket; it is worth the pains.
I am glad 'tis night, you do not look on me,
For I am much ashamed of my exchange.
But love is blind, and lovers cannot see
The pretty follies that themselves commit;
For if they could, Cupid himself would blush
To see me thus transformed to a boy. To bait fish withal. If it will feed nothing else,
it will feed my revenge... Nay, that's true, that's very true. Go, Tubal,
fee me an officer; bespeak him a fortnight before. Now you're just showing off. Like, you're
going over the top, Mr. Banker. Don't bankrupt your own bank (HINT HINT). Due to minor mix-up, some stuff from Act 2 is here... ugh, blame procrastination. So may the outward shows be least themselves.
The world is still deceived with ornament.
In law, what plea so tainted and corrupt,
But being seasoned with a gracious voice,
Obscures the show of evil? In religion,
What damned error but some sober brow
Will bless it and approve it with a text,
Hiding the grossness with fair ornament? ...didn't know you were THE philosopher, Bassanio the Romeo. Nice job. Oh, and you aced the test. Event 6: Antonio hits rock bottom (figuratively), and
his ships hit rock bottom (literally). But is it true, Salerio?
Have all his ventures failed? What, not one hit?
From Tripolis, from Mexico and England,
From Lisbon, Barbary, and India,
And not one vessel scape the dreadful
Of merchant-marring rocks? Bassanio is torn now between his bro-love to Antonio and his hetero-love to Juliet (NOT, IT'S PORTIA). Event 7: Portia, being the nice lady she is, orders
Bassanio to sever all old ties...umm...no...help Antonio. First go with me to church and call me wife,
And then away to Venice to your friend!
For never shall you lie by Portia's side
With an unquiet soul. AND WE WERE EXPECTING THE BEDROOM SCENE (SHIFTY SAD EYES). Oh well. Testing yo love, Bassanio. Event 8: Shylock rages again. Antonio is sad. I'll have my bond. I will not hear thee speak.
I'll have my bond, and therefore speak no more. Shylock, you ever heard the saying that revenge is a dish best served cold? They shall, Nerissa, but in such a habit,
That they shall think we are accomplished
With that we lack. I'll hold thee any wager,
When we are both accoutered like young men,
I'll prove the prettier fellow of the two... Event 9: Since they want to help but are women, Portia and Nerissa have to make themselves men. Or at least boys. Status prevents them from doing anything so they "change" their status by a little wardrobe change. AMAZING. How many cowards, whose hearts are all as false as stairs of sand, wear yet upon their chins the beards of Hercules and frowning Mars, who, inward search’d, have livers as white as milk 3: Acts 4&5 Event 1: In court, Shylock demands for Antonio's flesh. Event 2: Antonio understands that Shylock passed
the point of no return. Event 3: Portia (NO, HE'S BALTHAZAR NOW) urges for Shylock to show mercy; he insists on getting his "justice" ITS ON NOW. Shylock doesn't want compensation anymore, just the money. And he's sharpening the knife. Antonio, using colorful metaphors or whatever, tells the Christian audience the futility of attempting to persuade Shylock to abandon his love (NOT, IT'S HATE) for Antonio. Portia in suits is ADORABLE. Ahem... anyways. The elegance of Portia's speech still fails to persuade Shylock... but Portia has another hand to play. This is the climax of the play where Portia exceeds status "fit" for her woman body and displays virtues from her intelligent soul, far exceeding that of many men. Event 4: Playing by Shylock's rules,
Portia manages to bankrupt Shylock and
get Antonio out of the jail. Event 5: Antonio shows what is considered Christian mercy of sparing Shylock's life. But... ...and the good guys win the day again. Justice for the Christians, caused by intolerance toward the Jewish. What is considered merciful by Christians is probably the worst that could happen for Shylock. Now he's stuck in that between place. Antonio Knowing his inevitable end but still comforting his lover (AHEM)... best bro Bassanio, Antonio finally sees the light at the end of the tunnel. And some of his ships are not wrecked. Antonio is happy. Bassanio
After some scary and crazy court debates and the ring affair, Bassanio finally can concentrate fully on his beautiful wife Portia. Bassanio is happy. Portia Solving a case, tricking your newlywed husband,
and meeting some new friends. What more could you
get for a hard day's work? Good job, Portia! Shylock Shylock now lost everything, his money, his status, his faith. All that awaits him is the rest of his life being discriminated by everyone. All are happy except Shylock. Wait, what...? Where's my climax?!?! When the couples argue. You'd EXPECT that after coming thru all these crises the couples would just go to bed, but NO. So Ironic... When Shylock gets punished instead of him
cutting out Antonio's heart. Portia's word playing saves the day; instead of getting
his revenge, Shylock instead loses everything. ...Climax Tarry a little, there is something else.
This bond doth give thee here no jot of blood;
The words expressly are ‘a pound of flesh'.
Take then thy bond, take thou thy pound of flesh,
But in the cutting it if thou dost shed
One drop of Christian blood, thy lands and goods
Are by the laws of Venice confiscate
Unto the state of Venice.

