#Today there’s a demand for well-dying programs.

[easykorean]

Easy to Learn Korean 1757 - End of life care (part one).

Continue reading Easy to Learn Korean 1757 – End of life care (part one).

[itsa-me-lily]

God I love this au, it's feeding me so good today. The last one with the part about only one bedroom has me thinking about a sick reader, the gross kind of sick where you're sweaty and wheezy and snotty, and the fact that if it were anyone else Simon would be quarantining them. But because it's his spouse, he wakes up to you nasally wheezing and mouth breathing while sprawled across him, and all he can think about is when you're due for your next round of medicine and if he needs to buy more tissues.

Sometimes love comes coated in mucus, and is reciprocated with an artificial cherry taste. Also do the guinea pigs have names and what do they look like?

I'm dying. This is the first ever ask I've ever gotten (that I recall) and I'm going to pass away. Also "sometimes love comes coated in mucus, and is reciprocated with an artificial cherry taste" that is such a good line, I'm apologizing in advance if I steal it.

Also warning for content of being sick, this is based off my last bout of plague.

Also Also Here's the Simon & Thimble playlist

Also Also Also Here's the Military Program Spouse AU masterlist

Bedsharing in general does not happen at first. (Now I want to percolate an idea about sharing the bed for the first time). You're way to use to having your own bed that sharing with someone means you're not sleeping easily and I think Simon would rather sleep with the guinea pigs in their cage than have another human being that close to him when he sleeps. (This was also not something he initially thought about when being told a spouse was to be picked)

So what's the solution? Obviously bunk beds! Kind of, sorta...okay not really but the look on Simon's face when you had suggested getting bunk beds had been entertaining. Who knew so much indignation could come through a medical mask. Really his eyebrows did so much talking.

With the dream of bunkbeds dashed, the next best solution was either two twin beds crammed into the bedroom with a bedside's worth of space between them, or a pull out couch. You managed to find a couch same day that didn't terribly clash with the artwork you have yet to hang up.

You two actually manage to come up with a schedule for who slept where. Obviously you'd get the bed when Simon was deployed, made no sense for you not to. And when he was home the bed was all his unless he was having a night that he knew he wasn't going to trust a deadbolt to keep monsters at bay. Then he made himself comfortable, TV playing low until he managed a few hours in the early morning before you try to leave a silently as you can for work.

(Funny thing, even if you aren't sharing a bed traditionally, you both most certainly have your own sides, along with bed stands that told two different stories)

The first time you get sick is when Simon is technically deployed. Well actually, the day he returns is the day you spike a 101.8 fever and work forces you to go home so you don't become a walking petri dish and expose the college kids that come into your office.

Once you're home you appease the little beasts demanding some sort of vegetal boon, change into the rattiest clothes you have, and then huddle under a staggering amount of blankets that have made their home on your bed. (Simon may have side eyed them when you first set them out, but you've seen the mountain he creates under them, you knew the magic of weighted blankets)

Sleep isn't peaceful, you hadn't broken out the Nyquil quite yet, but you do manage to drift off for a few hours. And then the coughing starts. It's the kind that's a bitch to deal with, dry and pushing your ribs to the limit with how often they can expand and contract. By the time Simon comes home you've steamed yourself twice, taken only a smidge over the recommended amount of cough suppressant, and slathered yourself with Vic's Vaporub. All in all, you were properly miserable.

You're in the kitchen, staring into the abyss of your over-steeping tea as if it will magically make you feel better if you only sell your soul to it, really a tempting offer, when the wheeks of the pigs announce that another person they know has arrived.

If Simon wasn't clued in that something was off at seeing you home before the end of your work day, the pungent smell of menthol would have been a dead give away. You're still communing with your tea when he knocks against the wall, pulling you out of the deal for your soul to meet him with bleary eyes and a flushed face.

You croak out a greeting that makes Simon wince in sympathy, though that's about all he really does. Simon doesn't really do pleasantries and doting probably wouldn't be the first word people use to describe him, so with your brain function reduced by an overflow of mucus and fever, the kitchen was rather silent.

Until you started coughing, face buried into the crook of your elbow to try to keep your contagion to a minimum and back bowing to nearly double you over. That drives Simon to action, coming to try to keep you up incase you collapse, grabbing your free arm.

When you feel him touch you, you try to pull away, shaking your head and finally finishing your bout, gasping a little as you try to daunting task of breathing and speaking to dissuade him from getting close lest he catches what you have. He clearly wasn't persuaded, hands clenching and unclenching like he simply wanted to pick you up and put you...somewhere.

How exactly Simon Riley would take care of you, he didn't know but he'd be damned sure to at least try. He'd been left to fend for himself while sick before and he didn't like the idea of you going through that. When it was clear that he wasn't going to just leave you to your suffering you relented enough to try to reach a compromise; if he'd be alright watching the pigs while you were sick that would be more useful than a nursemaid while you camped out on the couch.

That...that was something Simon could do. He'd watched how you took care of the boys, surely this was something he could do. And then his brain caught up to the rest of what you had said. There was no way he was going to let you sleep on some pull out couch, as nice as it was. Being Sick meant sleeping in a proper bed, on a mattress that didn't spend it's days folded up.

