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John William Tuohy lives in Washington DC

Just imagine finding this..............


New Jersey attic yields massive stash of signed, vintage baseball cards, may be worth millions



After James Micioni died in March at age 97, a collection of rare and valuable sports memorabilia was discovered among his possessions in the attic of his home, including a hand-signed baseball card of former New York Yankees great Babe Ruth.
Micioni was from Boonton, N.J., and was known as "Uncle Jimmy." He had a collection of more than 1,000 vintage baseball cards and collectible items, which are expected to go for a total of several million dollars at auction, NJ.com reported.
The signed 1933 Ruth card alone is expected to sell for more than $100,000. Micioni had six of them -- each hand-signed by the celebrated Sultan of Swat. He also owned a signed Lou Gehrig card from the same year.
Micioni used to write to photographers, as well as baseball players, and received original photos in return.

Juno and Ixion (as recounted by Ovid), with two children.


In Greek mythology, Ixion was king of the Lapiths, the most ancient tribe of Thessaly.
Juno, in Roman mythology, is the wife of Jupiter and the queen of the gods. She was later identified with the goddess Hera, the wife of Zeus in Greek mythology. She was the goddess of marriage and childbirth. She was called Juno Regina ("Queen").

How great would it be to have been there for this?


This was from a newspaper ad for a paino .............


My life, my self.


Music



Thomas Frederick Arndt,


Bretagne, 1921, David Kakabadze water color on paper


Summers here


Jazz fans caught in the moment at a Big Jay McNeely concert.


Ludwig van Beethoven – Piano Sonata No. 14 in C-sharp minor, Op. 27:2, "Moonlight Sonata": Adagio Sostenuto


The Piano Sonata No. 14 in C♯ minor "Quasi una fantasia", Op. 27, No. 2, popularly known as the Moonlight Sonata, was completed in 1801 and dedicated in 1802 to his pupil, Countess Giulietta Guicciardi.  The piece is one of Beethoven's most popular compositions for the piano, and it was a popular favorite even in his own day. Beethoven wrote the Moonlight Sonata in his early thirties, after he had finished with some commissioned work; there is no evidence that he was commissioned to write this sonata.

A BOY IN FRANCE

A BOY IN FRANCE
by J. D. Salinger
(Saturday Evening Post, March 31, 1945)
               
After he had eaten half a can of pork and egg yolks, the boy laid his
head back on the rain-sogged ground, hurtfully wrenched his head out of
his helmet, closed his eyes, let his mind empty out from a thousand
bungholes, and fell almost instantly asleep. When he awoke, it was
nearly ten o'clock--wartime, crazy time, nobody's time--and the cold,
wet, French sky had begun to darken. He lay there, opening his eyes,
till slowly but surely the little war thoughts, those that cold not be
disremembered, those that were not potentially and thankfully void,
began to trickle back into his mind. When his mind was filled to its
unhappy capacity, one cheerless, nightful trend rose to the top: Look
for a place to sleep. Get on your feet. Get your blanket roll. You
can't sleep here.

The boy raised his dirty, stinking, tired upper body, and from a
sitting position, without looking at anything, he got to his feet.
Groggily he bent over, picked up and put on his helmet. He walked
unsteadily back to the blanket truck, and from a stack of muddy blanket
rolls he pulled out his own. Carrying the slight, unwarm bundle under
his left arm, he began to walk along the bushy perimeter of the field.
He passed by Hurkin, who was sweatily digging a foxhole, and neither he
nor Hurkin glanced with any interest at the other. He stopped where Eeves was digging in, and he said to Eeves, "You on tonight, Eeves?"

Eeves looked up and said, "Yeah," and a drop of sweat glistened and disengaged itself from the end of his long Vermont nose.

The boy said to Eeves, "Wake me up if anything gets hot or anything,"
and Eeves replied, "How'll I know where you're gonna be at?" and the boy told him, "I'll holler when I get there."

I won't dig in tonight, the boy thought, walking on. I won't struggle
and dig and chop with that damn little entrenching tool tonight. I
won't get hit. Don't let me get hit, Somebody. Tomorrow night I'll dig
a swell hole, I swear I will. But for tonight, for just now, when
everything hurts, let me just find someplace to drop. All of a sudden
the boy saw a foxhole, a German one, unmistakably vacated by some Kraut
during the afternoon, during the long, rotten afternoon.

