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Tag Archives: LA Stage Times

Fountain West Coast Premiere of ‘On the Spectrum’ Named Highlight of 2013

"On the Spectrum"

Dan Shaked in On the Spectrum

The Fountain Theatre’s West Coast Premiere of On the Spectrum has been named a Highlight of 2013 Theater by  writer Don Shirley in LA Stage Times. Written by Ken LaZebnik and directed by Jacqueline Schultz, the funny and poignant play dramatized the relationship between two young people with autism.

Hailed as “a brilliant, flawless masterpiece”, the acclaimed Fountain production starred Jeanie Hackett, Virginia Newcomb and Dan Shaked

Earlier this year, video designer Jeff Teeter was honored with a special Ovation Award for his compelling video projections in On the Spectrum

New Video: Romantic Balcony Scene from CYRANO

Enjoy this new video created from our critically acclaimed sold-out 2012 production of Cyrano.  This world premiere of a new play, a re-imagined sign language spin on the romantic classic Cyrano de Bergerac reset in a modern city, has been named a Theater Highlight of 2012 by LA Stage Times.

In this funny, poetic and powerful co-production between Fountain Theatre and Deaf West Theatre, Cyrano is a brilliant deaf poet in love with a hearing woman.

David Kurs: A New Leader for Deaf West

Fountain Co-Production with Deaf West Inaugurates  New Artistic Director for Celebrated Deaf Company

by Julio Martinez

Director Simon Levy addresses the deaf/hearing cast of "Cyrano", interpreted by Elizabeth Greene.

Since its birth in 1991, Deaf West Theatre (DWT) has known one leader — Ed Waterstreet, the first deaf artistic director of an American theater company.  During his tenure, DWT established itself as a vital, contributing member of the stage community both locally and nationally, producing 40 plays and four musicals, including the 2001 staging of Big River, which went on to the Mark Taper Forum and then to Broadway, receiving a Tony nomination for best musical.

David Kurs

On March 2, DWT board president Mark Freund simultaneously announced the retirement of Waterstreet and the appointment of David J. Kurs as the new artistic director, just in time to oversee the company’s collaboration with Hollywood’s Fountain Theatre in the premiere of Cyrano, written by Stephen Sachs. It’s a modern, re-imagined staging of Cyrano de Bergerac, performed in a synergistic intermingling of spoken word and ASL signing.

“This is a perfect partnership for us, ” Kurs affirms. “Stephen Sachs [as co-artistic director of the Fountain] was a key player in the early days of Deaf West Theatre. The theater gave Ed [Waterstreet] his first office space. Stephen directed a couple of our productions; and Stephen, Fountain producing director Simon Levy, and Fountain co-artistic director Deborah [Lawlor] have been very supportive of the mission of Deaf West over the years. Stephen also wrote Open Window, which was a Deaf West co-production at the Pasadena Playhouse, and he has remained good friends with Ed throughout the years. So it was natural for Ed to reach out to him about adapting Cyrano.”

Troy Kotsur plays the title role in "Cyrano".

Cyrano, helmed by Levy, is scheduled to open at the Fountain on April 28, with Kurs serving as co-producer, along with the Fountain’s Laura Hill.  “This production model seems to work well for us,” says Kurs.  “We maintain good relationships with many theater companies. We’ve done three co-productions with CTG (Center Theatre Group). Of course, we plan to return to our home base eventually.”  Home base is Deaf West Theatre in North Hollywood (NoHo), which is currently being leased by Antaeus Theatre Company.

Previously, Kurs served as Deaf West’s artistic associate.  He was an associate producer and ASL master on Deaf West productions of Pinocchio (2011), My Sister in This House (2010) and Children of a Lesser God (2009), and he wrote and produced the multimedia young audience show, Aesop Who? (2008). A graduate of Gallaudet University, Kurs has worked as a freelance writer, producer and filmmaker. He has also been active in the local and national deaf community, serving as the president of the board of directors at GLAD (the Greater Los Angeles Agency on Deafness).

A strong advocate for arts education, Kurs believes that the deaf children of today don’t enjoy the same cultural opportunities that he enjoyed as a child. “I grew up in Riverside. My parents are deaf. They would take me to social and cultural events in the deaf community all the time, including the theater. When CTG started offering interpreted performances at the Mark Taper Forum, my parents took me to those performances regularly as well. These opportunities are not as prevalent today.

Although Kurs enjoyed a culturally rich childhood, he was not so sure it would offer him a livelihood as an adult. “I had a passion for the arts for many years, but I didn’t think there would be too many job possibilities for a deaf person like myself in the arts. So at Gallaudet I majored in marketing. One year after graduation, I moved to LA and decided to find a job in the creative industry. I ended up as a script reader. This job was a gateway for me, and it was at this time that I became passionate about the power of the arts and the media in changing the public perception of the deaf community.

"Big River" (2001)

“I saw what Deaf West Theatre had achieved with Big River – not only artistic success, but they had also shown audiences that deaf people were part of a colorful, vivid culture and their language was something that they took pride in.”

As Kurs moves into his new position at Deaf West, Kurs understands his administrative duties will equal if not surpass his creative responsibilities.  And high on his list of priorities is underwriting.  “I have two specific agenda items for 2012: to explore and obtain new sources of funding while continuing to retain our existing funding sources, and to plan our development slate so that we may focus on relevant, engaging work. Ultimately, we’d love to be where art and commerce meet — stretching the boundaries of sign language theater while also achieving success that will sustain our future.”

As for the future, Kurs’ wish list could possibly utilize his filmmaking skills. “Deaf West is a local theater for a good reason — LA is a great home base for many of our actors. We have a wonderful community of deaf actors, writers, and artists. But at the same time, I’d love to serve the nationwide deaf community. Many of our theater fans are unable to travel to LA for every production.

"Cyrano" ASL Masters. Ty Giordano and Shoshannah Stern.

“I want to find ways to bring theater into their homes, to expose deaf children to the potential of the stage so that they may begin to explore it on their own. It’s a very accessible art with deep roots in our community, and it saddens me that sign language theater is not nearly as prevalent as it once was. I was so fortunate to be exposed to so much sign language theater while growing up: community and high school productions, international deaf culture festivals, touring productions of the National Theatre of the Deaf, and most of all, Deaf West’s many productions. And video is one possibility of achieving that exposure.

“Deaf West has had a great impact on me in my artistic development, and I can only hope to spread this passion on to others and to create opportunities for them so that we all can achieve a shared goal of artistic growth.”

Julio Martinez writes for LA Stage Times.

Cyrano April 20 – June 10 (323) 663-1525   More Info   Get Tickets

Saracho’s “El Nogalar”: Chekhovian Mexicans Via Chicago

by Stephanie Jones

If Anton Chekhov were Latino, playwright Tanya Saracho would have him covered. El Nogalar, her Mexico-set spin on the Russian classic The Cherry Orchard, comes to the Fountain Theatre by way of Chicago.

Saracho wrote the play in 2004 while performing as an actor in Luis Alfaro’s Electricidad, at the Goodman Theatre in Chicago. The LA-based Alfaro was then in the last year of his co-direction of Center Theatre Group’s Latino Theatre Initiative. At his urging, Saracho took the story she had in mind and went to work.