You tried to insist it was alright but he wouldn't listen to a word of it. Instead he practically herded you back to the bedroom, ignoring your murmurs of your abandoned hot beverage. He didn't lift you to plop you onto the bed itself but it was a near thing. He had to bribe you with the promise of a proper cup of tea for you to even lay your head on your pillow, eyes already heavy with the need for sleep. By the time he had actually made a cup you were out for the count, nasally mucus filled snores letting him know you hadn't perished in the time it took him.

The next few days were filled with mucus, the attempted escape of your lungs via coughing fits, and more Vics than the human body should be exposed to. And the entire time you insisted that you could fend for yourself. Simon didn't push to play nurse, but your tissues never ran out, a dose of medication was always ready on your bedside, and a warm cup of tea stood waiting for you after each nap, like a solider committed to his guard.

Edit;

I'm going to make a separate post for the guinea pigs, because honestly I'm torn on if they're based on my guinea pigs I used to have, or guinea pigs I'd want to have in the future

[opencommunion]

"The suit describes how incarcerated Alabamians are forced to work for free in prison and paid extremely low wages to work for hundreds of private employers — including meatpacking plants and fast-food franchises like McDonald’s — as well as more than 100 city, county and state agencies. And it alleges that the state keeps the scheme going by systematically denying parole to those eligible to work outside jobs. ... In the case of the government officials, they’re also accused of conspiring to increase the size of the Alabama prison population — which is predominantly Black — through the discriminatory denial of parole so the state can continue profiting from forced labor. '[Prisoners] have been entrapped in a system of ​‘convict leasing’ in which incarcerated people are forced to work, often for little or no money, for the benefit of the numerous government entities and private businesses that ​‘employ’ them,' the suit charges. In Alabama, that charge comes with ugly historical baggage. Convict leasing — a practice of forced penal labor prevalent in the post-Emancipation South (in which incarcerated men were ​'leased' to private employers) — was a massive state revenue driver. Thanks to the Black Codes, a racist program to criminalize petty offenses both real and imagined, Black people were locked up at a massively disproportionate rate to their white neighbors. Many were then sent to work on plantations to fill the labor gap left by Emancipation. ... Convict leasing was formally abolished in Alabama in 1928, but prison labor has remained a significant source of income for the state. ... According to the lawsuit, Alabama reaped a $450 million benefit from forced prison labor in 2023 alone. ... Lakiera Walker worked for Jefferson County doing roadwork for approximately two years and was paid a $2 daily wage to handle large trash removal (including a Jacuzzi). She found out that the non-incarcerated workers on her team were making $10 per hour for the same job. One day, the lawsuit alleges, Walker’s boss attempted to coerce her into unwanted sexual activity; when she refused, he wrote her up on a disciplinary offense for ​'refusing to work.' She was then sent to work unpaid in the prison’s kitchen, and when her family called the commissioner and the warden to demand something be done, no action was taken. ... During Walker’s 15-year incarceration, she held a litany of unpaid jobs throughout the prison itself, too, including in the kitchen, housekeeping and healthcare. She even provided hospice care to dying patients. ​'The nurses really weren’t interested in taking care of sickly or terminally ill people, so they would get the inmates to do it,' Walker says. She says she was regularly required to work seven days a week, and she often had to work two shifts a day. None of these prison jobs were paid, and quitting or refusing work was not a viable option. ​'You can’t say, ​‘Hey, I can’t go to work today,’' Walker explains. ​'You would go to segregation, which was solitary confinement. … People were so tired and just hopeless at that point, they would kind of welcome solitary confinement, just to have a break.'

... Walker did finally make it home after all those years of forced labor, but many others are still trapped in the system. ... By 2022, the parole rate was 11% overall and only 7% for Black prisoners — meaning that 93% of parole-requesting Black prisoners were denied. That’s what happened to Alimireo English, a charismatic 48-year-old Black man who, according to a judge, should not be in prison right now. ... But instead of being back home with his family, at church with his faith community, or visiting his eldest son in New York, English is at the Ventress Correctional Facility in Clayton, Ala. His case did not come before the parole board until November 28, 2023, more than two years after he’d already been acquitted, but he was denied anyway. His next parole date is November 2024. 'They gotta keep me for another year until they can find somebody else on the street that they can pull back in and take my place,' English tells me. ​'If they can’t replace you, they don’t let you go.'

... English works as a dorm representative for the facility’s Faith Dorm, where he is on call 24 hours a day, seven days per week. He is responsible for the safety and well-being of 190 incarcerated men, many of them elderly or medically vulnerable. He handles custodial duties and maintenance, screens dorm visitors and is also the first responder for drug and health emergencies. In his scant free time, he runs a therapy and counseling group for his fellow prisoners. He consistently works 12 to 15 hour days and, for most of the week, he is the sole individual in charge of the dorm; a retired prison chaplain comes in to assist him a few times weekly, but otherwise English is not supervised by any corrections personnel. As the lawsuit highlights, ​'Since Mr. English has been in this position, the Faith Dorm has had no fights, deaths, or overdoses.' The plaintiffs’ legal team estimates that ADOC saves roughly $200,000 a year by not having a corrections officer in that one dorm. Meanwhile, English is paid nothing. ​'The inmates basically run the prison, but the officers are getting compensated for it,' English says. ​'The wages the inmates are paid for their work hasn’t changed since 1927.'

