11 Temmuz 2012 Çarşamba
10 Temmuz 2012 Salı
9 Temmuz 2012 Pazartesi
Day 23 (Thu): Dark side of the Wall
It's great that the bus tours have live commentary but I really wish ours were actually alive. He mumbles quite badly in a monotone voice. He drops in and out of German without a breath so we have trouble understanding when he's speaking English and when he's not. It doesn't have anything to do with Mum talking over him every time he speaks in English, mostly to ask "I can't understand him... is he speaking in English?"
We turn the corner and the bus pulls over at the next unmarked stop. It's a very official bus route. The guide provides some more information about the building alongside us and then takes off again. Lo and behold, immediately as we start moving, he points down the side of the bus at THE WALL! The people in front of us ask if we can get off but the guide says, "that was the stop back there. Ah, ok, you can get off at these traffic lights here." We get off to look at the Berlin Wall. Even if it isn't that great, we'll at least have a different guide on the next bus that we catch.
The next tour bus takes a little while to come around and it gives our heads time to clear. Excellent, we have a different guide! She is alive and is much easier to understand than the previous man, although the speaker volume could be a little higher. We're told when a 'postcard shot' will be coming up and the bus stops to give us time to take the photos. After reaching the end, we're down on the footpath trying to figure out where the train station is. Our guide has grabbed her bicycle and comes up beside us at the traffic lights. We have a great conversation with her and then confess that we can't find the train station. She points us in the right direction. She is so lovely and I really wish I could ask her for a photo with us but I forget to ask. I'm too concerned about getting home. Spew.
Pics of the day
Day 24 (Fri): Welcome to the US of A
We arrive in New York with Customs card filled out and our Visa waiver form (ESTA) that we spent so long completing in Sydney airport. The Immigration officer accepts our passports but doesn't want to see our ESTA forms. We only need to keep them for our own sake. I'd love to say that makes sense. He asks us to scan our right-hand fingertips, then right thumb, then left hand, then left thumb, and then he stamps our passports and returns them. Awesome: another stamp! Considering there was no stamp in Paris, Amsterdam, Copenhagen, or Berlin, it's nice to see a tangible trace of where we've been.
It's an amazing feeling when your shuttle bus makes it over that last crest and New York's eastern skyline makes itself known. It is bold and unashamed and rightly so. Excitement and awe fill the bus. Group by group of passengers, we're dropped off at our locations. We're all around Times Square and there are people everywhere. It is Friday night so everyone is out. The traffic is busy and slow. We're the second last people on the bus to be dropped off and we're so glad because we're incredibly tired now.
The hotel is nice and the people are exceptionally friendly. They're not friendly in an 'I'll be nice to get a tip'-kind of way; they're genuinely friendly. The hotel is in a fantastic location and we each have a queen size bed with a modern fit-out. Best of all: wifi is included. The beds are turned down and we're off to sleep. We're here for six nights so we'll see how the service holds up.
Pics of the day
Day 25 (Sat): Familiarisation by bus
Pics of the day
Day 26 (Sun): Helicopter flight + Central Park
We were supposed to take a look inside Toys'R'Us last night but after dinner we ended up a couple of avenues away from Times Square. We were on our way home so we simply continued. This morning, the first thing we'll do is go to Toys'R'Us! I'd like Mum to see the enormity of how Americans do things. Why have a simple toy shop when you can have one with an internal ferris wheel that scales three to four stories? If you need a gift for a kid, come here to this store. There are grand Lego creations, the very tall animated dinosaur that has been there for years, some life-size Star Wars figures, and some very crafty sales people who are providing intriguing displays of some new toys.
Mum being buckled up in the front seat |
Pics of the day
Day 27 (Mon): Lady in the Harbo[u]r
Our ticket to Statue of Liberty is for 11am so we have a bit of time to kill. We walk down 8th Ave to take a look in some shops. Mum wants to buy some socks. We come across a ridiculously cheap shop that contains everything: Mr Joe. There are watches, luggage, jewellery, mobile phones, jumpers, T-shirts, pants for under $10, sunglasses, perfume, shoes, and socks! I have no idea how they can sell so much crap at such cheap prices. Most of all, I can't believe they can sell so much crap. Mum finds some delightfully sky blue socks with a pretty print and we leave for the ferry.
Mum stands next to an open window on the ferry for fresh air and starts to feel sick before we depart. I buy a fizzy drink and some jubes to help settle her stomach. The ferry reverses and then takes off and I keep an eye on her. It's quite a smooth ride and it's not long before Mum realises that she doesn't feel sick at all. It looks like she has lost her motion sickness problem - yay! A short while later, the boat starts to lean to one side and we see people staring out the window. We add to the leaning and look out the right side windows to see the Statue of Liberty. We're slowly gliding by her to settle alongside the pier. We all stare up at the Lady in the Harbor as we descend almost single-file over the gangway.