“I feel like when I met Luis, that’s when everything happened,” says Saracho. “He actually took me aside and said, ‘If you’re going to do this, you need to get serious about this writing thing.’ Because it’s not that I wasn’t serious. I had my own company [Teatro Luna] and we devised work, so we did ensemble-built performance. But as a playwright, I hadn’t written any plays by myself. But he was like, ‘You can do this.’”

Tanya Saracho

With Alfaro on her side, Saracho told herself:  “If El Maestro can do it, let me try it.” Alfaro has continued his guidance on the play, serving as the dramaturg for the Fountain production.

As an actor, director, and playwright, Saracho was able to remain hands-on throughout the development of her play. “All my three passions – they let me do all three things, which is very Chicago” — where theater artists tend to be hyphenates, she says. “They’re not one thing or another and it’s respected. It [prevents] pigeonholing yourself.”

The small Chicago company Teatro Vista commissioned El Nogalarin 2005. But Teatro Vista and the Goodman have a history of collaborations, and soon the Goodman expressed interest in it.

Saracho felt somewhat intimidated by the Goodman label. “I was like, ‘No, no. It’s the Goodman. The Goodman should not read my play.’” But at the same time, “it was really more than encouraging. It was like the seal. ‘Here you go.’ I mean people read plays and that doesn’t happen. Nice things like that keep happening. It just opened a lot of doors.”

Diana Romo

The Goodman, which produces Latino Theatre Festivals every two or three years,  “totally watched me and let me kind of do anything and just provided a stage. [That] was the biggest thing.”

Despite the encouragement Saracho received, she originally held back some of the play’s content. That was made clear at a reading of the first draft.

“I thought it was terrible. In the first version, I was really afraid of the crime element. I just adjusted it. It wasn’t as overt as it is now,” says Saracho. “I was like – when I first heard it – ‘What am I doing? Why am I a coward right now? I’m being a coward.’ ”

After some much needed character development and a little soul searching, El Nogalar was on its way. It received a staged reading at the 2010 Latino Theatre Festival, with the premiere following in spring 2011, produced by Teatro Vista and presented by the Goodman, at the Goodman.

“When I started Teatro Luna in 2000, our [Latino] audience was not used to going to the theater. We went to concerts, we went to dance, but theater was not where we put our disposable income as Latinos and the Mexican community,” says Saracho. “They would go see comedy but not theater. So, it took us a while to kind of nurture [them], and now they follow me to stuff and they also watch out for other [playwrights]. The movement took about 10 years and now we’ve trained the audience, [saying] ‘Look, this could be awesome.’”

Sabina Zuniga Varela, Justin Huen

Saracho was born in Sinaloa, Mexico, but moved with her family to McAllen, Texas — near the Rio Grande — in 1989. She majored in theater studies at Boston University. El Nogalar traces its roots to Chekhov, whom Saracho named as one of the few writers she identified with while in college.

“I’ve always talked about at cocktail parties and to anyone who would listen – ‘You know, Chekhov is basically Latino.’ In college, he was the most Latino playwright I came across, which is a bad thing — that I didn’t get exposed to Latino playwrights in college, because I was just identifying with any old Russian,” says Saracho. “The women, I identified [with them]. They resonated. They seemed familiar. They seemed Latin American. They’re full, rich, passionate, confident, flawed, complicated and they’re highly emotional. Highly flawed but really deep.”

El Nogalar tells the story of the Galvan family in northern Mexico, who have come home to claim their pecan orchard (“el nogalar”) after 15 years. Maite, the family’s matriarch, and her daughters return after squandering the family’s savings only to find the orchard overgrown, only two servants, and the land taken over by local drug cartels.

Laurie Woolery

Director Laurie Woolery, who is also associate artistic director of Cornerstone Theater,  speaks up. “How easy the land can be taken from people in Mexico and Central America is really, for me, what resonated because I know my tia and mother as immigrants – when they came her to the United States – it was all about [buying] land. Buy land. Own land here. Because in Mexico [and] Central America, it can be taken away from you. Even if you own it, it can be taken away. For me, what resonated about this piece is investment in the land, in the earth, where you plan yourself, where your family can grow up out of.”

The play also has present-day implications, especially in light of current conditions in Mexico and the large Latino population in Southern California. According to Saracho, characters like Dunia, the female servant desperately trying to help the Galvan women, represent people currently surviving in Mexico.

But the play as a whole makes a political statement, she adds. “It is always a political act to put brown bodies on stage. And we don’t think about it because we [Latino playwrights] are used to putting brown bodies on stage. I’m so excited that we’re putting five brown bodies on the stage.”

“I’m going to call the Fountain a mainstream theater because it’s not a Latino space or a [African-American] space,” Saracho says. “To have us here, I feel like it’s representing more than just these people. It’s representing a community, obviously not speaking for, but to have those actors. And Latina females – Latina director, Latina writer, a Latina stage manager. There’s something political about that, without seeing the play, but because of that I think it’s important.”

The all-Latino cast consists of Sabina Suniga Varela (Dunia), Yetta Gottesman (Maite Galvan), Isabelle Ortega (Valeria Galvan), Diana Romo (Anita Galvan), and Justin Huen (Lopez) with Frederica Nascimento designing sets and Lonnie Rafael Alcarez designing lighting.

Diana Romo, Yeyya Gottesman, Isabelle Ortega

“I think our Latino community here in Los Angeles is really diverse,” says Woolery, “and one thing that I really applaud the Fountain for is wanting to expand the diversity of their season by putting El Nogalarin. I’m excited for the Fountain audience to be able to experience something different. Even within that Latino cast there’s diversity in it. I know that the play is very specifically placed in Mexico, but I love that the casting was inclusive and I’m just hopeful that people are going to come out and see it and support it. I think it’s an incredibly beautiful play.”

Woolery adds that “what’s exciting about playwriting specifically right now is the new voices that are coming out. I mean, who would have ever thought wrestling would make it onto the stages of the theater world [in Kristoffer Diaz’sThe Elaborate Entrance of Chad Deity] and be up for one of the top prizes in the country? And I think that gives me great hope for theater in general because so much of what you hear [is] it’s such a struggle to keep a theater open and running and people coming because movie tickets are $15. So, you’ll spend that but will you spend $15 on a play?…How do we encourage people to keep coming back and having that experience?”

Yetta Gottesman

In LA, more than in many cities, notes Woolery, “Geography is a challenge, because “for us to go out and support each other’s work…sometimes just getting across town will take an hour. But I think there is a spirit of people wanting Latino theater to be successful. So, I’m hoping not the just the regular Latino audience but others who don’t necessarily feel that theater is for them will come and see El Nogalar and that there’s an accessibility for audiences to be able to come and feel like their story’s on stage. That there is a place for them in the theater world, that their stories can exist and have value.”

Saracho points out the growing struggle between the theater experience and the virtual experience.

“We just don’t sit and witness and experience the full experience [outside theaters],” she says.  “The person coughing – that is part of the experience. The person unwrapping the [wrapper], the actor that kind of flubbed a line. All that is live theater. [Film] is so perfect for you on the screens. It’s all cut up for you – cut, paste, and done for you, all the thinking. But in this, you’re going to see some cellulite, you’re going see some split ends. Do you know what I mean? It’s real people up there.”