Several of the plaintiffs I spoke to also mentioned ​'institutional need,' a specific designation that plaintiffs have reported is added to certain prisoners’ files to signify their utility to their current facility. According to Walker and her lawyer, institutional need is yet another trick used by the ADOC to keep especially useful incarcerated workers from leaving, so the state can continue benefiting from that person’s skills. ... 'Most people, it stops them from going home or making parole because it says that we need you more in prison than the world needs you in society,' Walker explains. ​'This lady, her name is Lisa Smith, she’s been in prison about 30 years, and every time she comes up for parole, regardless of her crime, she’s an institutional need. She can fix anything in the prison — she can probably build a prison — but she’s not getting paid. Sometimes they won’t even call in a free world contractor because she knows what to do. It’s looking bleak that she will ever make it out of prison, because they need her there.'

... Because of a 1977 Supreme Court decision, incarcerated workers in the United States — including those in ADOC’s work release program — are legally prohibited from unionizing. The Supreme Court decision barring incarcerated workers from unionizing has not stopped organizations like the Industrial Workers of the World’s Incarcerated Workers Organizing Committee, Jailhouse Lawyers Speak and the Free Alabama Movement (FAM) from organizing labor actions, strikes and protests against prison slavery, or individual prisoners from finding their own ways to dissent. ... One of the founders of FAM, Kinetik Justice, is a plaintiff in the Alabama lawsuit. He has helped organize and lead several high-profile nationwide prison strikes since 2016. He’s been in ADOC custody for the past 29 years, and he has been repeatedly punished, harassed and tortured for his work organizing against forced labor. According to The Appeal, he spent 54 months in solitary confinement between 2014 and 2018 and has been repeatedly sent back into the hole. As he told Democracy Now! in 2016, ​'We understood our incarceration was pretty much about our labor and the money that was being generated from the prison system, therefore we began organizing around our labor and used it as a means and a method to bring about reform in the Alabama prison system.' He is no stranger to filing lawsuits on his own and his fellow prisoners’ behalf against ADOC, so it is fitting that this landmark class action suit bears his name."

[mariacallous]

Broadcast TV seems a little screwed. Viewership has been on a steady decline for the past two decades. More and more people get their entertainment and their news online. The biggest shows are coming to streaming first, and broadcast’s biggest shows are losing their big-name hosts. Naturally ad revenue is on a steady decline as well. Even Trump and his choice for Federal Communications Commission chair, Brendan Carr, are rattling their sabers and threatening to pull the broadcast licenses of networks that run programs or news stories the White House doesn’t like.

It can feel like broadcast television will be gone tomorrow, and with it one of the only totally free sources of news and entertainment.

That’s what’s so crucial about broadcast TV. While it does require a television and a digital tuner to watch, there’s no monthly fee for internet or service, and unlike YouTube or Instagram, no company is collecting enormous amounts of data on you to sell to advertisers. It’s a completely passive experience. The stations air sports and news and entertainment, and you can tune in or not. And people are not tuning in.

“Our expectation is it’s going to decline,” says Rose Oberman, media and entertainment director at S&P Global Ratings, though she noted that decline would happen over years, not months, and likened TV’s slide to what’s happened to radio over the past couple of decades. There’s no sudden collapse in broadcast TV’s future, just a steady chipping away as audiences move from paying for cable to paying for streaming.

Take sports as an example. Events like the Olympics and the Super Bowl were once reliable audience drivers, but in 2024 the Super Bowl streamed on Paramount Plus. The experience was buggy and stuttering, but Paramount Plus still garnered 3.4 million more subscribers than it had before the game. The Olympics, which were simulcast on Peacock, experienced even more online success. People liked that they could just watch the events they wanted on demand and skip anything they didn’t.

Then, at Christmas, sports streaming experienced its biggest event to date when Netflix successfully streamed two NFL games (and a flashy Beyoncé-starring half-time show). Nary a complaint of stuttering in sight. Afterward, Netflix claimed they were the most streamed games in NFL history.

Streaming’s big sports win won’t immediately snuff out sports on broadcast TV—there are contracts in place keeping live games on the air. Yet as those contracts come up for renewal, leagues may opt to take their games elsewhere, particularly as broadcast becomes less profitable and viewers switch to streaming. Right now the networks spend billions to air NFL games, but companies like Netflix and Amazon have deeper pockets, and they’ve shown they have no problem paying big money to snatch rights out from under legacy media networks. Amazon agreed to pay $1 billion a year to secure the rights to NFL Thursday Night Football back in 2021. Fox was previously paying about $660 million annually for those games.

