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"It's amazing how much you can accomplish when you don't care who gets the credit."
Gertrude (“Trudy”) Belle Elion’s greatest legacy is the thousands of lives touched by the drugs she and her associates developed for the treatment of leukemia (6-Mercaptopurine or 6-MP), gout (allopurinol), rejection of transplanted organs (azathioprine), and herpes (acyclovir), among other disorders.
Elion was born on January 23, 1918, in New York City, to Lithuanian immigrant dentist Robert and Bertha (Cohen) Elion. Her father came from a long line of rabbis. Elion’s intellect manifested itself at an early age: she was a voracious reader and an excellent student, graduating from Walton High School at age fifteen. The death of her beloved grandfather from stomach cancer led her to choose chemistry as “a logical first step in committing myself to fighting the disease. That was the turning point.”
Elion received her B.A. summa cum laude in 1937 but found work opportunities scarce for a woman chemist. She received her M.S. from New York University in 1941. Despite her father’s losses in the 1929 stock market crash, she was able to continue her education by qualifying for tuition-free Hunter College. During this period, she also suffered the death of her fiancé. She never married. She found work as a quality control chemist at Quaker Maid Company, then as a research chemist at Johnson & Johnson. She landed a position in 1944 as a research chemist at Burroughs Wellcome, the noted pharmaceutical company, eventually becoming head of experimental therapy, a post she held until her retirement in 1983.
Gertrude Elion's contributions over the course of her career were remarkable. Among the many drugs she helped to develop were the first chemotherapy for childhood leukemia, the immunosuppressant that made organ transplantation possible, the first effective anti-viral medication, and treatments for lupus, hepatitis, arthritis, and gout. Her efforts have saved or improved the lives of countless individuals.
When Elion died on February 21, 1999, the head of Glaxo Wellcome observed,"Gertrude Elion's love of science was surpassed only by her compassion for people." Her generous heart and brilliant mind touched countless individuals around the world. She left a legacy that will benefit humanity for years to come.
We should give thanks for people like Gertrude Elion who gave of herself to improve the life of others. As we pray for these people let us also pray for the peace of Jerusalem and the protection of Israel. Psalm 122:6. Let us remember the dedication and commitment that Elion had not only for the Jewish people, but people everywhere.
For more on this story, visit: Jerusalem Prayer Team Articles Page.
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필압 감지되는 jot touch 4.0 사려던 참에 53의 "Pencil":http://www.fiftythree.com/pencil 을 보고 고민 중. 필압 감지는 안되지만 53의 paper 앱에서 지우개(뒤쪽 팁으로), palm rejection, 손가락으로 문지르기 등의 기능을 제공해서, 실제 펜이나 연필처럼 쓸 수 있는 듯. (paper 외의 다른 앱에서는 그냥 스타일러스처럼 동작한다고. 생각해보면 필압감지가 그다지 중요한가 싶기도 하고.)posted by yuna
February 13, 2006 #044/366
rejection letter.
boo.
I had a wonderful teaching day. I came home to rejection.
This is a snapshot of part of the letter. Please excuse me from photographing anything decent.
ATE State workers union made a caravan from the Obelisk to Congress, in rejection of the National Paritaria
Name: Portia Ncwane
Exchange Program: Mandela Washington Fellowship, 2019
Those rejections are a preparation for that GRAND YES and the Mandela Washington Fellowship for Young African Leaders program was my first yes for the year in 2019
When I visited the United States of America in 2018 I said to myself I wish to come back here again to study and connect more and so it happened being selected to represent my country, my organisation and my community at one of the prestigious leadership programs meant everything, connecting with leaders on the African continent who have been such an inspiration the great work they are doing back home and showing the passion and the hardwork in all of it. To continue Serving humanity & Addressing society problems. Never was I in a space with so much black excellence in it, the language of love and appreciation has been so immense we can do great things when we remove the shy and share our dream.