Pics of the day
8 Temmuz 2012 Pazar
Broadway's 'Mamma Mia!' tops Concert Association offerings
Mar. 22--"Mamma Mia!," the hit Broadway musical based on songs by ABBA, and a return visit by veteran comedian Bill Cosby highlight the 2010-11 schedule of events to presented by the Anchorage Concert Association.
The list, released Sunday night, also features songstress Suzanne Vega, performance artists Blue Man Group, "Avenue Q," another Broadway musical featuring "Sesame Street" style puppets, comedy improv troupe Chicago City Limits and jazz men Branford Marsalis and Terence Blanchard.
Season ticket packages can be purchased at the ACA office, 430 W. Seventh Ave., Suite 200, or by calling 272-1471 during business hours, 9 a.m. to 5 p.m. Monday through Friday. They will be available for purchase online around April 5. Individual ticket sales will start in the summer.
The 2010-2011 Anchorage Concert Association season:
Bill Cosby, Sept., 18
Chic Gamine, a vocal quartet from Montreal, Sept. 24
Calo Flamenco, Spanish dance, Oct. 1-2
Concertante, classical chamber ensemble, Oct. 9
"Mamma Mia!," Oct. 14-23
Amstel Saxophone Quartet, from Holland, Oct. 29
American Bluegrass Masters, roots music virtuosos, Nov. 6
Alpin Hong, classical pianist, Nov. 12
The Lost Fingers, acoustic gypsy jazz, Nov. 13
"Nutcracker", Tchaikovsky's holiday ballet, Nov. 26-28
Preservation Hall Jazz Band, returning to present "A Creole Christmas," Dec. 4-5
"Avenue Q," musical with wild puppetry, Jan. 21-27
Bill Charlap, jazz pianist, Jan. 29
Suzanne Vega, folk/pop songstress, Feb. 4
Solas, Irish traditional music, Feb. 18
Calder Quartet, adventurous string quartet, March 5
Chicago City Limits, improv comedy, March 11-12
Branford Marsalis and Terence Blanchard, jazz, March 12
Portland Cello Project, progressive cello band, March 19
Acoustic Africa, world music, April 1
PC Bentley, lecturer and award-winning Time photojournalist, April 27
Blue Man Group, May 10-15.
Find Mike Dunham online at adn.com/contact/mdunham or call 257-4332.
Credit: Anchorage Daily News, Alaska
The Dallas Morning News Lawson Taitte column: 'Billy Elliot' to dance his way to Dallas
Mar. 22--Young boys will be donning ballet slippers and flying through the air at the Winspear Opera House next season as Billy Elliot The Musical headlines the 2010-11 Lexus Broadway Season, announced today.
The British extravaganza about a British blue-collar kid who wants to dance cleaned up at last year's Tony Awards, winning in 10 categories. Director Stephen Daldry and writer Lee Hall adapted their film for the stage, and Elton John provided the score.
The four-show subscription series includes two other Broadway musicals new to Dallas, plus the first national tour of the Blue Man Group to play theatrical venues rather than arena, and large music facilities.
Rock of Ages, which has been running on Broadway for a year, uses songs by such 1980s groups as Journey, Styx and Twisted Sister to tell a story about a romance between a small-town girl and a big-city rocker. Young Frankenstein was Mel Brooks' 2007 follow-up to The Producers but only ran for 485 performances on the Great White Way.
For its special, nonsubscription holiday show, the Lexus series will present Dr. Seuss' How the Grinch Stole Christmas! on Dec. 7-12. This musical adaptation was a seasonal hit on Broadway in 2007 and 2008.
It's not really much of a surprise that Billy Elliot will be in the Lexus series at the Winspear rather than the rival Dallas Summer Musicals at Fair Park Music Hall, because one of the Tony-winning boys who play the title role appeared in Winspear's inaugural Broadway gala in October.
The one mystery in both the Lexus and Summer Musicals seasons is why the 2008 Tony winner for best musical, In the Heights, isn't playing either series, although both Houston and Austin will see it next month.
Plan your life: Subscriptions run from $100 to $1,000 and can be purchased at 214-880-0202 or www.attpac.org. Seats for Grinch, currently only available to subscribers, are $30 to $150.Lexus Broadway Series lineup for 2010-11
Mamma mia! Look what's coming to Anchorage stages
Mar. 22--"Mamma Mia!," the hit Broadway musical based on songs by ABBA, and a return visit by veteran comedian Bill Cosby highlight the 2010-11 schedule of events to presented by the Anchorage Concert Association.