The belt-tightening has already hit another big money driver of network TV: the morning show. In early January, Hoda Kotb left the Today show after 17 years. The broadcast journalist was reportedly making more than $20 million a year as a host, and NBC just didn’t want to keep paying that. That’s also why the network axed the band on Late Night With Seth Meyers and dropped the number of weekly episodes of The Tonight Show With Jimmy Fallon from five to four. They’re all signs of what Variety called “TV’s new austerity push.”

“We do have audiences going to different places to watch their programming,” one agent told Variety. “A number of these entities are seeing their revenues decline. That’s just a fact of life.”

But with broadcast TV’s audience now fractured across streaming, cable, and social media, why is Donald Trump threatening its existence? “This is a political cudgel being used against national news networks,” says David Greene, civil liberties director at the Electronic Frontier Foundation. Greene noted that Trump’s ire was focused more on national news outlets than the local stations that actually possess the broadcast licenses.

Some networks do own local stations. Paramount, which also produces CBS’s 60 Minutes, owns a handful, and was even exploring selling 12 of them back in August before Trump lobbed his latest threats toward the network. But when I asked Oberman about those threats, she said she hadn’t “really heard it was an area of concern” for the industry. “If anything the incoming administration is more pro-friendly to the broadcasters.”

Perry Sook, the CEO of Nexstar, the largest television station owner in the US, is hopeful that the new administration will remove rules capping the number of local stations a company can own. On a November 2024 earnings call, Sook clearly stated what kind of journalism he’d like to see on those stations. “[I]t seems as though there may be a kinder, gentler consensus emerging, that maybe fact-based journalism will come back into vogue, as well as eliminating the level of activist journalism out there,” he said on the call.

Sinclair, the second largest owner of TV stations in the US, is also eager for more consolidation, and has gained a reputation for directing its local stations to cover the news with a POV more in line with Sinclair’s own conservative political leanings. Sinclair was the subject of a 2018 viral video that showed dozens of newscasters from across the US reading the exact same script criticizing the media that repeated common conservative talking points.

But the Trump administration and the big owners of broadcast licenses aren’t just friendly because of their shared political leanings. According to Orman, local stations also tend to have better reach when it comes to political advertising. “Digital doesn’t seem to be giving political advertisers the return they’re expecting, and TV still seems to give that,” Orman told Ad Exchanger late last year. Broadcast TV actually saw its ad revenue increase by 9 percent in 2024, an uptick due entirely to increased spending on political ads during the major election cycle.

With the election in the rearview, that ad money is drying up. And with viewership fading and streaming outspending the networks hand over fist, one of the world’s oldest media institutions has its back against the wall. Even if the incoming administration fails to make good on its promise to punish media outlets that run stories it finds offensive, broadcast TV is entering a period of existential uncertainty.

“Broadcast is so vulnerable right now,” says the EFF’s Greene, “any threat against it seems to be a danger.”

[planetofinfo]

What to Expect in Your First Year of a BBA Marketing at Ajeenkya DY Patil University

Starting a Bachelor of Business Administration (BBA) in Marketing is a pivotal step toward building a career in one of the most dynamic and innovative fields of business today. At Ajeenkya DY Patil University (ADYPU), the first year of the Marketing program is designed to provide a solid foundation in marketing, focusing on practical skills, industry relevance, and modern trends like digital marketing and data analytics.

This article explores what your first year at ADYPU will look like, highlighting the subjects, unique teaching approaches, and how the program prepares you for the challenges of the business world.

A Curriculum Built for the Future of Marketing

Marketing is no longer confined to traditional media and sales tactics. Today’s businesses thrive on consumer insights, digital advertising, and innovative storytelling. ADYPU’s BBA Marketing program reflects this shift by combining foundational knowledge with contemporary trends, ensuring students are prepared to meet industry demands.

Core Subjects You’ll Study

In the first year, the program emphasizes foundational concepts, ensuring you have a thorough understanding of the basics:

Principles of Marketing: This course introduces you to essential marketing concepts like consumer behavior, market segmentation, and branding. These principles are the building blocks for advanced marketing strategies.

Micro and Macro Economics: Economics plays a significant role in marketing decisions. You’ll learn how market forces, economic policies, and consumer trends influence marketing strategies.

Business Communication: Clear and impactful communication is critical in marketing. This subject focuses on refining your verbal, written, and presentation skills to help you articulate ideas effectively.

These core subjects ensure you have a strong academic foundation to build upon in subsequent years.

Digital Marketing: A Key Focus Area

With digital marketing projected to exceed $800 billion globally by 2026 (Statista, 2024), understanding this domain is crucial. ADYPU integrates digital marketing into the curriculum from the start, ensuring students are well-versed in the tools and techniques shaping modern business.

What You’ll Learn in Digital Marketing

Search Engine Optimization (SEO): Learn how to optimize content and websites for better visibility on search engines.

Social Media Strategy: Gain insights into managing campaigns on platforms like Instagram, LinkedIn, and YouTube.

Content Marketing: Understand the role of storytelling and value-driven content in building brand loyalty.