The boy moved his aching legs a little faster, going toward it. When he
got there he looked down into it, and his whole mind and body almost
whimpered when he saw some G.I.'s dirty field jacket neatly folded and
placed on the bottom of the hole, in the accepted claim. The boy moved
on.

He saw another Kraut hole. He hurried awkwardly toward it. Looking down
into it, he saw a gray woolen Kraut blanket, half spread, half bunched
on the damp floor of the hole. it was a terrible blanket on which some
German had recently lain and bled and probably died.

The boy dropped his blanket roll on the ground beside the hole, and
then he removed his rifle, his gas mask, his pack and helmet. Then he
stooped beside the hole, dropped the little distance to his knees,
reached down into the hole and lifted out the heavy, bloody, unlamented
Kraut blanket. Outside the hole, he rolled the thing into an absurd
lump, picked it up and threw it into the dense hedgerow behind the
hole. He looked down into the hole again. The dirt floor, he saw, was
messy with what had permeated two folds of the heavy Kraut blanket. The
boy took his entrenching tool from his pack, stepped into the hole and
leadenly began to dig out the bad places.

When he was finished he stepped out of the hole, undid his blanket roll
and laid the blankets out flat, one on top of the other. As if they
were one, he folded the blankets in half the long way, and then he
lifted this bed thing, as though it had some sort of spine to it, over
to the hole and lowered it carefully out of sight.

He watched the pebbles of dirt tumble into the folds of his blankets.
Then he picked up his rifle, gas mask and helmet, and laid them
carefully on the natural surface of the ground at the head of the hole.

The boy lifted up the two top folds of his blankets, placed them aside
slightly, and then he stepped with his muddy shoes into his bed.
Standing up, he took off his field jacket, bunched it up into a ball,
and then he lowered himself into position for the night. The hole was
too short. He could not stretch out without bending his legs sharply at
the knees. Covering himself with the top folds of his blankets, he laid
his filthy head back on his filthier field jacket. He looked up into
the darkening sky and felt a few mean little lumps of dirt trickle into
his shirt collar, some lodging there, some continuing down his back. He
did nothing about it.

Suddenly a red ant bit him nastily, uncompromisingly, on the leg, just
above his leggings. he jammed a hand under the covers to kill the
thing, but the movement caught itself short, as the boy hissed in pain,
refeeling and remembering where that morning he had lost a whole
fingernail.

Quickly he drew the hurting, throbbing finger up to the line if his eye
and examined it in the fading light. then he placed the whole hand
under the folds of the blankets, with the care more like that proffered
a sick person than a sore finger, and let himself work the kind of
abracadabra familiar to and special for G.I.'s in combat.

"When I take my hand out of this blanket," he thought, "my nail will be
grown back, my hands will be clean. My body will be clean. I'll have on
clean shorts, clean undershirt, a white shirt. A blue polka-dot tie. A
gray suit with a stripe, and I'll be home, and I'll bolt the door. I'll
put some coffee on the stove, some records on the phonograph, and I'll
bolt the door. I'll read my books and I'll drink coffee and I'll listen
to music, and I'll bolt the door. I'll open the window, I'll let in a
nice, quiet girl--not Frances, not anyone I've ever known--and I'll
bolt the door. I'll ask her to read some Emily Dickinson to me--that
one about being chartless--and I'll ask her to read some William Blake
to me--that one about the little lamb that made thee--and I'll bolt
the door. She'll have an American voice, and she won't ask me if I have
any chewing gum or bonbons, and I'll bolt the door."