The list, released Sunday night, also features songstress Suzanne Vega, performance artists Blue Man Group, "Avenue Q," another Broadway musical featuring "Sesame Street" style puppets, comedy improv troupe Chicago City Limits and jazz men Branford Marsalis and Terence Blanchard.
Season ticket packages can be purchased at the ACA office, 430 W. Seventh Ave., Suite 200, or by calling 272-1471 during business hours, 9 a.m. to 5 p.m. Monday through Friday. They will be available for purchase online around April 5. Individual ticket sales will start in the summer.
The 2010-2011 Anchorage Concert Association season:
Bill Cosby, Sept., 18
Chic Gamine, a vocal quartet from Montreal, Sept. 24
Calo Flamenco, Spanish dance, Oct. 1-2
Concertante, classical chamber ensemble, Oct. 9
"Mamma Mia!," Oct. 14-23
Amstel Saxophone Quartet, from Holland, Oct. 29
American Bluegrass Masters, roots music virtuosos, Nov. 6
Alpin Hong, classical pianist, Nov. 12
The Lost Fingers, acoustic gypsy jazz, Nov. 13
"Nutcracker", Tchaikovsky's holiday ballet, Nov. 26-28
Preservation Hall Jazz Band, returning to present "A Creole Christmas," Dec. 4-5
"Avenue Q," musical with wild puppetry, Jan. 21-27
Bill Charlap, jazz pianist, Jan. 29
Suzanne Vega, folk/pop songstress, Feb. 4
Solas, Irish traditional music, Feb. 18
Calder Quartet, adventurous string quartet, March 5
Chicago City Limits, improv comedy, March 11-12
Branford Marsalis and Terence Blanchard, jazz, March 12
Portland Cello Project, progressive cello band, March 19
Acoustic Africa, world music, April 1
PC Bentley, lecturer and award-winning Time photojournalist, April 27
Blue Man Group, May 10-15.
Find Mike Dunham online at adn.com/contact/mdunham or call 257-4332.
Credit: Anchorage Daily News, Alaska
Blue Man Group denies patron's story of abuse
The Blue Man Group, famous for its actors who don't utter a word, was forced to respond to Srodon's lawsuit, saying it was all just an illusion -- a camera never even entered his throat. In a bit of sleight of hand, as the camera is held near an audience member's mouth, a jumbo video screen switches to a pre-recorded medical video, leading the audience to think it is peering down the individual's throat, the production said.
"We are disappointed that this false claim forces us to reveal the truth behind one of our most popular theatrical devices," Blue Man Productions said in its brief statement.
The producers referred to the comedic bit as the "Esophagus Video" and said it had played out in more than 50,000 performances over the last 15 years.
Srodon's lawyer, Antonio Romanucci, refused to back off the lawsuit's allegations, insisting that while the act might usually be a harmless illusion, it was a "stunt that went too far" for his client.
On Wednesday Srodon, 65, filed the suit in Cook County Circuit Court, seeking unspecified damages for battery, negligence and infliction of emotional stress.
At a news conference Thursday at his lawyer's Loop office, Srodon spoke by telephone from his Los Angeles residence and called the incident a "surprise attack."
On Oct. 8, 2006, Srodon and his 8-year-old grandson were sitting in Row D of the Briar Street Theatre on Chicago's North Side when the room suddenly went dark during the Blue Man Group performance. As two cast members stepped from the stage and entered the audience, he saw one carrying a device with a small light, Srodon said.
One cast member grabbed him from behind and pulled his head back, Srodon said. As his head snapped back, his mouth opened, and the other cast member shoved the camera down his throat, he said.
Srodon said he bit down on the cord holding the camera and slumped in his seat in a bid to escape. But his feet slipped on the floor, still wet from liquids splashed into the audience from earlier during the show. The ordeal was over in less than a minute, he said.
"I was really in a state of shock," Srodon said. "I really actually did not know what had just happened because it was so bizarre."
Srodon said his grandson was visibly shaken, so he later took him to an ice cream shop to calm the boy. There, Srodon said his throat burned as he drank a glass of water.
Srodon said the camera was filthy, covered in "food, liquid and grime," and that he later had his blood tested to ensure he hadn't contracted a disease.
After returning to Los Angeles a few days later, he started to choke and gag as he drove. Doctors determined he had suffered "a traumatic contusion" to the esophagus, his lawyer said.
"It was a very unsettling feeling," Srodon said. "I couldn't eat. I couldn't swallow anything. ... It was just awful."
Srodon's lawyer said he tried unsuccessfully to settle the dispute out of court. Srodon said he decided to file the suit to warn and protect other theatergoers.