Justice is delivered, the protagonists are happy, and the protagonist shows mercy for the antagonist. Victory for the Almighty, again! Allusion All those historic figures makes my head spin around like Moon around the Earth. This is what you get for being stubborn. </3. Due to minor mix-up, some stuff from Act 2 is here... ugh, blame procrastination. Event 6: The two "men" manages to get the
rings sworn to stay on fingers. THANK YOU COMEDIC MOMENT. Also leaves one final mine to dissolve in the Final Act of 5.1. Event 7: Jessica and Lorenzo's love duet. Creating a nice scene that proves their love and comedically contrasts with Portia's "shock" over Bassanio's "betrayal". Event 8: Portia's "showdown". And nerissa's. You two should go to Hollywood, you know that? Amazing acting skills that tests the men once more. Event 9: The girls reveal the joke, and now everyone's happy happy. Bedroom scene up for imagination. Big happy ending. Three loving couples and a "bad guy" punished. Fin. Jessica and Lorenzo's love chat You'll ask me why I rather choose to have
A weight of carrion flesh than to receive
Three thousand ducats. I'll not answer that,
But say, it is my humour. Is it answered? I pray you think you question with the Jew.
You may as well go stand upon the beach
And bid the main flood bate his usual height,
You may as well use question with the wolf
Why he hath made the ewe bleat for the lamb,
You may as well forbid the mountain pines
To wag their high-tops and to make no noise
When they are fretten with the gusts of heaven; The quality of mercy is not strained,
It droppeth as the gentle rain from heaven
Upon the place beneath. It is twice blest,
It blesseth him that gives and him that takes.
'Tis mightiest in the mightiest, it becomes
The throned monarch better than his crown. Tarry a little, there is something else.
This bond doth give thee here no jot of blood;
The words expressly are ‘a pound of flesh'.
Take then thy bond, take thou thy pound of flesh,
But in the cutting it if thou dost shed
One drop of Christian blood, thy lands and goods
Are by the laws of Venice confiscate
Unto the state of Venice. So please my lord the Duke and all the court
To quit the fine for one half of his goods,
I am content, so he will let me have
The other half in use, to render it
Upon his death unto the gentleman
That lately stole his daughter. Go, Gratiano, run and overtake him,
Give him the ring and bring him if thou canst
Unto Antonio's house. Away, make haste. The moon shines bright. In such a night as this,
When the sweet wind did gently kiss the trees
And they did make no noise, in such a night
Troilus methinks mounted the Troyan walls,
And sighed his soul toward the Grecian tents
Where Cressid lay that night.

In such a night
Did Thisbe fearfully o'ertrip the dew,
And saw the lion's shadow ere himself,
And ran dismayed away. Even so void is your false heart of truth.
By heaven, I will ne'er come in your bed
Until I see the ring. Let it be so. The first inter'gatory
That my Nerissa shall be sworn on is
Whether till the next night she had rather stay,
Or go to bed now, being two hours to day.
Full transcript


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Mother, may I?

I’ve never been baby-crazy.  Out of all my friends, siblings, etc, I am the least likely to like a baby.  Honestly.

I have never been able to muster up any sort of maternal feeling simply by looking at a cute baby.  I am not the type to coo over chubby cheeks and a pair dimpled arms.  I have never liked holding babies, even the ones that I am related to.  I cannot understand the big deal about such a tiny being, a baby is a baby only for so long, eventually it too will be like us soon.  You dont go around ga-ga-goo-goo-ing people you see on the street, do you?  Aren’t they too just bigger versions of the babies you so love to love?