I was based at the University of Delaware in Newark under Civic Track engagement during my time there it was phenomenal, every lecturer was engaging with the fellows very well and during our site visits we got a chance to go to NewYork City and visit the United Nations Headquarters in NewYork City, The honour of being inside the General Assembly & Security Council which I've only read and heard about in the media the United nations strives to maintain world peace and facilitate cooperation in solving international problems.
Being able to stand in front of a beautiful monument of Tata Nelson Mandela who represents the ideologies of freedom democracy and independence that are celebrated in the United States on the 4th July of which the very same program named after him has brought me to the United States of America inside the United nations headquarters which has goals that strongly believe in and want to achieve through out the Portia Ncwane Foundation, The Sustainable Development Goals are the blueprint to achieve a better and more sustainable future for all. They address the global challenges we face, including those related to poverty, inequality, climate change, environmental degradation, peace and justice.
Yellow warbler, they migrate through every August-and investigate every thing on the property! I used to think they ate the figs but my guide book says they eat insects so I guess they are eating the insects that are attracted to the fig parts left on the trees by other birds. This one is on a Raywood Ash. They are very small, 4-5 inches.
Oh these little rejections how they add up quickly
One small sideways look and I feel so ungood
Somewhere along the way I think I gave you the power to make
Me feel the way I thought only my father could
Oh these little rejections how they seem so real to me
One forgotten birthday I'm all but cooked
How these little abandonments seem to sting so easily
I'm 13 again am I 13 for good?
I can feel so unsexy for someone so beautiful
So unloved for someone so fine
I can feel so boring for someone so interesting
So ignorant for someone of sound mind
Oh these little protections how they fail to serve me
One forgotten phone call and I'm deflated
Oh these little defenses how they fail to comfort me
Your hand pulling away and I'm devastated
When will you stop leaving baby?
When will I stop deserting baby?
When will I start staying with myself?
Oh these little projections how they keep springing from me
I jump my ship as I take it personally
Oh these little rejections how they disappear quickly
The moment I decide not to abandon me
- "Unsexy", Alanis
Double Negative: a typology of guys who have blocked my profile on the gay social networking apps Grindr or Scruff
I exorcised a couple of demons today!
First of all I asked a police officer which is something I have been meaning to do for ages (she declined), secondly I have long been aware that I have a bit of a block with attractive young women - the mainstay of many projects on here. I think the problem is that two of my worst rejections have been young(ish) women and on both occasions I'm pretty sure that I have really freaked them out and then not had the chance to even begin to explain. A few months ago I resolved to make my next 5 strangers young women but I fell at the first hurdle. Yesterday I set out to ask just 1 but came away empty handed but not through lack of opportunity given the lovely weather that we are currently enjoying which is bringing everyone out into the sunshine. So last night I told Mrs H&C that I was again going for 5 in a row ... I got all 5 in one day today, as well as 5 rejections (all polite and in light of a full explanation about the purpose) and took a total of 38 photos - you'll need to wait for #84 to discover the story behind that somewhat high number!
BTW I don't have a complete block in this respect so the several young women that have already agreed to be part of my project need take no offence at this background story - it's a simple fact that you are in the minority in my project ;). Anyway ...
I kicked off early with a rejection then spotted Daisy who caught my eye with her confident style and bold sunglasses and chased after her as she strode off in the opposite direction. When I approached though she was happy to get involved with minimal explanation.
Daisy is studying product design at Newcastle University and currently designing a lunch box but it will not be made or sold, it's purely for her course.
When I asked her what she likes to do for fun, she told me that she is in a band with a record deal in the offing and someday she may be famous - she said this whilst striking a showbiz pose ;). Obviously comfortable in the limelight then! Her band plays indie/electro pop which meant little to me so I asked who her/their influences would be ... Phoenix and Friendly Fire ... erm, OK ... still none the wiser ;). At this point my headphones were dangling loosely and still blasting out Shinedown's newest album - an American Rock band (which I shall unashamedly point out includes my #69 stranger Barry Kerch) - so little common ground musicwise.
These guys are not mucking about though ... Mausi ... not my kind of music but seriously talented and given they just signed a band manager yesterday they have real ambition and if the polished website, single and samples are anything to go by they are a real watch this space band. Good luck Daisy et al!