But in its statement, Blue Man Group said it was "shocked and surprised" to learn of the lawsuit. The production said it had not yet been served with any legal papers.
Blue Man Group called the "Esophagus Video" a "hilarious and absurd illusion."
"Because the camera never enters the mouth, the execution of this illusion could not possibly put anyone at risk of injury," the statement said.
Relm worth watching: Club hoppin'
But the opening act, Mike Relm, is the rising star to keep an eye on.
When Mike Relm first came to Spokane in 2005, he played The B-Side.
Last year the San Francisco video turntablist came through as the opening act for Blue Man Group.
And on Sunday, Relm and the blue boys are back at the Spokane Arena.
The Blue Man Group are unmistakable, but Relm made popular the DVDJ technology where he manipulates video on the screen by scratching a record, taking the art of deejaying to a whole new level by cleverly juggling "Napoleon Dynamite" and AC/DC, or "Reservoir Dogs" and N.W.A., or "Pee Wee's Big Adventure" and Beastie Boys, or "Office Space" and Jimi Hendrix.
It's the kind of candy for the senses that leaves you anticipating where he's going to go next on two levels -- visually and aurally -- spinning within endless loops of cultural clash.
Since last year's Megastar stint with the blue men, Relm has been making penetrating strikes into the mainstream with his pointed pop-culture precision through mixing music with video.
In addition to his run with Blue Man Group, Relm played high profile gigs at Coachella, Bonnaroo, a San Francisco Giants versus Oakland A's game and the closing ceremonies at the Pan Am Games.
Relm produced remixes for Adult Swim in conjunction with the Aqua Teen Hunger Force movie, scored a short film for the Disney Channel series "Too Many Robots," and created a four-song mega mix for an episode of Nickelodeon's Yo Gabba Gabba.
He's also doing some international TV acting.
When Relm came to The B-Side the cover was, like, $5.
Tickets for Blue Man Group and Mike Relm are $49, and $85, through TicketsWest, www.ticketswest.com, (509) 325-SEAT.
Club hoppin'
- Find out what sort of chaos ensues when Jamie Maker (The Makers, Burns Like Hellfire) unleashes his brand new experimental project on Saturday at Prago, 201 W. Riverside Ave. DJ Orange is also on the bill. There is a suggested donation of $3.
- Idaho all-ages keytar-rock favorite Unison returns on Wednesday at 7 p.m. to Empyrean Coffee House, 154 S. Madison St., with a slew of support for area songwriter-types and friends Austin Davis, Hillary Susz, A Cryptic, Ending and Billy Versus. Cover to be announced.
- Pour Soi is a new-ish band with veteran members, including ex-players in Six State Bender and Chinese Sky Candy. Given that history, it will be worth checking out when Pour Soi plays at The Blvd., 333 W. Spokane Falls Blvd., on Saturday at 9:30 p.m. with locals Level and new headturner Oil of Angels. Cover is $5.
5 Temmuz 2012 Perşembe
Lou Ferrigno gets Envoy Esteem hearing implant
Lou Ferrigno, the actor who played the Hulk on the 1970s TV show "The Incredible Hulk," has begun using an implantable hearing aid from Minnesota's Envoy Medical Corp. Ferrigno, who's had hearing problems since he was young, said last weekend on the finale of Celebrity Apprentice (he was fired in April) that he received the Esteem medical implant, made by White Bear Lake-based Envoy.In fact, this was successfully kept underwraps until Medical Envoy released a press release yesterday, the day after the show that was aired on Sunday, about Lou and his new implant and successful it was that Lou even cried once it was activated.
Profoundly hard of hearing since two years old, Lou Ferrigno revealed last night on The Celebrity Apprentice that he recently underwent a surgical procedure to restore his hearing, with the Esteem® Device, manufactured by Envoy Medical Corporation. The device is a fully implantable prosthetic cochlea stimulator, designed to do just that. It has no microphones or speakers. It is invisible. Except that Lou knows it was implanted, he has no sense of it being in his body. But he can hear. And according to Lou Ferrigno, it "is a miracle." "Lou's dream has always been to hear like everyone else," said Carla, his wife of 32 years, who encouraged Lou to have the procedure. Now, Lou says he has "natural hearing and can hear things he has never heard before or could have ever hoped to hear." Birds chirping, rain on his roof, his alarm clock in the morning (scares the heck out of him, he says laughing) the tiniest sounds of his fingers moving together, the refrigerator's quiet motor, but most importantly, the ability to hear people in everyday conversation, even in a noisy environment, like a restaurant. "Everything is so loud and so clear," says the actor, who is still trying to figure out certain, never before heard sounds. Ferrigno said he "can't wait to get his second ear done,"
The device was implanted by Dr. Michael Murray of San Jose CA, who has performed hundreds of Esteem® procedures and is booked through September. Lou Ferrigno's surgery was performed in Houston, Texas at Envoy Medical's private ("decadent," according to Murray) surgical center. The entire procedure costs approximately $37,000 for the device and the surgery, and according to Ferrigno, "is worth a lot more."Approved in a 15 to 0 unanimous, independent panel vote by the FDA, the Esteem® is indicated for moderate to severe hearing loss, in people with sensorineural hearing loss (about 85% of all hearing loss sufferers). It replaces conventional hearing aids for those who qualify. The Esteem® Device is also approved by the VA (Veterans Administration) for those who qualify and have it prescribed by their VA audiologist and ENT specialist.