I sound quite horrible, I know.  My aversion to babies neer fails to surprise any of my friends.  Yet, I am used to it, I have accepted the fact that I am just not the sort of person that will double over with excitement and drop to  my knees and start babbling in baby talk at the sight of a baby.  So when my brother and his wife had a baby daughter, I felt a bit uneasy.  Of course, I would be expected to react accordingly: gushing over her cuteness, praising her childish alertness and marveling at her roly-poly baby body.  The thought of it made me quite nervous, I was not sure how I’d feel about her at all.  Sure, I went shopping for her, bought lots of teeny tiny shoes and accessories so pink that even cotton candy would be ashamed, but that was all irrelevant.  The real question that afflicted me was:  would I like her, or rather, would she like ME??

It came as a surpise, not just to me, but also to my family.  My baby niece has eyes only for me.  Of course, that may have something to do with the fact that her clever brain registers me as the one who will for sure pick her up and rock her whenever she scrunches up her face, on the verge of tears, but the fact remains that she does, indeed, like me.  It’s such a weird feeling, one that I hadn’t thought I would experience before I had my own kids.  Being liked by a teeny, tiny life, being wanted by it, and wanting it, liking it, loving it back just as much.  I could spend hours just looking at her, in awe of how she, being not yet 2 months old, is capable of making me feel SO much.  It has not even been 10 days since I arrived, and already, I am wondering how I’ll feel when it’s time for me to go back and not spend all day taking care of her, rocking her, playing with her.

It may sound like I’ve experienced some sort of ground-shaking epiphany, and this experience has changed my perception of babies forever.  Fortunately, not, though.  I still cannot make funny noises or faces at her, nor do I want to (I think babies are alot smarter than we think, they see us distorting our faces and hear us changing voices and saying strange things and probably wonder, ‘What the fcuk? Where do you think I’m from, Kalamazoo?’)  And I still cannot, and will not, clean her poo.

I still generally don’t like babies, I just like this baby.


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Ezzi, MS, Anzala O, Maritim MC, Bhatt KM.  2014.  Distribution of Salmonella Typhi Antibodies in the Sera of Healthy Blood Donors at Kenyatta National Hospital. Online Journal of Medicine and Medical Science Research. 3(3):19-23. Abstract

Typhoid fever is widespread in Kenya. Widal test interpretation requires knowledge of the baseline titres amongst healthy population. These normal agglutinin titres vary depending on the degree to which typhoid fever is endemic in each area, a factor which may change over time. It has been a decade since Widal titres in apparently healthy population has been assessed. Furthermore, no baseline Widal titres have been assessed in blood donors. The method applied was a cross sectional descriptive analysis whereby voluntary and healthy blood donors at Kenyatta National Hospital Blood Transfusion Unit were consecutively sampled and screened for Salmonella Typhi agglutinin titres using the Widal test from October 2012 to November 2012. Demographic and focused medical history was obtained by use of structured pretested questionnaires. Blood sample was taken for assessment of Widal titres. Among the 353 serum specimen tested, 75 (21.25%) sera were found to be positive for the Widal test and 278 (78.75%) were negative. The most frequently recorded titre of the reactive sera was 1: 40 for both the anti-O antibodies and the anti-H antibodies which occurred in 49% and 44% of the reactive sera respectively. About 20% of healthy blood donors had a positive Widal screening test, with 50% constituting a baseline titre of 1: 40 for both O and H antigens. A significant proportion of blood donors had titres ≥1: 80. Hence, the researchers recommend the cut off titres of ≥ 1:80 for diagnosis of typhoid fever with the appropriate clinical features.

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Get Motivated with TaeKwonDo

Well, the culmination of nearly 3 years of hard work & persistence paid off last month. I got my baby black belt. Which may just prove that miracles can happen or that people really can do anything. In many ways, I know my journey as a martial artist is just beginning and I look forward to the next 40 years or more of growing as a black belt. There has been nothing easy about the journey but it has been so worth it. Among many things, this experience has taught me the fine art of persevering.