Somehow finding time, Daisy also enjoys street photography - basically photographing anything interesting - a bit like me then as I had several interesting encounters today of which Daisy was definitely one!
Daisy, thanks very much for taking part in my project today - it was a pleasure to speak to someone so relaxed (and especially given the context of my "mission") and whilst I approached you for the reasons mentioned above it was great to find myself speaking to someone that confirmed my belief that everybody has a story if you ask the right questions.
_____________________________
Daisy is the first stranger I photographed today having set myself the personal challenge of photographing 5 young women in a row - a "group" that I must admit to generally shying away from. Others may think nothing of this but I found it difficult for reasons explained in the introduction above.
I achieved this on the first day of trying (albeit my second attempt at the challenge) with the help of Daisy, Kat, Ah'freee, Lindsay & Maria. Thank you all!
_____________________________
Please feel free to provide constructive critique on the technical aspects of this photograph.
This picture is #82 in my 100 strangers project. Find out more about the project and see pictures taken by other photographers at the 100 Strangers Flickr Group page
Greens/EFA MEPs mark the rejection of ACTA by the European Parliament
After more than two years of campaigning by the Greens, the ACTA agreement was finally rejected by the European Parliament today.
The last few months have seen heavy lobbying by pro-ACTA forces come head to head with grass roots anger at the agreement as more and more information on it became public.
...
Today was a victory for the Citizens of Europe who contacted their MEPs, signed the petitions and marched in the streets.
The Greens/EFA group will continue keep a close eye on developments, keep citizens informed and fight for internet freedom and digital rights.
Find out more about our work on ACTA on our ACTA Diary
www.greens-efa.eu/acta-diary-7326.html
Press Release:
ACTA consigned to history; EU must now start honest debate on IPR protection
www.greens-efa.eu/acta-anti-counterfeiting-agreement-7752... more
CC BY European Union EP 2012Mehr anzeigen
frustration overwhelms me,
nothing left but this empty feeling.
rejection from the very same thing that gave me definition.
so i’ll bite the hand that feeds me,
fight the hand that bleeds me,
break the hand that cheats me me.
you will never defeat me.
i would rather stand and fight without a chance at all,
than wait around for these “so called” friends to break my fall.
you pass your judgment on me,
when it’s you whose buckling at the knees.
we’ll bite the hand that feeds us,
we’ll fight the hand that bleeds us,
we’ll break the hand that cheats us
you’ll never defeat us.
we are stronger and we fight harder than any makeshift martyr.
such an arrogant elite,
just begging to be heard.
you scream word after hollow word,
but now it’s our turn.
i’ve been there too,
alone in a crowded room and they’re all laughing at you.
a room full of rolling eyes and self doubt.
NARROW MINDS AND BIG FUCKING MOUTHS.
you’re not in this alone,
and you don’t have to feel that you are.
we’re what separates the heart from the heartless,
so we’ll push forward regardless of the consequence.
we’re what separates the heart from the heartless,
so we’ll keep pushing regardless.
i took this like midnightish so i won't have to worry about a 365 today,
when i was still all disgusting from yesterday, ahha
i just woke up, its 2.30 pm,
and i'm sore and want to die.
but worrth it (:
I watched the male entice the female blackbird with his mating dance . . . but by the time I reached for the camera, she made it quite clear she wasn't interested. And he just slunk away. Sooo sad
I have been trying tons of new things and experimenting with new and amazing materials. You can always use what you are good at as a crutch but REJECT all that and make things that you are uncomfortable with. No more 2D imagery for this boy it was fun all those years but no more beating a dead horse :::) Reject everything you are good at
So this week I received two rejection letters out of the five schools I've applied to -- both schools are in LA.
You'd think one would get a little downtrodden after being rejected, but I'm gonna use these letters as motivation -- motivation to improve myself and work a helluva lot fucking harder to achieve my goals. So to the other three schools, bring it on. I ain't gonna let my dreams be dashed because I can't get into graduate school. Rest assured, I'm going to make a name for myself.