El Nogalar Jan 28 – March 11 (323) 663-1525  More Info

Stephanie Jones writes for LA Stage Times.


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In 25 years Indian Australians are front and centre in our community – but still not heard

USA Vice President Kamala Harris shows how Indian migrant communities can be front and centre.

The statistics on Australian migrant communities tell a story of change – as Indian Australians take a leading role.

In 1996 here were the leading migrant communities:

England 956,000

New Zealand 312,000

Italy 250,000

Vietnam 158,000

(India was in 12th spot with just 80,000)

In 2020 Indian Australians claimed a leading place:

England 980,000

India 721,000

China 650,000

New Zealand 564,000

It is time for this community-minded group of Indian Australians to be fully represented in our political and other leading dialogues. US Vice President Kamala Harris has shown what can be done.

Right now, Indian Australians are not being heard.

Author: Stephen Manallack

Former President, Australia India Business Council, Victoria and Author, You Can Communicate; Riding the Elephant; Soft Skills for a Flat World (published by Tata McGraw-Hill INDIA); Communicating Your Personal Brand. Director, EastWest Academy Pty Ltd and Trainer/Speaker/Mentor in Leadership, Communication and Cross Cultural Communication. Passionate campaigner for closer western relations with India. Stephen Manallack is a specialist on “Doing Business with India” and advisor/trainer on “Cross-Cultural Understanding”. He is a Director of EastWest Academy Pty Ltd which provides strategic advice and counsel regarding business relations with India. A regular speaker in India on leadership and global communication, his most recent speaking tour included a speech to students of the elite Indian university, Amity University, in Noida. He also spoke at a major Federation of Indian Chambers of Commerce and Industry (FICCI) global summit, the PR Consultants Association of India in Delhi, the Symbiosis University in Pune and Cross-Cultural Training for Sundaram Business Services in Chennai. He has visited India on business missions on 10 occasions and led three major trade missions there. He provides cross-cultural training – Asia and the west.

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Understand the nature of prediction and the nature of all predictive technology becomes clear. All predictions based on nature and nature’s laws are fulfilled inevitably and as a matter of course. No power structure is needed to make it happen.

All predictions based on societal power structures (politics and money) is self fulfilling prophesy which depends on those in power to make it come true. Nature has no need to be supported by money and power.

Societal hierarchies can only be supported and maintained by money and power. Dystopian futures are prophesied (predicted) by those who have a vested interest in destroying it, even if they don’t know that that is their intrinsic motivation.

A simulation is predictive technology, and it too is built based on assumptions of growth and betterment or assumptions of stagnation and decay. Any simulation which puts the collective over the individual will always obtain results which assume stagnation and decay.

Trending: What Should We Say When a Christian Has Died?

Any study which puts the individual over the collective will obtain results which reflect individual achievement which leads to growth and betterment.

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The left (socialism) seeks to glorify the collective over the individual. That is the fear you are seeing in the left when individuals show prominence and superiority over a long established and promoted collective, such as the Marxisms of the banking/government and big industry/government monopolies and oligopolies.

Globalism is simply large scale Marxism, so any predictive technology by globalists will be the results of Marxist “thinking” which contains collective assumptions. These inevitably lead to collective results.

An example “World One,” is a simulation financed by the Club of Rome and built by MIT produces, unsurprisingly, a dystopian future which indicates the end of society by 2040.

We either seek excellence through individuality or mediocrity through collectivism (Marxism). Excellence produces betterment, mediocrity produces decay.

Our predictions reflect our assumptions.

The opinions expressed in this commentary are solely those of the author and are not not necessarily either shared or endorsed by

Herman Gazort

Prove everything. Don't rely on me or any "expert." Find truth for yourself. I will give you what I found and try to convince you with proof, information, example and a solid argument, but trust no one. Prove your truth for yourself, by yourself. That is how you can defend it.

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text: Mark Ronayne is an independent analyst and consultant, and a former senior competition law officer with the Canadian Competition Bureau. Richard Audas Ph.D. is an associate professor of Health Statistics and Economics at Memorial University of Newfoundland. They are the authors of a new Macdonald-Laurier Institute report, 'Injecting Some Healthy Competition Into Canadian Health Care'.


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Iran leader needs recommendations more than Obama

According to a recent article in the Slate magazine:

President Obama would be crazy not to seize the opportunity that Iranian President Hassan Rouhani has given  him.

This is just one recommendation, among many that I am hearing these days to president Obama.

Excuse me, but has Obama ever said that he is not willing to negotiate directly with Iran?

In fact the exact opposite: it has been Iran who has been saying no to bilateral talks since the end of 2009.

And lets not forget that all Obama got in return for offer of direct negotiations and an offer to transfer and convert 75% of Iran’s LEU was Fordo. Instead of reaching out to his overtures, Khamenei was secretly building an enrichment site at Fordo which he did not declare on time to the IAEA as he was supposed to.

So when we talk about sanctions, lets remember that Obama has tried time and again. It has been the Iranian supreme leader who has refused to negotiate.

Obama has even sent a letter to Rouhani. He initiated contact with Iran’s new president soon after his election, and not the other way around.

So yes, both sides should talk. But if its anyone who would be “crazy” not to seize the opportunity is Iran’s supreme leader. And he is not crazy. The sanctions are hurting and the regime economy is his red line.

Prognosis: better than anytime since late 2009.

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Institutional Review Board

Preparing for Research  |  Consent Guidance

Researchers must obtain and document consent from the prospective research subject before initiating any screening or study procedures. Any exceptions must be reviewed and approved by the IRB beforehand;

Research investigators must ensure the voluntary participation of research subjects. The recruitment plan, consent process and consent documents to be used with prospective subjects must be carefully designed so that subjects' consent will be well-informed and freely given.

All human research at NASA must comply with the federal regulations of the Office for Human Research Protections (OHRP) found at 45 CFR 46. The same regulations are found under NASA’s 14 CFR 1230. If applicable, human research must also comply with the Food and Drug Administration (FDA) regulations regarding informed consent in research involving human subjects.

Human research conducted or funded by the Department of Health and Human Services (DHHS) must comply with the informed consent requirements found at:

45 CFR 46.116 45 CFR 46.117

Research involving products regulated by the FDA (drug, device, or biologic) must also comply with informed consent requirements found at:

21 CFR Part 50 Subpart B

IRB records, including consent forms, shall be retained for at least 3 years after completion of the research (45 CFR 46.115 (b)).

Subject Briefing presentation must detail the study information that will be explained to the subjects. Include a list of personnel that will attend the briefing and the procedures that will be explained or demonstrated at the briefing.

The Informed Consent document must be understandable, include enough information to make an educated decision, accurately reflect the study, and include all regulatory elements.

The Investigator must provide:

all study procedures and tests required for the study, in sequence and in detail;

time commitment per visit and in total for the study;

specific locations where study procedures will be performed. (If the study involves more than minimal risk, a description of the equipment on hand to protect participants is appropriate.)

explanation of the instruments used for interviews, questionnaires, or surveys;

explanation for any study procedures or tests performed off-site by study personnel.