I went to TaeKwonDo when I was sad, tired, depressed, grieving, angry, sleep deprived. I went on days of great failure and great frustration. I went when I was sore and ‘oh please help me stand up’ so very sore. I went with a separated shoulder (another story). I went with a mild concussion (and learned that blocking was a very necessary survival skill in this sport). I went with an almost broken thumb. I went when I was scared, insecure, self-conscious and way too overweight to be doing this.  I went when no matter what I tried, I couldn’t get my damn foot to pivot or my stupid hip to rotate. I went on days when I argued with myself that I was far, far too old to exercise let alone become a martial artist. I went when my Dad was dying and couldn’t control my tears and I hoped that everyone just thought it was sweat. I went despite every possible excuse I could think of and despite every bad, stupid thing that has happened over the last few years.

I went and I went and I went. And I got better and better. And then one fine day in December, I got my first black belt.  Perseverance, it does exist. So if I can do this, I know you can do anything.

Share small business news, blogs and social media tips with Project Eve’s community of small business owners and entrepreneurs today. Our contributors come from a wide range of backgrounds; so whether you are a small business owner, social media strategist, financial adviser, serial entrepreneur, or write an amateur blog we urge you to contribute a blog to our 500,000+ community today. For more information, please refer to our Content Submissions Guidelines.

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Protect Adrian’s Kids

Exposing the Crimes of Thomas Hodgman

Posts Tagged ‘thomas hodgman

Adrian Professor Thomas Hodgman Confesses to Molesting Teens

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The Documents:

The Story:

Why do Adrian College & Methodist Church Officials Refuse to Protect Kids?

Instead, They Let Him Take Dozens of Youngsters Overseas For Weeks, Run a Community Chorus and Sponsor a High School Vocal Competition

In 2005, after an almost 20-year battle to expose the man who molested her when she was a teen, Joelle Casteix was awarded $1.6 million and access to the documents that proved Thomas Hodgman – a professor at a Methodist College in Michigan – admitted raping her and another student.

Chruch and college officials know of Hodgman’s admission, yet continue to let him be around kids.

The Diocese of Orange and Mater Dei High School kept these documents hidden and never alerted authorities.

Adrian College still refuses to remove Hodgman. Last week, the Survivors Network of those Abused by Priests asked Adrian College President Jeffrey Docking and the Adrian Board of Trustees for 10 minutes at their February 15 meeting. They wanted to give Casteix the opportunity to address her extreme concern at the Adrian Choir’s upcoming tour to China, sponsored by Kingsway International The group believes that taking innocent and vulnerable kids to China with an admitted child molester is dangerous and foolish.

Kingsway international has also been informed of Hodgman’s crimes.

Read their letter here: SNAP’s Letter to Jeffrey Docking

To protect kids, PLEASE write:

  • The man who is Hodgman’s boss:

Adrian President Jeffrey Docking:

  • The church that charters Adrian College:

Bishop Jonathan D. Keaton, Bishop of the Michigan Area of the United Methodist Church:

  • The company that’s sponsoring Hodgman’s overseas trip:

Kingsway International:

  • The organization that helps him gain access to kids by accrediting him:

The National Association for Music Education:

(Each of these knows about Hodgman’s crimes but is refusing to act to safeguard children)


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Nike WMNS Air Max 1 & AF1 Upstep Premium Pack

Two Premium women’s models arrive with gold leather uppers meant to resemble fish scales. The Air Max 1 offering sets the fish scale upper as the base, along with a smooth gold leather Swoosh and tongue tag set over a white midsole with a gum outsole. Using a similar approach, the white elongated midsole of the Air Force 1 gets finished with a gum sole, which sits below a gold leather fish scale upper with smooth gold leather on the Swoosh, eyestays, and heel logos.

Available now in-store at our Teaneck location and by email order at

Nike WMNS Air Max 1 PRM – Blur/Blur-Lt Orewood Brn ($130)

Nike WMNS AF1 Upstep PRM – Blur/Blur-Summit White ($130)


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department menu

Accelerated Bachelor of Science in Nursing (ABSN)

Offerings: Bachelor

Course Description

This fast-paced, 24-month 'Additional Bachelor's Degree' program is designed for students who hold a degree in a discipline outside of Nursing and who have not completed any LVN or RN coursework. Students will complete approximately 78 semester units of study in both didactic and clinical coursework.