These skills are invaluable, as businesses increasingly prioritize personalized marketing strategies. A recent study by HubSpot (2024) revealed that 53% of marketing decisions are now data-driven, emphasizing the importance of analytical and digital expertise.

Practical Learning Experiences

One of the standout features of ADYPU’s BBA Marketing program is its emphasis on experiential learning. From the first year, you’ll work on real-world projects and case studies that bring classroom concepts to life.

Key Highlights of Practical Learning

Live Marketing Projects: Collaborate with local businesses to create and execute marketing campaigns, gaining hands-on experience.

Workshops with Industry Experts: Engage in sessions led by professionals from companies specializing in advertising, digital marketing, and branding.

Data Analytics for Marketing: Learn to analyze campaign performance using tools like Google Analytics and Tableau, ensuring you can translate data into actionable insights.

Global Perspectives and Industry Connections

Marketing is a global field, and ADYPU prepares you to operate in an international context. The university’s partnerships with industry leaders and exposure to global trends ensure students are ready to compete on a broader stage.

International Insights

Marketing strategies now heavily rely on global data trends. For example, mobile advertising is projected to exceed $300 billion globally by 2024 (Statista, 2023). Understanding these shifts is integral to success.

The program also introduces students to emerging areas like mobile optimization, with 67% of mobile users more likely to purchase from mobile-friendly sites (WebFX, 2023).

By understanding these trends, students can identify opportunities and craft strategies that align with international best practices.

Emerging Areas in Marketing You’ll Explore

ADYPU ensures students are exposed to the latest trends shaping the marketing landscape. In your first year, you’ll delve into areas such as:

AI-Driven Personalization: Learn how artificial intelligence is used to create tailored marketing experiences. By 2025, AI-powered tools will dominate customer engagement strategies.

Augmented Reality (AR) in Advertising: Explore how AR is being used to create interactive campaigns. With 49% of marketers planning to increase their AR investments by 2024 (HubSpot, 2024), this technology is set to redefine consumer engagement.

Video Marketing: Understand the rising influence of video, projected to account for $191 billion in ad spending by 2024 (Statista, 2024). Learn to create and analyze video content to optimize its impact.

A Supportive Learning Environment

Your first year at ADYPU is not just about academics; it’s also about building a network and developing soft skills. The university’s inclusive and collaborative environment encourages teamwork, critical thinking, and creative problem-solving.

What Sets ADYPU Apart?

Experienced Faculty: Learn from industry veterans and academic experts who bring a mix of theoretical knowledge and practical insights to the classroom.

Peer Learning Opportunities: Collaborate with classmates from diverse backgrounds, fostering a rich exchange of ideas and perspectives.

Modern Infrastructure: Access state-of-the-art facilities, including tech-enabled classrooms, labs, and marketing software, to enhance your learning experience.

Career Prospects After Year One

Even in the first year, students gain skills that make them stand out in internships and part-time roles. With a focus on data-driven marketing and digital strategies, you’ll be prepared to contribute meaningfully to organizations from the start.

Why Marketing Graduates Are in Demand

Businesses that adopt data-driven strategies are 51% more likely to achieve their revenue goals (LinkedIn, 2023).

The global e-commerce sector continues to grow, with projected ad spending of over $15 billion on programmatic display ads by 2026 (Insider Intelligence, 2023).

Graduates with expertise in digital marketing, analytics, and global trends are highly sought after, and ADYPU ensures you’re equipped to meet this demand.

 

Conclusion

The first year of a BBA Marketing program at Ajeenkya DY Patil University is more than just an introduction to business—it’s a launchpad for a successful career in marketing. With a curriculum focused on digital trends, hands-on learning, and global perspectives, ADYPU ensures students are not only prepared for the future of business but are ready to lead it.

As you embark on this journey, you’ll develop the skills, confidence, and knowledge needed to thrive in one of the most exciting and fast-paced industries. For students passionate about marketing, the opportunities at ADYPU are endless—and the journey begins in year one.

Visit: https://som.adypu.edu.in/postgraduate-programs

[dy-patil-university-navi-mumbai]

Unlock Your Potential With A BSc In Forensic Science

For students fascinated by the intersection of science, law and investigation, pursuing a BSc in Forensic Science is an ideal pathway. This undergraduate program combines diverse scientific disciplines, including biology, chemistry and criminology, to equip students with the skills to analyze evidence and solve crimes. As the demand for forensic experts grows, it is essential to choose a reputable institution to gain a competitive edge in this dynamic field.

Why Consider Forensic Science Undergraduate Programs?

Forensic Science Undergraduate Programs are designed to provide foundational knowledge and hands-on experience in criminal investigations and laboratory techniques. These programs prepare students for roles in law enforcement, crime laboratories and even private investigation firms.

Key components of a forensic science curriculum include:

Crime Scene Investigation: Learning how to collect and preserve evidence.

Laboratory Techniques: Mastering the use of sophisticated tools to analyze physical evidence.

Legal Framework: Understanding the role of forensic science in legal proceedings.