Banksy Sidewalk Wall Painting - Test Your Strength - on The West side between Broadway and Amsterdam on 79th Street Photographed on 09/20/2014 painted around 10/24/2013 Child Wielding Sledgehammer graffiti art Midtown Manhattan New York City 2013 NYC art artist artwork silhouette rejection Thursday October twenty forth anonymous Brit British English UK United Kingdom residencey Better in than Out - Exit Through the Gift Shop 2014
Gustave Caillebotte (19 August 1848 – 21 February 1894) was a French painter who was a member and patron of the Impressionists, although he painted in a more realistic manner than many others in the group. Caillebotte was known for his early interest in photography as an art form.
Early life
Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte (1799–1874), was the inheritor of the family's military textile business and was also a judge at the Tribunal de commerce de la Seine. Caillebotte's father was twice widowed before marrying Caillebotte's mother, Céleste Daufresne (1819–1878), who had two more sons after Gustave: René (1851–1876) and Martial (1853–1910).
Caillebotte earned a law degree in 1868 and a license to practice law in 1870, and he also was an engineer. Shortly after his education, he was drafted to fight in the Franco-Prussian war, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine.
Artistic life - Development
After the war, Caillebotte began visiting the studio of the painter Léon Bonnat, where he began to study painting seriously. He then developed an accomplished style in a relatively short time and had his first studio in his parents' home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend much time there. He inherited his father's fortune in 1874 and the surviving sons divided the family fortune after their mother's death in 1878. Gustave and his brother sold the Yerres estate and moved into an apartment on the Boulevard Haussmann in Paris.
Around 1874, Caillebotte had met and befriended several artists working outside the Académie des Beaux-Arts, including Edgar Degas and Giuseppe de Nittis, and attended (but did not participate in) the First Impressionist Exhibition of 1874. The "Impressionists" – also called the "Independents", "Intransigents", and "Intentionalists" – had broken away from the academic painters showing in the annual Salons
Caillebotte made his debut in the second Impressionist exhibition in 1876, showing eight paintings, including Les raboteurs de parquet (The Floor Scrapers) (1875), his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor (thought to have been that of the artist's own studio) was considered "vulgar" by some critics and this is the probable reason for its rejection by the Salon of 1875. At the time, the art establishment deemed only rustic peasants or farmers acceptable subjects from the working class.
Style
In common with his precursors Jean-François Millet and Gustave Courbet, as well his contemporary Degas, Caillebotte aimed to paint reality as it existed and as he saw it, hoping to reduce the inherent theatricality of painting. Perhaps because of his close relationship with so many of his peers, his style and technique vary considerably among his works, as if "borrowing" and experimenting, but not really sticking to any one style. At times, he seems very much in the Degas camp of rich-colored realism (especially his interior scenes); at other times, he shares the Impressionist commitment to "optical truth" and employs an impressionistic pastel-softness and loose brush strokes most similar to Renoir and Pissarro, although with a less vibrant palette.
The tilted ground common to these paintings is characteristic of Caillebotte's work, which may have been strongly influenced by Japanese prints and the new technology of photography, although evidence of his use of photography is lacking. Cropping and "zooming-in", techniques that commonly are found in Caillebotte's oeuvre, may also be the result of his interest in photography, but may just as likely be derived from his intense interest in perspective effects. A large number of Caillebotte's works also employ a very high vantage point, including View of Rooftops (Snow) (Vue de toits (Effet de neige)) (1878), Boulevard Seen from Above (Boulevard vu d'en haut) (1880), and A Traffic Island (Un refuge, boulevard Haussmann) (1880).
Themes
Caillebotte painted many domestic and familial scenes, interiors, and portraits. Many of his paintings depict members of his family; Young Man at His Window (Jeune Homme à la fenêtre) (1876) shows René in the home on rue de Miromesnil; The Orange Trees (Les Orangers) (1878), depicts Martial Jr. and his cousin Zoé in the garden of the family property at Yerres; and Portraits in the Country (Portraits à la campagne) (1875) includes Caillebotte's mother along with his aunt, cousin, and a family friend. There are scenes of dining, card playing, piano playing, reading, and sewing, all executed in an intimate, unobtrusive manner that portrays the quiet ritual of upper-class indoor life.