The boy took his hurting hand out of the blankets suddenly, expecting
and getting no change, no magic. Then he unbuttoned the flap of his
sweat-stained, mud-crumbly shirt pocket, and took out a soggy lump of
newspaper clippings. He laid the clippings on his chest, took off the
top one and brought it up to eye level. It was a syndicated Broadway
column, and he began to read in the dim light:

Last night--and step up and touch me, brother--I dropped in at
the Waldorf to see Jeanie Powers, the lovely starlet, who is
here to attend the premiere of her new picture, The Rockets' Red
Glare. (And don't miss it, folks. It's grand.) We asked the
corn-fed Iowa beauty, who is in the big town for the first time
in her lovely lifetime, what she wanted to do most while she was
here. "Well," said the Beauty to the Beast, "when I was on the
train, I decided that all I really wanted in New York was a date
with a real, honest-to-goodness G.I.! And what do you suppose
happened? The very first afternoon I was here, right in the
lobby of the Waldorf I bumped square into Bubby Beamis! He's a
major in public relations now, and he's stationed right in New
York! How's that for luck?" . . . Well, your correspondent
didn't say much. But lucky Beamis, I thought to my--"

The boy in the hole crumpled the clipping into a soggy ball, lifted the
rest of the clippings from his chest, and dropped them all, on the
natural ground to the side of the hole.

He stared up into the sky again, the French sky, the unmistakably
French, not American sky. And he said aloud to himself, half
snickering, half weeping, "Oo la-la!"

All of a sudden, and hurriedly, the boy took a soiled, unrecent
envelope from his pocket. Quickly he extracted the letter from inside
it and began to reread it for the thirty-oddth time:

MANASQUAN, NEW JERSEY,

July 5, 1944
Dear Babe: Mama thinks you are still in England, but I think you
are in France. Are you in France? Daddy tells mama that he
thinks you are in England still, but I think he thinks you are
in France also. Are you in France?

The Bensons came down to the shore early this summer and Jackie
is over at the house all the time. Mama brought your books with
us because she thinks you will be home this summer. Jackie asked
if she could borrow the one about the Russian lady and one of
the ones you used to keep on your desk. I gave them to her
because she said she would not bend the pages or anything. Mama
told her she smokes too much, and she is going to quit. She got
poisoned from sunburn before we came down. She likes you a lot.
She may go in the Wacks.

I saw Frances on my bike before we left home. I yelled at her,
but she did not hear me. She is very stuck up and Jackie is not.
Jackies hair is prettier also.

There are more girls than boys on the beach this year. You never
see any boys. The girls play cards a lot and put a lot of sun
tan oil on each others back and lay in the sun, but go in the
water more than they used to. Virginia Hope and Barbara Geezer
had a fight about something and dont sit next to each other on
the beach anymore. Lester Brogan was killed in the army where
the Japs are. Mrs. Brogan does not come to the beach anymore
except on Sundays with Mr. Brogan. Mr. Brogan just sits on the
beach with Mrs. Brogan, and he does not go in the water, and you
know what a good swimmer he is. I remember when you and Lester
took me out to the float once. I go out to the float myself now.
Diana Schults married a soldier that was at Sea Girt and she
went back to California with him for a week, but he is gone now
and she is back. Diana lays on the beach by herself.

Before we left home, Mr. Ollinger died. Brother Teemers went
into the store to get Mr. Ollinger to fix his bike and
Mr. Ollinger was dead behind the counter. Brother Teemers ran
crying all the way to the court house and Mr. Teemers was busy
talking to the jury and everything. Brother Teemers ran right in
anyway and yelled Daddy Daddy Mr. Ollinger is dead.

I cleaned out your car for you before we left for the shore.
There was a lot of maps behind the front seat from your trip to
Canada. I put them in your desk. There was also a girls comb. I
think it was Frances. I put it in your desk also. Are you in
France?

Love,

MATILDA

P.S.: Can I go to Canada with you next time you go? I won't talk
much and I'll light your cigarettes for you without really
smoking them.

Sincerely yours,

MATILDA

I miss you. Please come home soon.

Love and kisses,

MATILDA

The boy in the hole carefully put the letter back inside the dirty,
worn envelope, and put the envelope back into his shirt pocket.

Then he raised himself slightly in the hole and shouted, "Hey, Eeves!
I'm over here!"

And across the field Eeves saw him and nodded back.

The boy sank back into the hole and said aloud to nobody, "Please come home soon." Then he fell crumbily, bent-leggedly, asleep.

Copyright (C) J. D. Salinger          

Existence of conditions favorable to life


“Gerald Schroeder points out that the existence of conditions favorable to life still does not explain how life itself originated. Life was able to survive only because of favorable conditions on our planet. But there is no law of nature that instructs matter to produce end-directed, self-replicating entities.”― Antony Flew, There Is a God: How the World's Most Notorious Atheist Changed His Mind




The boys











Another foster child is killed



Another foster child is killed in foster care
June 03, 2020



Kimberly Malpass, a foster mother in Auburn, has been indicted in the 2015 death of a 2-year-old girl child in her custody.