The device works by leveraging the natural anatomy of a person's own body. Sound enters the ear naturally. The natural vibrations of the eardrum are sensed and sent to a microprocessor implanted under the skin behind the ear. The vibrations are intensified and sent to the cochlea via the stapes. The tiny remaining hair cells in the cochlea pick up the vibrations and send them to the brain where they are interpreted as sound. The result, according to the successful recipients, including Lou Ferrigno, is beyond anything a hearing aid can offer. Ferrigno is still amazed at how well it works. "No more hearing aids for me," Lou Ferrigno exclaims with a huge smile on his face. Tears fell from his eyes upon activation. Ferrigno, dumbfounded, said "he was advised by his audiologist not to have the procedure." "Go Figure?" said Ferrigno. Lou said he "hasn't felt this good since he won the Mr. Universe competition."This is great for Lou. I'm sure he's happy with it as you can see.....just like Sarah Churman.
The graduating class: You're not special
All of your life growing up you have been coddled and pampered upon. You have been fawned and doted upon by your parents and grandparents. Your Mommy or Daddy, or both, have held you, hugged you, kissed you, fed you breakfast, lunch and dinner, wiped your bottom, trained you, taught you, listened to your complaints, your rants, your rage, your sadness and joys. You've had people who encouraged you, sympathized you, consoled you and encouraged you again umpteen times.
And over the years you had your sports games, your theatrical plays, musical recitals, and the many science fairs. Or you became class president, secretary or treasury and delved into school politics or became the school newspaper editor or reporter. Maybe you were well liked by friends and acquaintances where they would smile at you the moment you step into a classroom or whenever you approach them at a cafeteria table. Or they would take delight with your constant tweets or blogs thinking you're cleaver or funny.
Having said those things just don't get the idea that you're special because you're not. You're not the center of it all. The Earth is not the center of our solar system. Our solar system is not the center of its galaxy. Our galaxy is not the center of our universe. You're one of the many thousands of deaf and hard of hearing people who have graduated at a deaf-run school, a mainstreamed one or a regular school. Some graduated as valedictorians or class presidents, often with honors of some sort with glittering trophies and shiny medals and the many accolades that came with it. Each of you at graduation day all dressed alike. Same diploma or same degree that everybody expect to have in their hands with the only difference being it has your name on it.
Instead of thinking you're special, which is a dangerous thing to do, look for challenges in life. Embrace them. Think of it as if you're on a quest to climb one of the highest mountains because it's there. It beckons you and smirks at you saying, "Try and climb me! I bet you can't!" You climb because it is there. You see it as a challenge. You climb so you can see the world below you and not about whether the world can see you because you're an insignificant speck on that mountain top. No one sees but yourself. You're not special.
There are 6.8 billion people on this planet. Once you understand that then that's when you may finally understand that you're not that special. You are preparing and bracing yourself on what life will ultimately give you. But to be sure, please do whatever you do for no other reason than you love it and believe in its importance. And in the process change our culture so that it rewards genuine passion, genuine hard work and genuine achievement instead of accolades as an appeasement.
Happy belated graduation!
Open Communication and Open Society
There's no big mystery about this when it comes to believing that an open communication regardless of the method used is key to help people with hearing loss feel comfortable and on equitable grounds with the rest of their hearing peers. There are millions of people who feel the same way as I do. There are a variety of niche areas of technologies and services today that provide the advantage to help people with their communication needs and access. Just because deaf and hard of hearing people who know sign language does not mean they will be able to understand completely what was said in an ASL performance any more than deaf and hard of hearing people with their hearing aids and cochlear implants will understand completely what was said in a spoken (speech) theater performance or movie. I am talking about the whole range of population of people with hearing loss in the United States numbering around 36 million people versus a certain but limited number of those who are deaf/hh and fluent in ASL (around 600,000).