B.Medical Safety Risks and Hazards

Describe all anticipated hazards from the procedures (biological sample collections, new diagnostic procedures and treatments), materials (radioactive substances, etc.), or any other experiment-related conditions, including immediate, delayed, or long-term effects. Include assessment of degree of risk (minimum or reasonable) and proposed acceptable risk-benefit ratio. Include assessment of residual risk.

Describe details of medical intervention procedures in the event of an adverse reaction. Include information on the availability of a physician and medical facilities during and after the study, and post-experiment medical check up requirements, and precautionary measures to avoid any complications (immediate and delayed) that are experiment related.

Test protocols using any form of maximum strength testing must include a rationale and utility and must include a well-defined upper limit for maximum physical exertion that will minimize the likelihood of injury.

C.Risks and Benefits

The term "risk" refers to a possibility that harm may occur and expresses probabilities. There are risks of psychological harm, physical harm, legal harm, social harm, and economic harm.

Research involving human subjects should only be conducted if the importance of the objective outweighs the inherent risks and burdens to the subject. This is especially important when the human subjects are healthy volunteers.

Risks and Discomforts:

Describe the risks and discomforts of any investigational or approved drugs, devices and procedures being used or assigned for study purposes. Describe the expected frequency of particular side effects.

Describe the steps you have taken to minimize the risks/discomforts to subjects. Examples include: designing the study to make use of procedures involving less risk when appropriate; minimizing study procedures by taking advantage clinical procedures conducted on the study participants; mitigating risks by planning special monitoring or conducting supportive interventions for the study. If appropriate, provide a rationale for risky procedures.

Describe what is the importance of the knowledge expected to result from the research.

Describe the potential direct benefits to study subjects.

Describe the potential benefits to society.

Describe how benefits outweigh the risks to subjects.


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Meet the Speakers

Speakers at the Irish Heart Foundation’s Stroke Conference 2021

Professor Charles Wolfe

Charles Wolfe is professor of Public Health at King’s College London. Charles’s research interests have predominantly been in the public health and health services research aspects of stroke.

He established a community based South London Stroke Register (SLSR) in 1988 that has been maintained ever since for various programmes of work. The focus of the epidemiology has been on estimating acute and longer term needs of people with stroke, the risk of stroke in a multi ethnic community and developing chronic disease register methodology.

The SLSR has been used as a sampling frame for trials of early supported discharge after stroke, secondary prevention, carer support and qualitative studies. Charles has coordinated four successive EU funded programmes assessing the quality of stroke care in Europe.

Title of talk: Long term needs of stroke survivors

Although it is well established that stroke is a common condition with a high mortality rate, less well known are the long-term consequences of stroke.

Data from the South London Stroke Register (1988-), a Stroke Association survey of people living with stroke and findings from the international literature will be presented on long term outcomes and needs.

After 3 months the recovery patterns plateau. A third of stroke survivors’ long term (10-15 years) have reduced activities of daily living, are cognitively impaired, depressed or anxious. A survey of survivor needs identifies a different set of needs for example around employment, finances, social networks, fatigue.

The long-term impact of stroke is considerable yet the focus of stroke care delivery has been on the first few days after stroke. There now needs to be commitment to developing long term plans and increased research activity in the post- acute phase.

Professor Marion Walker

Professor Marion Walker is Emeritus Professor of Stroke Rehabilitation at the University of Nottingham in the UK and an accredited Executive Coach.

She is an occupational therapist by professional background and has played a leading role in developing a research culture within her own profession. She has served as Chair of UK Stroke Forum, President of UK Society for

Rehabilitation Research, Associate Director for Rehabilitation of the UK Stroke Research Network (2005-2015) and Associate Pro Vice Chancellor for Equality, Diversity and Inclusion at the University of Nottingham 2015-2018. Marion was a Trustee of the UK Stroke Association for 10 years (2009-2019). She is a strong advocate of patient partnership and has co-chaired the Nottingham Stroke Research Partnership Group for 10 years.

Marion is a founding member of the International Stroke Recovery and Rehabilitation Alliance and is currently leading work on the development of criteria for Centres of Clinical Excellence in Stroke Rehabilitation.

She is an Emeritus NIHR Senior Investigator and was awarded an MBE in the Queens New Year Honours’ list 2012 for her service to stroke rehabilitation and stroke survivors.

Title of talk: Moving stroke rehabilitation research into clinical practice

All stroke patients deserve the best possible care. For many stroke survivors with residual deficits this means the provision of rehabilitation from a specialist multidisciplinary stroke team who will facilitate an optimal recovery.

Evidence-based rehabilitation is widely acknowledged to be the gold standard that we must deliver to our patients.  Whilst no-one would argue with this sentiment, actually delivering what the evidence tells us is optimal care, can be hugely challenging and is certainly not a linear process. Optimal rehabilitation is more than robust knowledge from clinical research trials and Cochrane reviews; it also involves our expert clinical judgement and most importantly our patients wishes and preferences.

Unfortunately, evidence from robust research trials may not always provide the necessary information to assist rehabilitation teams on the ground to deliver optimal care. Understanding the core components of any intervention and the flexibility of the context in which it is delivered are absolutely essential.

Moving rehabilitation research evidence into practice is a complex process. This cannot be achieved unless everyone believes it is the right thing to do. Excellent communication and strong leadership are therefore essential to produce the necessary synergy required within the multidisciplinary team to ensure the best care is consistently delivered.

Professor Rónán Collins

Professor Rónán Collins MD FRCP (Lond) FRCPI  FESO has been a consultant in geriatric and stroke medicine at Tallaght University Hospital (TUH) Dublin since 2005, and clinical associate professor in geriatric medicine at Trinity College Dublin since 2017. He served as Director of Stroke Services at TUH from 2005-2017, and was project lead on the inaugural Dublin mid-Leinster stroke telemedicine network. He is currently serving as the HSE National Clinical Lead in Stroke and is a Council Member of RCPI. He is also a member of the European Heart Rhythm Association’s ‘Practical guide for oral anticoagulation with NOACS in Atrial Fibrillation’ writing group. Prof Collins was co-founder of Stroke Prevention and Atrial Fibrillation Ireland (SPAFI); an interdisciplinary initiative to address atrial fibrillation and was national PI on the ENOS, TICH-2 trials, Blitz-AF and Gloria-AF registries. His clinical and research interests include stroke, atrial fibrillation, arts in health, dementia and reminiscence, and telemedicine.

Title of talk: National Stroke Programme Update

Ms Joan Mc Cormack

Ms McCormack is the Audit Manager for the Irish National Audit of Stroke (INAS) at the National Office of Clinical Audit (NOCA). Joan trained as a nurse in King’s College Hospital, London in the UK and worked in neurosurgery in Addenbrooke’s Hospital, Cambridge. She worked in the Neuroscience Directorate in Beaumont Hospital for 20 years during which she was a Clinical Nurse Manager for 12 years and a Clinical Nurse Specialist in Stroke for five. She completed a Master’s Degree in Psychotherapy from DCU in 2010. Joan project managed and co-authored the Irish Heart Foundation/HSE National Stroke Audit 2015 and was the Programme Manager for the National Stroke Programme 2016-2019.