The child’s name was Avalena M. Conway-Coxon. Avalena’s mother died of an apparent overdose in September 2015.

Avalena and a second toddler, Samara, who was 22 months old, were found unresponsive in Malpass’s home on Aug. 15, 2015. The children were rushed to UMass Memorial Hospital, University Campus, where Avalena was pronounced dead, probably as a result of heat stroke.

Samara listed in critical condition and was in a coma for several weeks and will suffer lifelong injuries however the Chief Medical Examiner was not able to determine the cause of death.

Anthony Mallet, Malpass’s boyfriend who has long criminal record was taking care of the children  the night before the two girls were found unresponsive. Malpass was out drinking.  Malpass frequently denied the boyfriend was inside the home.


Samara, on Aug. 14, the night before the two girls were found unresponsive.
Malpass, he told authorities, was out drinking. Malpass returned home drunk and began throwing up. Mallet, according to the report, told investigators he took two Xanax from Malpass' pocketbook and went to bed. Malpass is collecting disability and payment as a foster care giver. Malpass has three of her own children, meaning seven people were jammed in a two bedroom apartment. She has been charged in the past with neglecting her children and allowing her previous boyfriend to abuse them. They  children seldom attended school.
  
The report issued in the case by the state Department of Children and Families shows foster mother Malpass frequently denied that her now 33-year-old boyfriend, who has long criminal record, was living with her in the home. Worse, DCF officials were aware of what Malpass was posting on Facebook including pictures of her with Mallet, a drug user, they knew who and what Mallet was, and did nothing about it. In April of that year, Mallet had been charged with unarmed robbery and Malpass bailed him out.

Isn't this great?

Morning Sun - Lesser Ury.


Abbreviated from Wikipedia.

Leo Lesser Ury (November 7, 1861 – October 18, 1931) was a German Impressionist painter and printmaker, associated with the Düsseldorf school of painting.
His first exhibition was in 1889 and met with a hostile reception, although he was championed by Adolph von Menzel whose influence induced the Akademie to award Ury a prize. In 1893 he joined the Munich Secession, one of the several Secessions formed by progressive artists in Germany and Austria in the last years of the 19th century.
In 1901 he returned to Berlin, where he exhibited with the Berlin Secession, first in 1915 and notably in 1922, when he had a major exhibition.
By this time Ury's critical reputation had grown and his paintings and pastels were in demand. His subjects were landscapes, urban landscapes, and interior scenes, treated in an Impressionistic manner that ranged from the subdued tones of figures in a darkened interior to the effects of streetlights at night to the dazzling light of foliage against the summer sky.
Ury is especially noted for his paintings of nocturnal cafe scenes and rainy streets. He developed a habit of repeating these compositions in order to sell them while retaining the originals, and these quickly-made and inferior copies have harmed his reputation.
Always introverted and distrustful of people, Ury became increasingly reclusive in his later years. He died in Berlin


We will.


Playwrights

** FREE THEATER ONLINE ***

Eugene O'Neill Theater Center 2020 Summer Season

We hope you'll join us online for the 2020 summer season! All the events below are FREE and open to the public. All times are in EST. 
We ask that you RSVP at least 2 hours before event to ensure that you'll receive the email with log-in instructions before the event.  

Artistic Director Sunday Series
National Puppetry Conference
National Music Theater Conference
National Playwrights Conference
Caberet & Performance Conference

Registration:

***

Creative Conversations is a signature program of the Queens Council on the Arts. It is a monthly gathering hosted in different Queens neighborhoods where artists have the opportunity to network, organize, meet community stakeholders, and develop strategies for community advocacy. It is open to artists and the general public. Artists have the opportunity to share their work with one another and their perspectives on what is happening in their community with a larger audience. Interviews with participating artists from each meeting will be recorded and featured on Clocktower Radio, an online radio show, as well as QCA's SoundCloud page. Institutional partners include The SUNY Queens Educational Opportunity Center in Jamaica, Queens, the New York Tibetan Service Center in Jackson Heights, and the Jamaica Center for Arts and Learning.