Just because deaf and hard of people who are fluent or know sign language does not mean they prefer always a signed performance but also like to attend performances by hearing people such as music (rock, country, etc) band on stage with their lyrics, stage performances and just your everyday movie theater while providing captions. Both communication access using open captioning and sign language interpreters offer the best of both worlds.
Q.What about services for the deaf or those who are hearing disabled? What exactly is open captioning?
A.Open captioning uses a portable LED screen set up orchestra right or left, by the proscenium. It’s rarely on stage because we don’t want to disturb the artistic look of the show. It faces a particular side of the orchestra where we have made tickets available to people with hearing disabilities.
We also offer sign language interpretation, but it is of no help whatsoever to people who are not deaf. Where our department is growing is in providing open captioning because there’s such a demand for it.
Far too many people who don’t hear well are not going to admit it. The benefit of open captioning is that it’s passive assistance. It’s there and you can refer to it or not. You don’t have to identify yourself as having hearing loss. That’s very appealing.
People with hearing loss want to make use of any hearing they have. They will use assisted listening devices in conjunction with the open captioning so they can understand some or most of what is being said.Open captioning should be available to all regardless of the situation. You just never know who in the audience will need one. The same goes for Gallaudet University theater shows such as their recent Hamlet performance that was done in ASL and that all of their performances were voiced under the direction of Dr. Lindsey Snyder. But no open captioning for those who are new or weak on sign language and those who can hear Snyder's voice but would need assist with captioning. An ironic twist and a cruel but blatant discrimination against deaf/hh students and people who are relatively new or weak on sign language. A sign that Gallaudet University continues to be a closed society when it comes to having an open communication policy. One can still be in favor of sign language in an open society that advocates open communication but the converse cannot be true of those who are unwittingly in a closed society.
Each year Gallaudet University host this Jump Start program (formerly known as New Signers Program) to help incoming first year and transfer students improve their sign language skills. For them it is easier to improve on their expressive signing than receptive signing. Just because they attended the Jump Start program does not make them experts on ASL or will be able to understand everything that's being signed on stage for example the recent Hamlet performances in April. Many students are hard of hearing and can hear and understand a person speaking with his/her voice. Each person's receptive skills and understanding of the spoken word varies. Even after the first and second year at Gallaudet University does not mean students receptive skills will guarantee 100% understanding the signing of ASL such as ASL performances on stage. In fact, by not providing open captioning to the audience who fall between understanding some ASL to understanding some of the spoken word at a Hamlet play is violating ADA accommodation and Section 504 law. Students should be encouraged to file grievances for this transgression at Gallaudet University.
According to Section 504, and since Gallaudet University is a recipient of federal financial assistance, a post secondary institution has an obligation under to ensure accessibility to students with disabilities, including those with hearing loss and the need for communication accessibility.II. Scope of Grievance
Any University student who believes that he or she has been subjected to discrimination on the basis of disability or has been denied access or accommodations required by law shall have the right to invoke this Grievance Procedure. In general, this Grievance Procedure is designed to address the following types of concerns:
- Disagreements or denials regarding requested services, accommodations, or modifications to University practices or requirements;
- Alleged inaccessibility of a University program or activity;
- Alleged harassment or discrimination on the basis of a disability; and
- Any other alleged violations of the ADA and/or Section 504.
An important responsibility of the Office for Civil Rights (OCR) is to eliminate discrimination on the basis of disability against students with disabilities. OCR receives numerous complaints and inquiries in the area of elementary and secondary education involving Section 504 of the Rehabilitation Act of 1973, as amended, 29 U.S.C. § 794 (Section 504). Most of these concern identification of students who are protected by Section 504 and the means to obtain an appropriate education for such students.
Section 504 is a federal law designed to protect the rights of individuals with disabilities in programs and activities that receive Federal financial assistance from the U.S. Department of Education (ED). Section 504 provides: "No otherwise qualified individual with a disability in the United States . . . shall, solely by reason of her or his disability, be excluded from the participation in, be denied the benefits of, or be subjected to discrimination under any program or activity receiving Federal financial assistance . . . ."
OCR enforces Section 504 in programs and activities that receive Federal financial assistance from ED. Recipients of this Federal financial assistance include public school districts, institutions of higher education, and other state and local education agencies. The regulations implementing Section 504 in the context of educational institutions appear at 34 C.F.R. Part 104.Services students should be able to request at Gallaudet University:
* American Sign Language Interpreter
* Signed English Interpreter (SEE-Signing Exact English or PSE-Pidgin Sign English)
* FM Systems and Conference Microphones
* Voice interpreter
* CART
* Remote Captioning
* Cued Speech Transiliterator
* I-Communicator
* Typewell/C-Print
* Professional or Volunteer Notetakers
Even though Gallaudet University obviously supports ASL many are calling for the exclusive use of ASL for all or "ASL at all times." That'd be if only the educational institution in question was a private educational institution that receive no federal funding then it wouldn't fall under the rules of Section 504. But since Gallaudet University receive annual federal funding for as long as it has been opened it must abide by Section 504 laws. Section 504 gives the power over to students who may request communication accessibility other than ASL or voice.