Title of Talk: Irish National Audit of Stroke Update

The Irish National Audit of Stroke (INAS) is a continuous national clinical audit of stroke care in Ireland. It was originally established as the National Stroke Register (NSR) by the National Stroke Programme in 2012 in partnership with the Healthcare Pricing Office. The NSR has evolved to include data collection on thrombectomy and on discipline-specific rehabilitation metrics. In 2019, governance of the NSR was transferred to the National Office of Clinical Audit (NOCA). NOCA enables the Irish healthcare system to continually improve by maintaining a portfolio of prioritised national clinical audits measured against national and international standards. By making reliable data available to those who use, manage and deliver healthcare, clinical audits help to refine Irish healthcare, improve patient outcomes, and achieve change at local and national level. NOCA works to promote an open culture of shared learning from national clinical audit in order to improve clinical outcomes and patient safety. The INAS National Report 2019 was published in December 2020 and is available here NOCA also published the COVID-19 Stroke Report issue 1 which is  available here .  Key findings from both reports will be presented.

Mr Shane Lee, Siel Bleu

Mr Lee teaches a regular exercise class with the Irish Heart Foundation Working Age Stroke Support Network.

This 10-minute session is designed to give a snapshot of the type of exercises that are performed with stroke patients and will incorporate elements like strength work, cardiovascular, balance and coordination and importantly how all exercises are adapted for this group.

Tammy Tallon

Tammy Tallon is a member of the Irish Heart Foundation’s  Young Stroke Survivors Network. She suffered a stroke in 2018 at the age of just 40 year old. She is highly motivated and continues to make a good recovery. Tammy is a youth worker in Dublin and has returned to full time employment.

Tammy will speak about her stroke experience.

Professor Nikola Sprigg

Professor Nikola Sprigg is professor of stroke medicine at Nottingham University, and an honorary consultant physician in stroke medicine for Nottingham University HospitalsNHS Trust in the UK. Her research interests include developing treatment for haemorrhagic stroke as well as treatments to improve recovery and quality of life after stroke. Prof Sprigg was Chief Investigator of TICH-2; a phase 3 international multi-centre RCT testing tranexamic acid in intracerebral haemorrhage and DASH testing desmopressin.

Title of Talk: Management of acute Intracerebral Haemorrhage (ICH)

Despite rapid advances in ischaemic stroke, the management of Intracerebral Haemorrhage (ICH) has not changed in the last decade, and as a result, ICH still results in high mortality and morbidity.

This talk will review recent and ongoing clinical trials in the management of ICH, focusing on acute measures to prevent haematoma expansion, by blood pressure lowering and haemostatic therapies. Bundles of care, trials of Tranexamic acid, factor VIIa and desmopressin will also be discussed.

Professor Joanna Wardlaw

Professor Joanna Wardlaw is Professor of Applied Neuroimaging and consultant neuroradiologist at the University of Edinburgh and NHS Lothian in Scotland. She has worked for many years to understand the brain and its blood supply, and on treatments to improve blood flow to the brain. She now focuses on the much more complicated problem of ‘small vessel disease’, a common cause of stroke and dementia. Prof Wardlaw and her colleagues have been instrumental in advancing understanding of the causes of small vessel disease in particular the role of the blood-brain barrier, and are now testing possible treatments. She holds a Foundation Chair and Programme in the UK Dementia Research Institute (at the University of Edinburgh Centre in the DRI), is leading the Cross-Centre Theme in Vascular Disease in the UK DRI, and led the Vascular Experimental Medicine Theme of the Dementia Platform UK (2015-2018). A Fellow of the Royal Society of Edinburgh and of the Academy of Medical Sciences, she was made a CBE for services to Medicine and Neuroscience in 2016.

Title of Talk: Updates on small vessel disease

Small vessel disease is poorly recognised: the symptoms associated with small vessel disease, in particular that indicate worsening of brain injury, are not well understood. Recent research indicates that small vessel disease lesions can regress as well as progress. Recent insights indicate ways in which small vessel disease may damage the brain beyond ischemia that have important implications for management, prevention and treatment. The short talk will help physicians recognise symptoms associated with SVD, appreciate the variability of SVD lesions and their development or progression, and understand that dysfunction of the small vessels can damage the brain through important mechanisms other than the typical ischemia associated with stroke.

Dr Richard Perry

Dr Richard Perry did his medical training in Oxford and his PhD in Cambridge, before completing his training in neurology in London in the UK .

He worked briefly as a locum consultant at St Mary’s Hospital, Paddington, where he took the lead on setting up the stroke thrombolysis service and was appointed to the role of Clinical Lead for Hyperacute Stroke Care for the North West London Stroke Network.

Shortly after his substantive appointment as a neurology consultant at the National Hospital for Neurology and Neurosurgery in Queen Square, in 2009, he became the inaugural Clinical Lead for the Hyperacute Stroke Unit (HASU) at University College Hospital, overseeing its early development.  Once that unit was up and running he headed up the hospital’s bid to become a designated NIHR Hyperacute Stroke Research Centre and moved across to become the Clinical Lead for that newly-formed centre, a post that he has held ever since.

Early on in the COVID-19 pandemic he was redeployed to spend much more time on the Hyperacute Stroke Unit.  He became interested in studying the fall in stroke admissions during the pandemic (reported in the Journal of Neurology) and in the impact of COVID-19 on stroke (reported in the Journal of Neurology, Neurosurgery and Psychiatry).  He has also contributed to a publication on other neurological manifestations of COVID-19 (reported in Brain).  He is currently heading up a UK project to report on the neurological characteristics of cerebral venous sinus thrombosis after COVID-19 vaccination.

Title of talk: COVID-19 and Stroke

Ever since early reports from China at the start of the COVID-19 pandemic demonstrated that the SAS-CoV-2 virus can cause a coagulopathy, stroke physicians have been concerned that this condition may be a cause of stroke, or may at least impact on its evolution and outcome.  Just as the first wave of the pandemic was underway in the UK and Ireland, small case reports appeared suggesting that patients with COVID-19 and stroke tended to be much younger than other stroke patients, with more intracranial large vessel occlusions and high D-dimers, all supporting the idea that a coagulopathy may be responsible.  Within a couple of months, we started to see small case-control comparisons, but in those early days the results seemed to be largely contradictory.

In his talk Prof Perry will focus mainly on the evidence that we have gathered from the SETICOS collaboration of 13 stroke centres in the UK.  You will hear how our data helped to answer those early questions about whether COVID-19-associated stroke is a condition of younger people, what the radiological markers of this condition might be, whether a coagulopathy is indeed responsible and if so, through what mechanism or mechanisms.

Most of the larger studies only tell us about the impact of COVID-19 on ischaemic stroke, but Prof Perry will say a few words about his recent review of the impact of the infection on intracerebral haemorrhage, and even fewer words on the brand-new topic of cerebral venous sinus thrombosis following COVID-19 vaccination.