His country scenes at Yerres focus on pleasure boating on the leisurely stream as well as fishing and swimming, and domestic scenes around his country home. He often used a soft impressionistic technique reminiscent of Renoir to convey the tranquil nature of the countryside, in sharp contrast to the flatter, smoother strokes of his urban paintings. In Oarsman in a Top Hat (1877), he effectively manages the perspective of a passenger in the back of a rowboat facing his rowing companion and the stream ahead, in a manner much more realistic and involving than Manet's Boating (1874).
Caillebotte is best known for his paintings of urban Paris, such as The Europe Bridge (Le Pont de l'Europe) (1876), and Paris Street; Rainy Day (Rue de Paris; temps de pluie, also known as La Place de l'Europe, temps de pluie) (1877). The latter is almost unique among his works for its particularly flat colors and photo-realistic effect, which give the painting its distinctive and modern look, almost akin to American Realists such as Edward Hopper. Many of his urban paintings were quite controversial due to their exaggerated, plunging perspective. In Man on a Balcony (1880), he invites the viewer to share the balcony with his subject and join in observing the scene of the city reaching into the distance, again by using unusual perspective. Showing little allegiance to any one style, many of Caillebotte's other urban paintings produced in the same period, such as The Place Saint-Augustin (1877), are considerably more impressionistic.
Caillebotte's still life paintings focus primarily on food, some at table ready to be eaten and some ready to be purchased, as in a series of paintings he made of meat at a butcher shop. He also produced some floral still-life paintings, particularly in the 1890s. Rounding out his subject matter, he painted a few nudes, including Homme au bain (1884) and Nude on a Couch (1882), which, although provocative in its realism, is ambivalent in its mood—neither overtly erotic nor suggestive of mythology—themes common to many nude paintings of women during that era.
Later life
In 1881, Caillebotte acquired a property at Petit-Gennevilliers, on the banks of the Seine near Argenteuil, and he moved there permanently in 1888. He ceased showing his work at age 34 and devoted himself to gardening and to building and racing yachts, and he spent much time with his brother, Martial, and his friend Auguste Renoir. Renoir often came to stay at Petit-Gennevilliers, and engaged in far-ranging discussions on art, politics, literature, and philosophy. Caillebotte was a model for Renoir's 1881 painting, Luncheon of the Boating Party. Although he never married, Caillebotte appears to have had a serious relationship with Charlotte Berthier, a woman eleven years his junior and of the lower class, to whom he left a sizeable annuity.
While Caillebotte was known for his urban and domestic scenes, he also painted many rural scenes of the area around his home in the years before his death.
Caillebotte's painting career slowed dramatically in the early 1890s when he stopped working on large canvases. Caillebotte died of pulmonary congestion while working in his garden at Petit-Gennevilliers in 1894 at age 45. He was interred at Père Lachaise Cemetery in Paris.
For many years, and partly because he never had to sell his work to support himself, Caillebotte's reputation as a painter was overshadowed by his recognition as a supporter of the arts. Seventy years after his death, however, art historians began reevaluating his artistic contributions. His striking use of varying perspective sets him apart from his peers who may have otherwise surpassed him. His art was largely forgotten until the 1950s when his descendants began to sell the family collection. In 1964, The Art Institute of Chicago acquired Paris Street; Rainy Day, spurring American interest in him. By the 1970s, his works were being exhibited again and critically reassessed.
The National Gallery of Art (Washington, D.C.) and the Kimbell Art Museum (Fort Worth, Texas) organized a major retrospective display of Caillebotte's painting for exhibition in 2015–2016.
Patron and collector
Caillebotte's sizable allowance, along with the inheritance he received after the death of his father in 1874 and his mother in 1878, allowed him to paint without the pressure to sell his work. It also allowed him to help fund Impressionist exhibitions and support his fellow artists and friends (Claude Monet, Auguste Renoir, and Camille Pissarro among others) by purchasing their works and, at least in the case of Monet, paying the rent for their studios.