Gallaudet University once again violates ADA law and Section 504 for not providing an alternative communication access for their signed ASL performances for students and people who still lack the necessary receptive skills to understand fully the signed ASL performances. Gallaudet University continues to be the living and breathing conundrum for deaf/hh students new to the world of sign language and they are unable to even enjoy and understand signed performances. Gallaudet University was willing to provide voiced support of their recent signed Hamlet performances but was unwilling to provide open captioning to those who are weak in signing and understanding the spoken words. But the irony is that Gallaudet University put up a Hamlet play when a cruel twist of fate usually happens in a Shakespeare play and this cruel twist of fate is the continued ignorance of deaf/hh students who are new or are in the middle of such worlds.
"This above all: to thine own self be true,
And it must follow, as the night the day,
Thou canst not then be false to any man."
- William Shakespeare, Hamlet, 1.3
Visual Communication
Many SEE kids who are now adults show their gratefulness for their parents' contribution on establishing a visual communication effort with them. It could've been a lot worse. It could've been no signing at all. Although I noticed some adults who grew up with SEE developed a certain disdain towards their own upbringing by their parents on the SEE usage simply because their parents didn't use ASL in the first place. How droll. How about at least show some kind of gratitude instead of being a snotty person about the whole affair and stop with this misguided anger towards parents for providing SEE instead of ASL? Signing in SEE became a familiar affair for those growing up with English visual language and because of that it helped those make the transition over from SEE to PSE or to ASL in a much more familiar environment as opposed to deaf/hh people who have never signed in SEE, PSE or ASL at all.
Be thankful you were exposed very early to SEE which is visual form of the English language rather than having no visual language at all.
Just ...... stop whining about SEE.
Combat with Grizzly Bear

Born May 1, 1860 Douglas Tilden lost his hearing at the age of 4 due to Scarlet Fever. Two years later his parents enrolled Douglas at the California School for the Deaf at UC Berkeley. He became an honor student and graduated from the school in 1879 at the age of 19. He soon accepted a teaching position CSD where he stayed there for eight years. It was during the summer vacations his artistic talents began to flourish.
Summer vacations were spent studying drawing and painting. In the summer of 1883, he discovered the joys of sculpture. He returned to teaching in the fall but continued making models in his leisure time. He dreamed of studying in Paris, then the mecca of most would-be sculptors. His clay model Tired Wrestler, a young, athletic, male nude figure, impressed the Board of Trustees of the California School for the Deaf enough that they gave him a loan of five hundred dollars for study in New York. In 1887, he resigned his teaching post and left California.
Thanks to a grant of $600 per year from the Durham Fund, administered by the California School for the Deaf, Douglas embarked for Paris in May 1888. After visiting the Salon des Artistes Français on the Champs-Elysees, he went to work on the Baseball Player. With his unorthodox, purely American motifs, Tilden was the first California-born sculptor to win recognition outside of the U.S. by being accepted in the Paris Salon in 1889, then again in 1890, 1891, 1892, and 1894.And thus Douglas began his career as an internationally known sculptor.
But another battle is brewing at CSD and that is the effort to get rid of "The Bear Hunt" sculpture on the CSD campus grounds stating that the statue is racist in nature "racist imagery" according to the latest online petition that began on June 28, 2012 calling for the removal of Tilden's statue:
We feel that while Tilden is indeed a respected Deaf artist in our community, he remains a white male from the 19th century and the sculpture still represents generations of dehumanizing violence towards Native American communities. Such depictions have no place at a school, particularly if a school aims to uphold principles of racial and ethnic justice.The petition failed to explain exactly how or why the statue is racist other than explaining that the sculptor is a white male who sculpted a statue depicting an ultimate battle and will to live between two Indians and a mother grizzly bear while trying to protect her two cubs . Exactly how does the statue dehumanizes violence towards Native American communities? It doesn't. It's about survival. Douglas Tilden explains about his "The Bear Hunt" statue:
Though “The Bear Hunt” has stood at the front of campus for years, this “branding” situation served as an opportunity for us activists to challenge our social consciousness in how we have perceived and now perceive this statue. How long has the statue stood in front of campus without being challenged? How long have some individuals’ misgivings about the statue were ignored? We are working on collaborating with Native American Deaf and Deaf People of Color organizations on this issue in order to mobilize community dialogue regarding the statue.