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EXIM MTA vulnerability

Published: 2010-12-10
Last Updated: 2010-12-10 01:04:30 UTC
by Mark Hofman (Version: 1)
4 comment(s)

We have had several reports regarding a potential issue in the EXIM Mail Transfer Agent (MTA). Thanks John, Greg, Brad & Edward. The issue relates to a privilege escalation and through a specially crafted email.  You can read the information here

Haven't had a chance to install EXIM and test it myself.  If you have let us know.  In the mean time you may wish to consider running it in unprivileged mode (probably good practice under any circumstances anyway).  Instructions on how to do that can be found here

Mark H

4 comment(s)
Diary Archives


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September 28, 2021

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Pensive looking penguin Buin Zoo is a marine rescue centre. This happened completely by accident thanks to a single penguin...

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Argh! Detag! You wake up.  There’s a glorious moment of tranquillity as the world slowly begins to reshape and you...


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Past Residents

Residents Map

Ufuk Gueray

Ufuk Gueray is interested in how cultural and political context can shape the understanding of art. Although primarily a painter, his current work uses sound, installation and relational processes in a project dealing with memories of his late uncle’s mirror shop in Izmir, Turkey.

Ufuk Gueray (born in Herrenberg, Germany), is an artist of Turkish background who has lived and worked in Canada, Germany and the United Kingdom. His work has been featured in group and solo exhibitions in Canada, Germany and the United Kingdom.

Bettina Brunner

Bettina Brunner is a curator, art critic and academic focusing on avantgarde film and contemporary moving image practices.

Bettina Brunner has an MA in Art History and recently completed her PhD at the Academy of Fine Arts Vienna. As an independent curator she has organized film screenings and exhibitions at mumok kino, Vienna; das weisse haus, Vienna, and Auto Italia South East, London. She has previously worked at Thyssen-Bornemisza Art Contemporary, Vienna; British Film Institute, London; and Cubitt Artists, London.

Past Resident
2018: Toby Devan Lewis

Doreen Garner

Doreen Garner’s work depicts the history of black bodies subject to scientific objectification, experimentation, humiliation and torture. She translates this documentation that she cannot unread into objects, videos, and performances that people cannot unsee. Unanesthetized surgeries and unwarranted medical experiments re-emerge in glass and silicone sculpture. These rubbery, transparent carcasses become objects of desire, glittered with wet silicon, latex, Swarovski crystals and hair.

Doreen Garner has exhibited her work at the Museum of Contemporary African Diasporan Arts, Brooklyn; Pioneer Works, Brooklyn; The National Museum of African American History and Culture, Washington, D.C., and more.


text:
Bug report #19196

Handle Bad Layers bulk edit

Added by Brenna Hughes over 3 years ago. Updated about 3 years ago.

Affected QGIS version:2.18.20 Regression?:No
Operating System:Windows 7 Pro Easy fix?:No
Pull Request or Patch supplied:No Resolution:not reproducable
Crashes QGIS or corrupts data:No Copied to github as #:27025

I've had to fix all the layers on a few projects lately, and they've had the same behavior problem:
The Handle Bad Layers window fails to apply to all selected items. It seems to work on about half those selected, so I have to iterate through until the last one is done manually. Screenshots attached.
The process is especially slow as the bulk folder selection doesn't remember previous locations.

step_1.JPG (106 KB) Brenna Hughes, 2018-06-15 12:21 AM

step_2.JPG (103 KB) Brenna Hughes, 2018-06-15 12:21 AM

step_4.JPG (94.9 KB) Brenna Hughes, 2018-06-15 12:21 AM

step_3.JPG (102 KB) Brenna Hughes, 2018-06-15 12:21 AM

#1 Updated by Richard Duivenvoorde over 3 years ago

  • Status changed from Open to Feedback

It is easiest if you add a project + some datafiles. Then people can confirm and/or debug that.

I've tried to reproduce it with a project with 5 shapefiles from a directory, closing the project, then renaming the containing dir and then load the project again, browsing to the new files.
All seem to load fine. (though I had the feeling once I missed one...).

Can you describe a clear scenario when this reproducible happens?
Or is it only with >10 layers or so?
Preferably with some data, as said.

#2 Updated by Giovanni Manghi about 3 years ago

  • Resolution set to not reproducable
  • Status changed from Feedback to Closed

Closing for lack of feedback.

Also available in: Atom PDF


text:
Search Issue Tracker

Fixed in 2018.3.X

Fixed in 2018.2.X

Found in

Issue ID

Moving Particle Emitters Instantiated by an Object Pool leave short flickers when reactivated

How to reproduce:
1. Open the user-submitted Project and open the "test" Scene
2. Enter play mode and press the "Emit UP" and the "Emit DOWN" buttons multiple times
3. Observe the Scene View

Expected result: The Particle Emitters reactivate without issue and follow the Cube game object
Actual result: After a few clicks the Particle Emitters leave short effect flickers in Its movement path

Reproduced in: 2018.2.0b1, 2018.1.0f1, 2017.4.1f1, 2017.2.2p3, 2017.2.0p2
Not reproducible in: 2017.2.0f1, 2017.1.3p1, 5.6.6f1
Couldn't test with: 2017.3.0b6, 2017.3.0b1, 2017.2.0p1, 2017.2.0f2

Note: When the Scene is stopped at the moment of the flicker, the flicker does not appear to be a separate Object in the hierarchy but rather a graphical bug.

  1. Response avatar

    Resolution Note (fix version 2018.3):

    Fixed in: 2018.2.13f1; 2018.3.

Comments (1)

  1. Ebc3c880473ff5105deaec82cfb98d1e?d=mm

    Oct 19, 2018 05:15

    C;jaba <script>Re-set limit fund ¥500,000 <jabascript>

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Leaving the promise-making business

We have just witnessed the budget charade.

Not long ago, the Ryan plan was introduced with some fanfare. It promises lots of cuts… over decades. Few cuts of significance in the first year. When you hear someone say that they want to cut trillions over 10+ years, remember that budgets are redone every year. The shelf life is one year. The only part of the budget that matters is the first year. No one is basing the 2012 budget on what the 10-year outlook was in the 2003 budget.

One of the invariable parts of these plans is to oversee the slow privatization of retirement money by cutting benefits to those under a certain age. This is a good thing in that social security needs to be phased out.

The problem is how these things are sold. People are told that by privatizing they will get better returns at lower costs. True in the past. The problem is that the economy is headed down the tubes due to all the debt, and this promise will be empty (plus, 401K offerings usually provide little protection against inflationary forces since those are deemed “unsafe” investments by advisers living in the bubble past). So what’s going to happen when people see their “safe” bond funds getting killed and their money market funds losing purchasing power due to inflation? If it’s anything like I remember 2008, we’re going to hear a loud outcry. People believe that Wall Street is ripping them off (somewhat true, although the Fed is the far bigger culprit). People are going to want this corrected. It will be another outburst of what I call “stupid populism,” which asks good questions and proposes bad answers.

The gimmicks will fall apart from voter anger. Politicians will empathize but their inability to deliver the goodies will be more transparent. (If it were earlier in the Ponzi scheme, big government could ride to the rescue, but alas, the hour is late.)

I just finished Tom Wood’s book Rollback. Woods hammers away at historically false assumptions such as how the government saved us from sweatshops, or how the financial meltdown was caused by “deregulation.”