Caillebotte bought his first Monet in 1875 and was especially helpful to that artist's career and financial survival. He was precise in his sponsorship; notably absent are works by Georges Seurat and Paul Gauguin, or any of the Symbolists. In 1890, he played a major role in assisting Claude Monet in organizing a public subscription and in persuading the French state to purchase Édouard Manet's 1863 Olympia.
Homosexuality
In 2024, the Musée d'Orsay hosted an exhibition examining how Gustave Caillebotte depicted men in unconventional ways, hinting at his homosexuality. The exhibition’s introductory texts highlight how Caillebotte portrayed men in domestic, often intimate settings typically reserved for women in the 19th century. His male subjects are shown with striking realism in everyday activities—bathing, rowing, lounging, and even defecating. A curator remarked on the radical nature of his work: “His subject matter is very radical during the time, because men were not supposed to stare at men, and he’s staring at men... It’s the elephant in the room. It’s what makes him so different.”
Other interests
In addition, Caillebotte used his wealth to fund hobbies for which he was quite passionate, including stamp collecting, orchid growing, yacht building, and even textile design (the women in his paintings Madame Boissière Knitting, 1877, and Portrait of Madame Caillebotte, 1877, may be working on patterns created by Caillebotte). After his death, he was inscribed in the Roll of Distinguished Philatelists, and the collection he formed with his brother Martial is now in the British Library.
Caillebotte's collection
Convinced after the death in 1876 of his younger brother René that his own life would be short, Caillebotte wrote his will while still in his twenties. In the will, Caillebotte bequeathed a large collection to the French government. This collection ultimately included sixty-eight paintings by Camille Pissarro (nineteen), Claude Monet (fourteen), Pierre-Auguste Renoir (ten), Alfred Sisley (nine), Edgar Degas (seven), Paul Cézanne (five), and Édouard Manet (four).
At the time of Caillebotte's death, the Impressionists were still largely condemned by the art establishment in France, which remained dominated by Academic art and specifically, the Académie des Beaux-Arts. Because of this, Caillebotte realised that the cultural treasures in his collection would likely disappear into "attics" and "provincial museums". He therefore stipulated that they must be displayed in the Luxembourg Palace (devoted to the work of living artists), and then in the Louvre. The French government would not agree to these terms. In February 1896, they finally negotiated terms with Renoir, who was the executor of the will, under which they took thirty-eight of the paintings to the Luxembourg Palace. The installation constituted the first presentation of the Impressionists in a public venue in France. The remaining twenty-nine paintings (one by Degas was taken by Renoir in payment for his services as executor) were offered to the French government twice again, in 1904 and 1908, and were both times refused. When the government finally attempted to claim them in 1928, the bequest was repudiated by the widow of Caillebotte's brother Martial Caillebotte. One of the remaining works, Bathers at Rest, was purchased by Albert C. Barnes and is now held by the Barnes Foundation. Forty of Caillebotte's own works are held by the Musée d'Orsay. His Man on a Balcony, Boulevard Haussmann (Homme au balcon, boulevard Haussmann) (1880), sold for more than US$14.3 million in 2000.
Feb. 17, 2016. Burlington, MA.
Protest at the administrative offices of Immigration Customs Enforcement (ICE) in Burlington, MA to demand a moratorium on deportations and ICE’s rejection of the applications for 287(g) agreements from the Sheriff Departments of Essex and Plymouth counties. If signed, organizers believe the agreement would increase the number of immigrant families being destroyed by deportation.
According to organizers between 2005 and 2010, 87% of cases involving undocumented immigrants with U.S. citizen children ended in deportation. Of all children in U.S. public schools, 6.9% are children of undocumented parents and 82% of those children are U.S. citizens. The Congressional mandate that sets a bed quota requiring Immigration and Customs Enforcement to detain 34,000 undocumented immigrants on any given night fuels the destruction of immigrant families. ICE is the only law enforcement agency that is subject to a national quota system for incarceration.