In 1892, Tilden finished a huge monument, the Bear Hunt. He wrote, “My Indian and bear present a full front, both in so full a vigor that who wins must forever be a question in the spectator’s mind.” The Bear Hunt arrived at the California School for the Deaf in Berkeley in 1895 after being exhibited for several months at the Art Institute in Chicago. Both the school and the Bear Hunt are now located in Fremont.In other words, while looking at the statue of a battle between beast and man makes you wonder, who will win the battle? The Indians or the mother grizzly bear? What is the story behind the fight for survival? Did the Indians accidentally come across the mother Grizzly bear? Or got too close in the bear hunt? However, there is nothing racist about the "The Bear Hunt" sculpture showing two Indians battling to survive a mother grizzly attack while trying to protect her two young cubs. Hunting for bears was common. Indians hunted grizzly bears for food and other materials but at the same time they were revered and respected their fearsome strength, independence and power to the status of being a "spiritual god."
Many Indians feared the grizzly bear but still they hunted the large bears for food, clothing, and even jewelry. Claws were made into necklaces and often worn hanging from their waistband. Because of the Indians' beliefs that the bear had some spiritual power, wearing a bear claw necklace would mean protection and good health to the Indian wearing it.Shortly after the petition to have the statue removed (only 53 signatures so far) another petition came up to counter the petition for removal in the effort to keep the statue on the campus grounds of CSD.
Today Indians still wear necklaces of grizzly bear claws but only a few are preserved from the 1800s in museums. One famous bear claw necklace can be viewed at the Peabody Museum at Harvard. Since bear claws were objects that Indians treasured, very few were obtained outside of the Indian tribes.
CAD Bay Area Chapter president, David Prince, speaking...I disagree with DYUSA Bay Area Chapter to remove the Bear Hunt Statue (BHS) off the campus of the California School for the Deaf. The Bear Hunt statue is not a racist; it illustrates us to understand the visual history how the Indians fought against the nature. It demonstrates the visual education to everyone how it looks like in their time of struggle. It was like a battle in nature, Human versus Bear.So far there are 357 signatures to keep the statue vs 53 signatures to get rid of it. A strong sign that common sense is prevailing. I see no "racist imagery" in that statue other than a battle of survival between man and nature. Violence is part of the game of survival in nature. This is all about using emotional gimmickry to play the Deaf political correctness game based on some vague and obscure reasonings.
What is palpably ironic, at least to me, is that Douglas Tilden's own statue work is facing the possibility of being rejected by the students of CSD and perhaps the school itself. The irony comes from the fact that he worked at the CSD for several years as a deaf teacher and later on in his life tried to go back to CSD to work as a teacher again but only to be rejected because at the time CSD stopped hiring and employing deaf teachers. Douglas Tilden is turning over in his grave seeing that his own work is once again facing rejection. This Deaf political correctness has simply run amok with no clear thinking whatsoever using false emotional appeal.
4 Temmuz 2012 Çarşamba
Thursday: THE GAME + HAUNTED HOUSE
In the afternoon we went to a Haunted House in Indiana. Every Argentinian and its host went. When we entered it was already night and before we did that the people that worked there warned us that the walk would last 30 minutes. I entered with Valen, Chebo, Nico L. and most of the girl hosts. When it ended it didn't look so scary but during the 30 minutes you are inside they look as the scariest, creepiest, weirdest, longest and want them to end, minutes in your life so you must imagine how it is look like. They recreated all the horror sceneries you might imagine so think how scared you might be when creepy, scary dudes came up and scare you, as a psyco killer or a crazy, maniac clown tries to catch you.
In the end, I had fun when I remember everything in the day but it wasn't so good when you were there jaja.
Friday: Shedd Aquarium, Failed Planetarium & Football Match
After ending the visit to the Aquarium, we walked to the Planetarium but when we got there we were told that it had closed half an hour ago so we had to stay outside until the School Bus came (what a good way of spending your time!!! :D ). Although, we hadn't anything to do, we entertained ourselves listening to good music and admiring how awesome Chicago is (I've got some excellent pictures). Also, I dedicated myself to scratch people taking them awkward photos but those ones you'll never see them 'cause they are pretty embarrasing jajajajajaja.
At night, we went to the Football match which was extremely fun not because of the match itself (Marist lost) but for the things the fans do during this time (we should take some of these songs or whatever they are to Argentina). First, the 'I believe that we will win' song, then the 'oh ohoh oh oh oooohhh oh jump' one and at last the 'Go Bananas' one, made us all jump and jump all night long so it was a really, really fun game.
Summing up, as I started this entry, this day was AWESOME. I'll attach some pictures of today.