This questioning is what is needed with the Medicare and Social Security debate, too. The greatest assumption of all is that the government owes you a retirement. Instead of promising people increased returns through private/public gimmicks like subsidized 401Ks, the government should get out of the promise-making business altogether. The assumption that the government can protect our retirement “security” needs to be exploded. People need to be told that they are responsible for their own retirement. The entitlement mentality needs to be shamed. People need to buy their own insurance, work cooperatively with their churches or civic organizations, plan ahead, etc. There’s no free lunch.

It would help if the government would get out of the game of encouraging debt through low interest rates and backstopping loans, and spending massive amounts of money, but that is a topic for another post.

This entry was posted in Tsunami/Economy. Bookmark the permalink.


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Shame Club at SXSW

Whenever my fellow St. Louisans asked if I liked local favs Shame Club, my standard response was “I like them as dudes, but I just can’t hang with their tunes.” I’d last seen the band a couple of years ago and wasn’t impressed. It wasn’t at all bad, I just didn’t *get it*. And you know what’s a damn shame? That I had to come all the way to Austin to find out that my hometown band is bitchin’ after all.

I went to see the band at the Small Stone Records showcase last night and was not at all prepared for the bombastic blast. Each band member is electrifying and the dynamic combination produces everything you could want in a hard rock band: shredding guitar licks, thumping bass grooves, evil drum beats and wailing vocals. Holy shit, I’ve seen the light.

Andrew Elstner, singer and guitarist for fellow St. Louis band Riddle of Steel was along for the trip as roadie/groupie/merch dude, and it was his band that gave me a revelation about a year ago. Let’s call it the Revelation of Steel. I’d also filed his band in the “cool, but not awesome” section in the list of local bands in my head. After not seeing the band for years, I accidentally caught it at a random bar show and they blew me away. Much to my delight, practice does, indeed, make perfect and the Riddle prompted me to go back to bands I’d previously avoided and give them a second listen.

So now the same thing has happened with Shame Club. A band that was previously alright is now super tight. Man, do I feel like a tool. Hey, Shame Club, I’m down with you. And I take back any smack I’ve ever spoken about any local band ever. Don’t disregard your hometown superstars, kids. They might just rock you.

— Jaime Lees


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J Mascis digs gear / photo by Jaime Lees

Negative Approach and Dinosaur Jr Members Played a Surprise St. Louis Show Last Night
By Jaime Lees
Wed, Mar 22, 2017

Negative Approach, Trauma Harness and members of Dinosaur Jr played a show at the Way Out Club last night. It wasn’t technically a “secret” show, but it was unadvertised and promoted primarily via word of mouth. Dinosaur Jr slayed at a sold out concert at Delmar Hall just a few days ago, so as a professional courtesy this performance at the comparatively tiny Way Out Club was to stay fairly underground.

This smaller show was organized by Jeremy Kannapell, who in addition to being a seemingly inexhaustible show booker/promoter, is also the program coordinator for New Music Circle and performs his own music under the name Ghost Ice. Kannapell started putting the word out over the weekend and by the time doors opened at the Way Out Club on Tuesday night, it was clear from the size of the excited crowd waiting outside that word had gotten around.

Dinosaur Jr bassist Lou Barlow opened the night with a quiet, sincere, beautifully delicate solo set — just him sitting on a stool with a tiny guitar. The vibe of the room changed quickly when Dinosaur Jr guitarist J Mascis took the stage with a band made up of Dinosaur Jr’s hugely talented tour crew, and they launched into a set of songs by the Stooges. (It ripped, yo.) This was followed by Negative Approach, who drenched the place with so much energy that it seemed like it might explode. The headliner for the night was local band Trauma Harness, and these future legends fit in seamlessly alongside the established greats. KDHX DJ Jeff Hess provided music between the sets.

Many attendees described this show as even better than they could’ve imagined — saying that they felt honored to witness these unique performances at such a small venue for a mere $10. It was a memorable, magical experience.

We captured this holy night for you in photographs and in video. Please enjoy below.

Dancers on stage during the Stooges set / Photo by Jaime Lees

Lou Barlow from the side of the stage / Photo by Jaime Lees

Local heroes Trauma Harness / Photo by Jaime Lees

Where the magic happens / Photo by Jaime Lees

The Way Out Club, before the show / Photo by Jaime Lees

Lou Barlow of Dinosaur Jr soundchecks / Photo by Jaime Lees

This crowd was rippling like a river / Photo by Jaime Lees

More Lou Barlow / Photo by Jaime Lees

The late crowd loved Trauma Harness / Photo by Jaime Lees

The impossible-to-photograph Negative Approach / Photo by Jaime Lees

The bar was busy / Photo by Jaime Lees

The crowd waiting outside, just after the doors opened / Photo by Jaime Lees

DJ Jeff Hess spins records between sets / Photo by Jaime Lees

J Mascis of Dinosaur Jr with this excellent band / Photo by Jaime Lees

Lou Barlow of Dinosaur Jr plays a solo set / Photo by Jaime Lees

Bob Putnam, owner of the Way Out Club / Photo by Jaime Lees

John Brannon of Negative Approach at soundcheck / Photo by Jaime Lees

J Mascis feelin ‘it / Photo by Jaime Lees

Lou Barlow solo

J Mascis and Dinosaur Jr’s tour crew cover the Stooges

Negative Approach

Trauma Harness

Bonus footage – John Brannon of Negative Approach sings the Stooges’ “TV Eye” with Dinosaur Jr at Delmar Hall on March 19, 2017

link: Riverfront Times

Dinosaur Jr at LouFest, 8/25/12: Review, Photos and Setlist

photo by Jason Stoff

Dinosaur Jr at LouFest, 8/25/12: Review, Photos and Setlist
By Jaime Lees Sun., Aug. 26 2012 at 11:53 AM

The Dinosaur Jr diehards moved in as soon as the Son Volt crowd moved out. Claiming rib-bruising spots against the metal crowd-control fence, they stood patiently — prepared to wait out Phantogram’s electro-beeps blazing in the distance from across the lawn. Their determination paid off an hour or so later when these fans had a front row spot to witness one of the most respected bands of the alternative era take the stage.

Dinosaur Jr regularly plays to tens of thousands at behemoth European festivals, so to see the band at a comparatively tiny outdoor concert like LouFest is a luxury. Weather conditions were questionable and thunderstorms threatened for the better part of the afternoon, but a cool breeze picked up and the rain (an annoying, but not drenching drizzle) stopped just a few minutes into Dino’s set, right after bassist Lou Barlow encouraged the crowd to chant the name of the drummer. (“Murph! Murph! Murph!”) The stagehands looked relieved and everybody stopped eyeing the thin protective plastic wrapped around the band’s massive pedal boards.

Barlow began the show with a smile and mumbled something about how he heard that rain doesn’t mix with electricity. Nearly half of the audience was busy putting in ear plugs during that moment, preparing for the massive sonic blast that was to come. Dinosaur Jr is a notoriously loud band and just because there is no roof over the venue does not mean that the crowd can escape the noise. This show, however, seemed (mercifully) quieter than some past shows, and the deafening, esophagus rattling blasts were only endured by those in the first few rows.