Extended Learning

  • Bsn
  • Practitioner
  • Registered nurse
  • Rn

  • Birthing center
  • Hospice
  • Hospital
  • Surgery

Birth, Birthing, Care, Cpr, Emergency, Emergency medical training, Emt, Health, Healthcare, Hospice, Hospital, Medic, Medical, Medicine, Orthopedic, Orthoscopic, Orthoscopy, Pediactric, Pediatrition, Preventative care, Psychiatric, Surgeon, Surgery


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The International Patellofemoral Pain (PFP) Research Retreat

Brad Neal discusses his recent trip to the Gold Coast for the International PFP Research Retreat with fellow Head of Research Simon Lack.

Recently, I was fortunate enough to travel all the way to the Gold Coast of Australia with my colleague Dr. Simon Lack in tow, to attend the International Patellofemoral Pain (PFP) Research Retreat. Simon and I have had the pleasure of being a part of this collaborative research group since 2013, which meets once every two years to discuss all things kneecaps!

Both Simon and I presented two abstracts at the conference, formed primarily of work completed as part of our PhD studies. These trips are great for catching up with friends and colleagues from all over the world, but are also a great opportunity to stay abreast of the very latest research.

Day one started with a great keynote speech from Professor Richard Souza on imaging for the patellofemoral joint. The salient conclusion from this was that imaging remains a strong research tool, but that we should not hang our hats on it too much in clinical practice. However, there is a growing body of work suggesting that certain imaging features may well be associated with symptoms in patellofemoral joint osteoarthritis, so watch this space as things develop further here. Prof. Souza also made the very valid point that for patellofemoral pain, we may simply be looking for the wrong things on a patient scan, which could explain the apparent lack of correlation between imaging and pain. My personal take is that imaging may help to guide treatment in a patient who fails to respond to rehabilitation, but that we should not be too quick to image those without the presence of concerning symptoms.

We then moved on to the epidemiology of PFP; where Dr. Michael Rathleff and his group reminded us just how common PFP is in adolescents (50% of adolescents with PFP still have symptoms as they reach early adulthood). Even more worryingly, in the Netherlands, just 50% of adolescents who present to their GP with PFP are referred for Physiotherapy. It was within this session that I presented my first abstract of the conference, a systematic review of risk factors for PFP that we are completing with some close colleagues from Erasmus University in Rotterdam. To wet your whistles ahead of this (hopefully) imminent paper – risk factors vary by subgroup!

We then had two sessions on muscle function in PFP; where Simon presented the first of his abstracts, this one a small study comparing EMG of the gluteal muscles in participants with PFP during common rehabilitation exercises. There were some interesting studies on quadriceps inhibition in acute PFP, as well as a very interesting study looking at the correlation between fear avoidance behavior and muscle function (high fear avoidance = lower muscle strength). Day one finished with some drinks & a buffet in the conference hotel bar, all work and no play makes Brad & Simon dull boys!

Day two commenced with another excellent keynote lecture, this time from Associate Professor Thor Besier on musculoskeletal modeling in PFP research. The technology involved in this area is complex and not yet clinically available, but it was great to see just how much researchers in this area have their eye on clinical practice and also how close some elements of the technology are to being clinically viable. In just a few years we may be imaging our patients in a completely different way …

Abstracts on day two were focused almost solely on treatment for PFP, which I suspect most people are primarily interested in. Simon presented the results of his recent feasibility trial on tailored versus untailored treatment in PFP; the final project from his recently completed PhD. Overall, exercise remains the cornerstone of gold standard PFP management, but there were also some great presentations on orthoses, running retraining and exercise compliance. Our close friend and colleague Dr. Christian Barton finished this session by delivering some of his recent work on knowledge translation in medical research, which partly spurred me to write this summary blog. Day two finished nice and early to allow us all to hit the beach and kick a “footy” around before heading to the customary conference dinner. Nothing too crazy, day three started bright and early at 8am!