Graduates of forensic science programs are not limited to crime-solving careers. The analytical and technical skills gained can also open doors to roles in biotechnology, pharmaceuticals and academic research.

Choosing The Right BSc In Forensic Science Colleges

When evaluating BSc in Forensic Science Colleges, it’s important to consider factors such as faculty expertise, laboratory facilities and internship opportunities. Institutions that emphasize practical training and industry collaboration tend to provide a better learning experience.

Accreditation and placement records are also critical indicators of a college’s quality.

Top forensic science colleges often offer:

Advanced forensic laboratories for hands-on training.

Industry partnerships for internships and real-world exposure.

Research opportunities to foster innovation in forensic techniques.

Career Opportunities After Forensic Science Undergraduate Programs

The field of forensic science offers a wide range of career opportunities, including:

Forensic Analyst: Working in crime laboratories to analyze evidence.

Crime Scene Investigator: Collecting and documenting evidence from crime scenes.

Forensic Toxicologist: Studying the effects of drugs and toxins in legal cases.

Academic Researcher: Conducting research to advance forensic methodologies.

With the increasing reliance on scientific evidence in the justice system, professionals with expertise in forensic science are in high demand globally.

DYPU Navi Mumbai: A Premier Institution For Forensic Science

Among the leading BSc in Forensic Science Colleges, DY Patil University (DYPU) in Navi Mumbai stands out for its commitment to academic excellence and practical training. The university offers a comprehensive Forensic Science Undergraduate Program that combines theoretical knowledge with extensive hands-on experience.

DYPU’s state-of-the-art laboratories and experienced faculty ensure students are well-prepared for real-world challenges. The university also fosters industry collaborations, providing students with internship opportunities and exposure to cutting-edge forensic techniques. With a focus on holistic development, DYPU equips graduates with the skills and confidence to excel in their careers.

In conclusion, pursuing a career in forensic science starts with choosing the right educational institution. DYPU Navi Mumbai, with its robust curriculum and world-class facilities, is the ideal choice for aspiring forensic professionals. Take the first step toward an exciting and impactful career by enrolling in their forensic science program today.

[komorebicomics]

Introduction

Komorebi Comics is a self-publishing company created and run by me, Chuya-Chuya. It is the overarching umbrella for all the works I plan to publish. I do all the creative work, and unless stated otherwise, I am the only employee. This blog was made as a space for all the information on Komorebi Comics and everything this company publishes.

▪︎▪︎▪︎▪︎▪︎▪︎▪︎▪︎

I have always wanted to make my own comics. I used to dream of what my work would look like when I finally got picked up by a publisher. I was always excited when companies like Tokyopop and Yen Press opened their doors and gave amatuers like me an opportunity (and younger me would've been over the moon with the options availible today, such as the Viz One Shot program, Manga Plus Creators, and Webtoon Canvas). When I finally got the chance, I participated in some of these paths, and even though I didn't make it, I was always super excited to see the manga influenced amatuers like me who did. I was glad to know there was a chance for me to try again.

But those doors don't always stay open. Companies go out of business or close their doors to western creators if the program isn't profitable. Even if you do get picked up, the upper decision makers may choose to change or cancel your story, and most times, you definitely don't get the treatment you envisioned for yourself. This happens in Japan, too.

A long time ago, while reading a blog post about Tokyopop's OEL manga, the writer mentioned that Princess Ai "was Stu Levy's pet, so it gets special treatment." It was definitely obvious, but I thought it was only natural, and it got me thinking that if I ran the operations, I could make all the decisions I wanted, too. Even Naoko Takeuchi didn't always get to do all the things she wanted back when her legendary series, Sailor Moon, was being serialized. With the things she DID get to do, many only happened because her work was popular. Given the nature of a product focused business, it makes sense. Why print an artbook for a series that's not really selling?

It made me realize that I would rather own and run my own company. I was on the yearbook and newspaper committee in high school and always had a lot of fun designing the covers and pages. To be in complete control and do what I want sounds really exciting. With today's technology, things are easier than ever. You don't even have to print your work, but if you do, print on demand is available. You can set up a blog with a few links to get you going. You can post your work in multiple places, throw your own contests, and you can even have your own merchandise made. Running a publisher as a small business can be as simple as having a lemonade stand.

We live in a world where publishing is dying, and money is tight for everyone. The market for comics is incredibly saturated as well, making it even harder to stand out to a publisher. In this unstable economy, it's also disheartening to see publishers with low pay rates, taxing schedules, and predatory contracts that want to take the rights to your work away. Sometimes, we have to take a hard look at life. I was very fortunate to land the job that I have currently. And there is absolutely no publisher offering amatuers anything that even remotely competes with the pay and benefits that my employer does. It's just not realistic.

I do not plan to give up my full-time job. Not when I have so many necessities that need to be paid for in life. Getting signed by a company and keeping up with their demanding schedule is also not good for me, and I do not want to spend year after year fighting to gain approval from a publisher, anyway. You then have to convince them to give you the chance to publish your dream comic, and when everything they do is financially motivated, your work is in trouble if it doesn't quickly start selling like hotcakes.