CREATIVE CONVERSATIONS, - Sustaining Creative Practice During Covid-19, Thursday, June 11, 5:30pm-6:30pm

CREATIVE CONVERSATIONS, Wednesday, June 24, 2020, 5:30-6:30pm, in partnership with the Far Rockaway Cultural Performing Arts via ZOOM


***

Jon Freda (THE FAMILY, BLACKLIST, LAW & ORDER SVU) cordially invites you and your friends to watch the ZOOM-A-THON play reading June 7th at 3 pm EST of SAY NOTHING. The play tells the untold story of an Italian American family's experience with internment in the United States during World War Two.
Based on the  multi-award-winning screenplay of the same name. Written by Letty Serra and Jon Freda. Proceeds from this production will be directed to help areas of Italy especially affected by COVID-19.  

Please click the link below to join the webinar:
Password: 982503

Questions: fredajon@gmail.com

***

Hudson Theatre Works
 PRESENTS
our
Virtual Festival

Every Wednesday
We will be releasing short videos of new plays on our YouTube Channel
Please subscribe to our channel and on our  Instagram

all proceeds go to the Actors Fund and Black Lives Matter Foundation




***

Palm Beach Dramaworks
Virtual Reading of Michael McKeever’s
THE PEOPLE DOWNSTAIRS

June 24, 3PM & 7PM

Michael McKeever’s The People Downstairs, commissioned by Palm Beach Dramaworks and scheduled to be the company’s next world premiere, will be presented by The Dramaworkshop in two live, virtual readings on Wednesday, June 24, at 3pm and 7pm. Each reading will be followed by a virtual Q and A.

The readings are free, but reservations are required. The play will not be recorded for online viewing; it must be seen live.

The box office will begin taking reservations on June 15. Visit palmbeachdramaworks.org to reserve your spot.



IF YOU HAVE A FREE ONLINE THEATER OR A THEATER EVENT COMING UP LET US KNOW AND NYCPLAYWRIGHTS WILL SHARE YOUR INFO HERE AND ON THE NYCPLAYWRIGHTS GROUP ON FACEBOOK 

Send details to info@nycplaywrights.org

Thanks


*** PRIMARY STAGES: NOW ENROLLING ***

NOW ENROLLING: Summer 2020 Online Classes at Primary Stages ESPA! 

Start a First Draft, keep working on Rewriting Your Draft, update your Artistic Statement, or try your hand at Comedy Writing or a TV Pilot. Faculty includes ABE KOOGLER (Obie Winner, Fulfillment Center), MICHAEL WALKUP (Producing Artistic Director, Page 73), MELISA ANNIS (Writer, Director, Dramaturg, NYU Faculty), KAIT KERRIGAN (The Mad Ones), WINTER MILLER (No One is Forgotten), and many other award-winning writers who provide practical skills and expert guidance in a collaborative atmosphere. Classes begin mid-June.

Flexible, artist-friendly payment plans available. http://primarystages.org/espa/writing.


*** OPPORTUNITIES FOR PLAYWRIGHTS ***

Playhouse Creatures Theatre Company is honored to announce a call for original plays, for its 3rd Annual Dr. R. J. Rodriguez Emerging Playwrights’ Contest. 
Seeking 30 minute play (or less), with a cast of 4 (or fewer);
A play that may be performed via internet, phone, or live (we’d love to bring it to the community—at a safe distance—when we are able to);
And, most importantly, a play that deals with the un-dealt-with racial divide we have been suffering through since 1619; and, how the Covid-19 pandemic has served as a pressure cooker of a catalyst. They are distinct, but certainly not unrelated. Our streets are filled with righteous anger, frustration, and indignation. As artists, what is OUR response? What is the message of hope we can bring? What is the vehicle we can create to give voice to the voiceless? 

***

Black and Brown Theatre presents All the Web's a Stage Monologue Competition
Instead of a traditional judging panel, we've decided to give the power to the actors who will actually use these monologues. 9 actors will select from the monologues you submit and record their favorite monologue to be posted on our YouTube, Instagram and Facebook Pages. 