At the start of day three, there was an entire session of abstracts dedicated to psychology and pain, which is a reflection of just how progressive the group is and it was very refreshing to see everyone engaging so thoroughly in this topic; even the biomechanists! Following that, it was onto consensus. This is in equal parts stimulating and fatiguing, where we decide upon what information we should disseminate to the wider world post-conference and how strong we can be in our suggestions. The consensus papers will be published in BJSM in the near future and you can read the 2015 consensus papers here if you wish to compare the two:

Overall, the conference was a fantastic 3 days of science dedicated to the little sesamoid bone at the front of the knee and I return refreshed and full of energy to use all the new information in my brain to help me manage my patients better and design more relevant studies to help us understand all facets of the condition better. The 2019 retreat will be held in Chicago/Milwaukee in the USA and if this has lit a fire under any of you I hope to see you there!


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This is a pre-production deployment of Warehouse. Changes made here affect the production instance of PyPI (
Help us improve Python packaging - Donate today!

Great package.

Project Description

Easy enums for Python.

>>> RGB = StringEnum(['Red', 'Green', 'Blue'])
>>> RGB.Red

1   Installation

Install ezenum with:

pip install ezenum

2   Features

  • Pure Python.
  • Compatible with Python 3.5+.
  • Easy creation of usefull enum objects.
  • String enums with unified value and name attributes.

3   Use

Easilly get a string enum from a string list.

4   Contributing

Package author and current maintainer is Shay Palachy (; You are more than welcome to approach him for help.

4.1   Installing for development

git clone

Install in development mode with test dependencies:

cd ezenum
pip install -e ".[test]"

4.2   Running the tests

To run the tests, use:

python -m pytest --cov=ezenum

4.3   Adding documentation

This project is documented using the numpy docstring conventions, which were chosen as they are perhaps the most widely-spread conventions that are both supported by common tools such as Sphinx and result in human-readable docstrings (in my personal opinion, of course). When documenting code you add to this project, please follow these conventions.

5   Credits

Created by Shay Palachy (

Release History

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We would be delighted to welcome you to the shop.  There are a wide range of fabrics including Oakshott, Lewis and Irene, Moda, Dashwood Studio, Benartex, Cotton+Steel and Stof.  We are on hand for help with fabric selection if you need it.  We also run classes and have a stand at many quilt shows up and down the UK.

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GoKunming, a blog reporting from the capital of Yunnan province, has been posting an excellent series this month of 1930s photos by Austrian-American polymath Joseph Rock (pictured above), who spent much of his life in China’s southwestern frontiers. Rock was one of the first to bring Western classification systems in linguistics, anthropology and botany to bear on China. A regular contributor to National Geographic throughout the 1920s and ’30s, he was arguably the first China travel blogger.

Today, GoKunming has a fantastic post with Rock’s photos of the Naxi people, a minority spread across northwestern Yunnan and southwestern Sichuan. If you visit the UNESCO Heritage Site of Lijiang today, you can imbibe Naxi culture in any number of ways (Naxi traditional music is quite distinctive), albeit packaged for tourist consumption. Rock was in Lijiang long before the backpacking hordes, of course, and contributed enormously to Western understanding of the area, penning a 1,094-page dictionary and two histories of the Naxi. GoKunming writes:

Rock was enraptured by them, spending more time in Naxi villages than he did anywhere else in China. He was especially interested in dongba — which he often wrote as “dto-mba” — a curious word which can refer to the Naxi language, their holy men, religion and some cultural traditions.

Check the full photoset (which GoKunming has helpfully annotated with excerpts from Rock’s field notes) here, and find previous posts from the series (they’re following Rock’s travels in China from south to north over the series of several weeks) here.

Bonus: If you want to see what rogue ethnography in Yunnan looks like today, here’s VICE exploring the culture of bug eating:

Cover photo: Fine Art America


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Coronal non-contrast
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Modality: CT (non-contrast)

- “ Laryngeal trauma is uncommon, and the key to diagnosis, in this case, is the high degree of pre-test suspicion (direct blow, dysphagia, dysphonia)...”

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Book Review: The Sea Road by Margaret Elphinstone (A Re-Reading)

The Sea Road

A few weeks ago, we had our annual staff conference at Canongate Books and one of our assignments was to pick a ‘Gem from the Vault’ – this was loosely described as a book from Canongate’s backlist that you love and want to remind people about. I poured over my bookshelves, looking at the spines for that little red door emblem, or the older one, a big C, at the bottom of all the Canongate titles I own.