© 2016 Marilyn Humphries
Little Women
Based on the novel by Louisa May Alcott
The Roman Theatre of Verulamium
St Albans, Herts, Great Britain
Performance 4th August 2022
Runs until 14th August 2022
Directed by Steph Allison and Amy Connery
Presented by OVO
Jo, the second eldest of the March daughters and an aspiring writer, receives yet another rejection from a publisher. Her friend, Professor Bhaer, tells her she can do better by making her stories more personal.
Begrudgingly, Jo weaves the story of how she and her sisters - Meg, the eldest, who's on the brink of love, sweet-natured Beth who always puts others first and Amy, the youngest and most precocious - grew up in America.
Even though money is short, times are tough and their father is away, their infectious sense of fun sweeps everyone up in their adventures - including Laurie, the boy next door. And through sisterly squabbles and tragic losses, the sisters discover that growing up is sometimes very hard to do.
Louisa May Alcott’s timeless and captivating book is brought to life in a brand new adaptation, perfect for all the family. This classic story embodies the complete theatrical experience, guaranteeing laughter, tears and a lifting of the spirit.
Lucy Crick as Meg March
James Douglas as Mr Brooke
Gabriel Fogarty-Graveson as Laurie Laurence
Katie Friedli Walton as Jo March
Anastasia Raymond as Beth March
Boyd Rogers as Mr Laurence / Mr March
Kat-Anne Rogers as Mrs March
Faith Turner as Professor Francis / Aunt March
Jane Withers as Amy March
Steph Allison
Director
Tom Cagnoni
Musical Director
Rúben Carneiro
Stage Manager
Amy Connery
Director
Mattis Larsen
Lighting Designer
Emma Lyth
Costumer Designer
Delga Martineau
Wardrobe Supervisor
Simon Nicholas
Set Designer
Lauren Wedgeworth
Stage Manager
Photograph by Elliott Franks
Rejection of crystal and glass from La Gande Place – Saint-Louis Crystal Museum in France.
© 2015 Schneider Morgane | Setsukoh
Jenna just celebrated her 3rd kidneyversary, but unfortunately is having a rejection episode. She felt ok but it was detected in routine labs. Over the last 4 weeks she was hospitalized several times and received large doses of steroids, ATG and IVIG at Scripps Green. We have a great deal of confidence in their team and just got a call from the doctor. He said that since we didn't see improvement in the kidney function by now, it is unlikely that Jenna would recover any additional function. It means she will eventually need dialysis or a transplant as her function will decline over time, and it is impossible to predict how long it could take. She gave a good fight, going through every treatment recommended to her. She now will be getting more treatments, not to rescue the kidney, but to lower her antibody level so that she can be eligible for another transplant in the future, if possible.
On a positive note, I spoke with her living donor Patrice, who is doing great. She is scheduled to run the Boston Marathon again in April and a tri-athalon in July. I know this news is tough on her too, but she's an amazing support person and we are most grateful for the gift that gave Jenna the best 3 years she's had since being diagnosed at 15 years old.
UPDATE: As of Jan 2014 Jenna's transplant rejected and she is back on dialysis - please see her search for a kidney donor:
Greens/EFA MEPs mark the rejection of ACTA by the European Parliament
After more than two years of campaigning by the Greens, the ACTA agreement was finally rejected by the European Parliament today.
The last few months have seen heavy lobbying by pro-ACTA forces come head to head with grass roots anger at the agreement as more and more information on it became public.
...
Today was a victory for the Citizens of Europe who contacted their MEPs, signed the petitions and marched in the streets.
The Greens/EFA group will continue keep a close eye on developments, keep citizens informed and fight for internet freedom and digital rights.
Find out more about our work on ACTA on our ACTA Diary
www.greens-efa.eu/acta-diary-7326.html
Press Release:
ACTA consigned to history; EU must now start honest debate on IPR protection
www.greens-efa.eu/acta-anti-counterfeiting-agreement-7752... more
CC BY European Union EP 2012Mehr anzeigen
I have no idea whether this is art or crap. P asked me : "Why on earth are you photographing a trash can ?"
But in these rejected flowers I saw a story... or maybe a reflections of the flowees I had rejected in the past...