I have to be honest about my dreams and intentions. I also have to be honest about the state of the economy and the world we live in. Yes, I do want the anime and the fanfare of a super popular work at least once in my life. I also want to try and experiment with many different styles and themes. And part of me even wants to do my own completely cliche retro style magical girl series, solely for the fact that it warms my heart. I feel like being attached to a publisher would hinder my ability to do all of those things, but being my OWN publisher would give me so much more freedom to explore and be myself. This isn't about money. This is about fulfilling a burning lifelong desire of mine. I do not want to waste years begging publishers to fulfill a dream that I can make possible all on my own. At my core, I want to make comics and art, my own stories, with my own interests, the things that feel good for me to make. And I want to design the books and covers, too. I may or may not be very good at it, but as long as I am satisfied, I will be happy with it. By starting my own company, I am doing what's best for me, my schedule, and my artwork. And it feels really good to fulfill my dream this way.

Thanks for stopping by and reading this long. I hope you enjoy some of the things I create when I do release them. Until then, stay tuned for updates!

[maharghaideovate]

New Wave of Online Recruitment: How DY Patil's HR Specialization Helps You Succeed in Hiring Today

This image represents the advanced recruitment strategies that students learn through DY Patil's HR Specialization in the Online MBA program. It highlights how the curriculum prepares future HR professionals to navigate modern hiring practices, including talent acquisition, candidate assessment, and leveraging technology in recruitment. DY Patil's focus on current HR trends ensures graduates are well-equipped to meet the demands of contemporary recruitment challenges

[simplidistance]

The Future of Education: Why Online MBAs Are Revolutionizing Business Learning

The landscape of education is undergoing a significant transformation, with online MBA programs leading the way in revolutionizing business learning. As more professionals seek to enhance their skills and advance their careers, the demand for flexible, high-quality education has skyrocketed. Online MBAs are meeting this demand by offering a blend of rigorous academic content and the convenience of remote learning. These programs provide students with the opportunity to gain a comprehensive understanding of business management while balancing their personal and professional lives. As a result, online MBAs are becoming an increasingly popular choice for those looking to make a mark in the business world.

LPU Online is one such program that exemplifies the benefits of online MBA education. It offers a diverse range of specializations, allowing students to tailor their learning to their specific career goals. The program is designed to provide a solid foundation in business principles while also incorporating real-world applications, making it highly relevant for today’s fast-paced business environment. LPU Online’s flexible structure allows students to study at their own pace, ensuring that they can continue working while pursuing their degree. This approach not only enhances their learning experience but also makes them more competitive in the job market.

Similarly, the DY Patil Online MBA program is a testament to the growing popularity of online education. Known for its robust curriculum and experienced faculty, DY Patil Online MBA offers students the tools they need to excel in various business fields. The program’s emphasis on practical learning, combined with its accessibility, makes it an ideal choice for working professionals. Additionally, the online format allows students to interact with a global network of peers and industry experts, further enriching their educational experience. This global perspective is crucial in today’s interconnected world, where businesses operate across borders and cultures.

For those interested in specialized fields such as healthcare and human resources, online programs like the MBA in Hospital Management Correspondence and MBA in HR Correspondence Courses offer targeted learning that addresses specific industry needs. These programs provide in-depth knowledge and skills relevant to their respective fields, making graduates well-prepared to take on leadership roles. The flexibility of online learning ensures that students can gain this expertise without disrupting their careers. As these specialized MBAs continue to evolve, they are likely to play a significant role in shaping the future of business education, making it more inclusive and accessible to a wider audience.

In conclusion, online MBA programs are revolutionizing business education by offering flexible, accessible, and high-quality learning opportunities. Whether through general management programs like LPU Online and DY Patil Online MBA or specialized courses such as MBA in Hospital Management Correspondence and MBA in HR Correspondence Courses, these programs are meeting the diverse needs of today’s professionals. As the demand for online education continues to grow, these programs are set to become the new standard in business learning, providing students with the skills and knowledge they need to thrive in a dynamic global economy.

[adypy-00]

Don’t Miss Out on the Top Engineering Programs in Pune — Your Path to Success Awaits!

Are you ready to embark on an exciting journey towards a successful engineering career? Look no further than Ajeenkya DY Patil University in Pune, where a diverse range of B.Tech and M.Tech courses await you. In this blog, we’ll explore the cutting-edge programs offered by ADYPU, designed to equip you with the skills and knowledge needed to thrive in today’s competitive engineering landscape.

Exploring B.Tech Courses

B.Tech Computer Science Engineering: We offer a cutting-edge curriculum in computer science engineering. From programming languages to software development methodologies, our program is designed to provide you with practical learning opportunities that prepare you for the demands of the tech industry.

B.Tech Software Engineering: Our specialized focus on software engineering ensures that you graduate with the expertise needed to excel in this rapidly evolving field. You’ll learn the latest software development techniques and gain hands-on experience working on real-world projects.

B.Tech Automation & Robotics: Experience the interdisciplinary approach to automation and robotics at ADYPU. Our program integrates engineering principles with advanced technology, allowing you to explore the exciting world of automation and robotics.