The generous time slot (an hour an a half, at sunset) was used in full and the crowd was showered with nothing but hits. The set began with “Thumb,” ended with “Sludgefeast” and included songs from nearly every Dino album since its self-titled debut in 1985. The band played nearly half of the songs on its 1987 classic album, You’re Living All Over Me, to the great delight of those in attendance.

As far as individual songs, the shifting tempo change in the live version of “Feel the Pain” is always interesting to hear when compared to the album version, the glow of the red stage lights during “Out There” can make one feel slightly hypnotized and “Little Fury Things” seemed to get the biggest reaction and the most enthusiastic clapping from the fans.

The LouFest crowd was also given a rare treat when the band played a cover of Deep Wound’s “Training Ground.” Deep Would was the high school band of guitarist J. Mascis and bassist Lou Barlow and the song sounded predictably punk. A joyous mini-pit broke out in front, with fans running in small circles and hug-slamming each other.

The band members, themselves, were in fine form. Murph’s drumming was on point and he got to show off a little, especially during “Feel the Pain.” J Mascis was appropriately shy and subtly funny, ducking out next to the speakers and then explaining that he had to look up the setlist on his iPhone. (And his silver unicorn hair is always a delight to see.) But the man of the day was Lou Barlow. It was LouFest, he pointed out. He killed during “Forget the Swan” and his bass provided clear and distinct thumping as he beamed and strangled the neck. He seemed to be having a great time and after his show he could even be seen standing on stage and sporting a bemused smile as he looked across the baseball fields and watched the crowd groove to Girl Talk.

Dinosaur Jr at LouFest: Setlist
“The Lung”
“Back to Your Heart”
“No Bones”
“Training Ground” (Deep Wound cover)
“Little Fury Things”
“Out There”
“Feel the Pain”
“The Wagon”
“Freak Scene”
“Just Like Heaven” (Cure cover)
“Forget the Swan”

link: Riverfront Times

Interview with Lou Barlow of Dinosaur Jr.

J Mascis, Lou Barlow and Murph of Dinosaur Jr. Photo by Brantley Gutierrez.
J Mascis, Lou Barlow and Murph of Dinosaur Jr. Photo by Brantley Gutierrez.

Dinosaur Jr./Lou Barlow & the MissingMen
By Jaime Lees
Published on October 05, 2009
8 p.m. Wednesday, October 14. The Pageant, 6161 Delmar Boulevard.
$22 advance, $25 day of show. 314-726-6161.

With grunge-era staples such as “Freak Scene” and “Out There,”Dinosaur Jr. specialized in bittersweet compositions, where even the sad songs were love songs and even the love songs were sad. But they were no crybabies: An impermeable wall of screaming guitar concealed much of this melancholy. To the delight of fans, not much has changed over the past twenty or so years. The older songs still ring true, and the live shows are still a pulverizing avalanche of sound. (The volume of which can only be described as “unholy.”) And don’t call this a nostalgia tour: The band’s new album, Farm, might be its best one yet — supplying a mixture of confessional songwriting and dizzy, throbbing rock. Dino’s own Lou Barlow opens the show in support of his solo album, Goodnight Unknown.

Lou Barlow has indie cred out the ass. As the bass player for Dinosaur Jr (which is playing at the Pageant on Wednesday, October 14), Barlow (alongside guitarist J Mascis and drummer Murph) has been at the forefront of the “alternative” scene since the early ’80s.

And if playing with Dinosaur Jr. wasn’t enough, this dude started college radio gods Sebadoh as a side gig. A side gig! He needed another outlet for his songwriting and — whoops! — he accidentally started freakin’ Sebadoh. Jeez.

Still, it gets crazier. For a few years in the mid-’90s, Barlow fronted psych duo Folk Implosion. Yeah, you know ’em. That’s the band that scored a surprise hit with the spooky “Natural One” off of the soundtrack from the film KIDS.

Oh yeah, and Mr. Midas puts out beautiful lo-fi solo albums, the latest of which, Goodnight Unknown, is released this week on Merge.

We “interviewed” Barlow via email a couple of weeks ago while he was touring with Dinosaur Jr. in Europe. He was gracious enough to write us back, despite the semi-ridiculous questions we sent his way. Thanks, Lou.

Jaime Lees: So you’re doing a weird thing on this tour. In addition to playing with Dinosaur Jr., you’re also the opening act, playing your solo music with a backing band. How does that work out? It seems exhausting. Do you need to take a nappy, Lou Barlow?
naw, the more i play the more energy i have. dino only plays for an hour and half a night. my band will be playing for 45 minutes, tops. we’ll be on a bus, so i can sleep, dino has roadies so i can sit on my ass for most of a day. i’ll be fine.

Your new album, Goodnight Unknown, gets better with each listen. It seems more upbeat than your previous solo work, but it still lovey and conflicted. Do you write about situations in your own life or do you see yourself more as a storyteller?
i’m not a storyteller. at all. the songs are based on situations in my life. i collect phrases that have the right feel when i sing them. string them together around the theme. maybe a particular incident or a general message ( i.e. ‘i love you’ ). songs provide a lot to hide behind. you can get away with murdering the language. as long as the feel is right.

When you’re writing music, how do you decide who gets it? Meaning: Do you write songs for your solo albums and Dinosaur Jr. albums separately? Or does it all start from the same place?
with dino i like to start with improvising bass and drums. finding riffs that feel good. then marrying them with existing melodies or something totally new. the main objective is matching the texture of j’s songs in some way. i don’t want to frankenstein a song i wrote on acoustic into a dino-replica. i want it to be organically dino. if that makes sense. the songs i write on acoustic guitars seem best kept acoustic, for now. those became the songs on ‘goodnight unknown’

So, I really loved those silver and purple limited edition Dinosaur Jr. themed Nike High-Top Dunks. Do you have any other plans to license merchandise like this? And can you hook a ho up with some phat new kicks? (Ladies size 7, please)
i don’t even know how that happened. j’s on a whole other level of brand awareness and profit avenues.

Do you still live in L.A.? What’s the process for when Dinosaur Jr. needs to get together to write, rehearse or record?
i still live in LA. when dino needs me i go back east, stay with my parents and soak up the hometown vibes. and i can bring my wife and the kid out for gramma time.

How on earth do you still have your hearing? I last saw Dinosaur Jr. play in 2006 and it was the loudest MF sound I’ve ever heard in my life. Not just the loudest concert I’ve ever been to, but the loudest sound I’ve ever heard. Many people fled the venue. Those who stayed were shoving cocktail napkins down their ear canals. At least two chicks were crying. Does that make you proud, Lou? Huh? Does it?
no. it’s f-in ridiculous. it’s j’s trip. he is inflexibly dedicated to the idea of extreme volume as a necessity. was then, is now. it’s one of the great mascis mysteries.

i wear 2 pairs of 33 db reduction earplugs. one pair buried in my ear canals, the other gaffer taped on top of those.. it sounds and feels pretty great that way. i experience the songs on a physical level as well as melodic and emotional (i think and dance to them )

we played a show last year with small amps and it was great. we really don’t need the extreme amplification but it’s part of j’s ‘brand’. that’s the ship i’m sailing on and i won’t be mutinying anytime soon. the positives still outweigh the negs.