***

Fred Ebb Award 2020
Each applicant must be a composer/lyricist or composer/lyricist team wishing to create work for the musical theatre, and must not yet have achieved significant commercial success.


*** FOR MORE INFORMATION about these and other opportunities see the web site at https://www.nycplaywrights.org ***



*** THEATER SOLIDARIY ***

A note from the Public Theater

The murders of George Floyd, Ahmaud Arbery, Tony McDade, and Breonna Taylor have demonstrated in horrific fashion the racism upon which our country was built. We mourn the loss of these Black men and women, and are grieved and outraged by their deaths. The Public was founded as a theater by, for and of the people, yet it has taken us far too long to proclaim the simple truth: Black Lives Matter. We must stand in solidarity with Black artists, Black staff members, and the Black community. We must do more, much more, to fight the racism that infects every institution in the country, the Public included. We must recognize that the Public itself must change, if we wish to live up to our own ideals. If “We Are One Public,” then the pain and oppression being visited on the Black community must also be our pain. Out of this crucible we will all either become better or become worse. The Public is determined to be on the side that fights racism and inequality manifested inside and outside of our walls. We will release a fuller statement of accountabilities and actions in the coming days. Words matter, but not as much as actions. We will hold ourselves accountable, and if you feel we are falling short, we will listen.

More...

***

American Theater Editors:

A few months ago, I said publicly that it felt strange to be running a magazine called American Theatre while there was no theatre happening the U.S. for the foreseeable future, due to the pandemic and the lockdown it has required. Now, in the wake of the convulsive national and global response to the cold-blooded murder of George Floyd by a Minneapolis police officer, and a surge of police violence that only continues to vindicate and necessitate further protests against state-sanctioned brutality, it feels even stranger to be thinking and writing about theatre, like a kind of moral category error. How could I possibly be fussing about the theatre when Black folks’ lives hang in the balance?

More...

***

Playwrights Horizons:

With outrage and great sorrow, Playwrights Horizons mourns the Black lives unjustly lost to state-sanctioned violence. The killing of George Floyd by members of the Minneapolis police department is yet another glaring example of the systemic racism at work in our country, and of the traumas inflicted against Black Americans throughout our history. So, too, are the murders of Breonna Taylor in Kentucky, Tony McDade in Florida, and Ahmaud Arbery in Georgia, among countless others.

More...

***

Roundabout Theatre Company:

As a theatre company that is a long-standing member of many communities, we believe in the importance of words, the impact of voices, and the healing capacity of shared stories.

 That means we must also take our share of responsibility for what is good and bad in the world, and our ability to shape it. As we share the heartbreak and outrage over the unjust killings of Black citizens and the racism and intolerance behind them, the current pause in many of our operations gives us an opportunity, as Governor Cuomo has repeatedly stressed, to “build back better.”

More...

***

Second Stage Theater:

Second Stage Theater is devastated by the murders of George Floyd, Breonna Taylor, Ahmaud Arbery, Tony McDade, Dreasjon Reed, and so many others. We stand in solidarity with the Black community, and with the Black artists and theater-makers in the Second Stage family. 

Black stories, Black experiences, Black pain, and Black lives matter. Black lives matter to Second Stage, to the American theater, to our culture - our humanity and our society depend on naming, rejecting, and calling out racism in every artistic and human context.
To make our stance, our position, our institutional standard explicit:
We are not neutral. We reject white supremacy.

More...

***

Primary Stages:

We are heartbroken and we are outraged. To everyone speaking out, standing up for justice, and striving for a world that is truly equitable, we see you and stand with you. Know that you are not alone. We don’t have all the answers now, but here’s where we’re starting:
click the links below for resources for actionable steps. Read, Do, Donate.
 
#BlackLivesMatter #SayTheirNames

More...

***

Theatre for a New Audience

If the founding principles of democracy are that we all are created equal, entitled to equal justice and the right to life, why, despite these principles, does the blight of systemic racism in America continue to perpetuate death, inequality and injustice? Why are so many members of the Black community, indigenous people and people of color being killed by the police? In the aftermath of George Floyd’s murder; killings of Ahmaud Arbery and Breonna Taylor; and the agonizing loss of so many Black lives, we write to express our solidarity with those demanding we face this question and finally attain a just society.

More...

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