I stumbled upon The Sea Road by Margaret Elphinstone and decided that it would be my Gem and set about re-reading it. I first read it at university, in fact, I think it may have been one of the first novels I actually studied there. I was lucky enough to have Margaret Elphinstone as a lecturer in Creative Writing, and there was something so exciting to be reading a book written by someone I had actually met and was being taught by. So interesting to listen to what she was saying and to read her book simultaneously, looking out for all of the techniques and narrative styles that she discussed.

The Sea Road is the story of a real life woman, Gudrid Thorbjornardóttir, whose tale had been told as part of The Vinland Sagas, Icelandic sagas describing the exploration of the Americas in the 10th century by the Norse people. What Elphinstone does is give voice to Gudrid and to tell her tale in a way that draws you into her history and brings an ancient story to life.

The tale begins in Rome, where a young Icelandic monk has been asked by a cardinal to transcribe Gudrid’s tale to shed some light on her experiences with ghosts and spirituality. The tale that follows covers so much more than that, beginning with Gudrid’s childhood in Iceland where she was raised by Halldis, the local apothecary, to her travels to Greenland and Vinland, with her first husband Thorstein and then her second husband Karlsefni.

I love the narrative of this book, as Gudrid tells her story to Agnar, it feels like she is talking to you, the reader, as well. The story of her life is never straightforward and is often invaded by thoughts about the present, or even events that happened long after the ones she is speaking about. It is really interesting to see how on looking back at a life, it is difficult to think of events a linear way. Events split by many years can seem more related than those that happened on consecutive days, and it is always hard to look back at a specific objectively time without everything that has come after seeping in and declaring its presence. It’s almost as if time (to humans at least) is not linear; it is a web of moments in a life, not minutes or days.

The story is magical, and weaves in supernatural forces, as well as covering Gudrid’s conversion to Christianity. The ghosts of the past and the gods that she used to worship haunt her though, and one of the most affecting passages in the book is at the death of her first husband, Thorstein, when Gudrid battles with the ghosts of lost souls. I loved this supernatural element to the book and it gave a sense of perspective to the seclusion that the people felt in their exploration of new lands and their need for gods to guide them and bless them on the seas and the land.

Agnar talks to Gudrid but we never hear his voice except in the preface and epilogue; it is not his story that is important as we hear Gudrid’s replies to him. She is the central character, the one who needs a voice. What is interesting about her tale is that sometimes there are things that she can’t say, the italicised passages that we get in the book seem like the voice of the gods (or a god), looking down on all that is happening and giving us a seemingly objective view. Our memory of our lives is never comprehensive and sometimes we need a helping hand to fill in the gaps.

I remember when I read The Sea Road all those years ago at the beginning of uni that I was drawn into this tale. I always loved stories to do with Vikings and this one transported me to a similar place, of sea travellers and settlers, living off the land and trading with people from all over. It almost recalled the inquisitiveness of primary school days, when history feels new as you haven’t discovered it before and its foreignness is all quite exciting. I really enjoyed reading this book again and I would love to read more of Elphinstone’s books. I’ve been directed towards Voyageurs as my next port of call – duly added to the wish list!

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Cerita Dewasa Dan Cerita Seks Terbaru 2018

Cerita Sex | Cerita Hot | Cerita Sedarah

Nonton Film Semi Anything for You Subtitle Indonesia

Nonton Film Bokep Semi Gratis Film Dewasa – Nonton Film Semi Anything for You Subtitle Indonesia  ini khusus untuk DEWASA (18+) Anak Dibawah Umur Dilarang Keras Menonton

Film Semi – Naomi, who runs a coffee shop that her mother handed over, comes to the shop with her private colleagues because of her mother ‘s bond. One day, however, Mina is concerned that Mina and I are staying together at the same house. Mina accidentally finds out that her brother is having a hard time because of the debts and tries to repay the debt instead. Instead, they will pay off. Nonomiya, who is angry at the fact, finds a loaner, but Mina was not there. Two people who have confirmed each other ‘s feelings at the sacrifice of Mina share love, but Mina disappears without saying the next day.Mina ‘s twin sister comes and listens to Mina’ s real heart and spends her day waiting for her. Two years later she comes back.

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