B.Tech Biomedical Engineering: With a strong emphasis on healthcare technology and medical device innovation, our biomedical engineering program is shaping the future of healthcare. You’ll have the opportunity to work on cutting-edge research projects and make a real impact on people’s lives.

B.Tech Food Technology: The importance of food technology in ensuring food safety and quality cannot be overstated. Our program equips you with essential skills in food science, food engineering, and food safety, preparing you for a rewarding career in this field.

B.Tech Bioinformatics: Explore the interdisciplinary nature of bioinformatics at Ajeenkya DY Patil University. By combining biology, computer science, and information technology, you’ll learn how to analyze biological data effectively and contribute to groundbreaking research in the field.

B.Tech Mechanical Engineering: From manufacturing to automotive, mechanical engineering plays a crucial role in various industries. Our program covers the fundamentals of mechanical engineering and provides you with hands-on experience through practical projects and internships.

Discovering M.Tech Courses

M.Tech in Computer Science: Take your expertise in computer science to the next level with our M.Tech program. You’ll delve into advanced topics and have the opportunity to engage in cutting-edge research that prepares you for leadership roles in technology.

M.Tech in Biomedical Engineering: Address critical healthcare challenges with our M.Tech program in biomedical engineering. From medical device design to healthcare systems, you’ll gain the skills and knowledge needed to make a meaningful impact in the field.

M.Tech Automation and Robotics: Specialize in advanced robotics and automation technologies with our M.Tech program. You’ll explore the latest advancements in the field and have the opportunity to collaborate with industry partners on innovative projects.

Why Choose Ajeenkya DY Patil University?

State-of-the-Art Facilities: Our modern infrastructure includes state-of-the-art laboratories, research centers, and industry collaborations, providing you with hands-on learning experiences that prepare you for the real world.

Industry-Experienced Faculty: Learn from faculty members who bring practical insights and industry connections to the classroom. You’ll benefit from their expertise and mentorship as you pursue your engineering education.

Placement Opportunities: With a track record of high placement rates and partnerships with leading companies, we ensure that our students are well-positioned for successful careers upon graduation.

Admissions and Application Process

To apply for our B.Tech and M.Tech programs, visit our website for detailed admission criteria, entrance exams, and application deadlines. We offer a range of scholarships and financial aid options to support students in pursuing their engineering education. Explore our website to learn more about available opportunities.

Unlock Your Engineering Potentia: Your path to success begins at Ajeenkya DY Patil University. With our top engineering programs and commitment to excellence, we’re here to help you achieve your goals and make your mark in the world of engineering.

Visit our website to explore more about top engineering programs in Pune at ADYPU, Lohegaon Pune and start your application process today and embark on a fulfilling career in engineering.

[bigleapstrategy]

Analytics Mastery with DYPUSM's BBA in Mumbai

In today's business landscape, where data rules, a degree in business analytics can be your golden ticket. That's where DY Patil University School of Management (DYPUSM) in Navi Mumbai steps in with its innovative BBA in Business Analytics program. This course isn't just about digesting facts and figures; it’s a journey to becoming a savvy, data-literate leader. 

At DYPUSM, we understand that the world of business doesn’t just need number crunchers; it needs strategic thinkers who can translate data insights into real-world solutions. Our BBA in Business Analytics is designed to do just that. You won’t just learn the hows of data analysis; you’ll grasp the whys and the what's that make the info tick. Think of it as your launchpad into the world of business, where every byte of data can open doors to new opportunities. So, if you’re ready to ride the wave of data-driven decision-making, DYPUSM is where you want to be.

Why Choose BBA in Business Analytics at DYPUSM?

DYPUSM, a part of the prestigious DY Patil University, stands out among BBA colleges in Mumbai. The BBA in Business Analytics program is meticulously designed to equip students with the necessary skills to excel in the ever-evolving field of business analytics. It's not just about numbers; it's about understanding what they mean for a business and using that knowledge to drive decisions and strategies.

The curriculum is a blend of theoretical knowledge and practical application. From day one, students are immersed in a learning environment that encourages them to apply their classroom knowledge to real-world problems. This hands-on approach ensures that by the time you graduate, you're not just a student with a degree; you're a professional ready to take on the business world.

Affordable Excellence: BBA Fees in Mumbai

One of the key considerations for students and parents is the cost of education. DYPUSM stands committed to providing quality education at a reasonable cost. When it comes to BBA fees in Mumbai, DYPUSM offers one of the most competitive rates, ensuring that quality education is accessible to a wider range of students. Investing in this program is not just about paying fees; it's about investing in a future that promises growth and success.

The DYPUSM Edge

Located in the heart of Navi Mumbai, DY Patil University is not just a hallmark of excellence in education but also a hub for nurturing talent. At DYPUSM, students get more than just a degree; they get an experience that shapes their character and professional abilities. The school boasts a rich legacy of educational excellence, coupled with state-of-the-art facilities and an environment that fosters learning and innovation.

DYPUSM's strong industry connections mean that students have access to internships and placement opportunities with leading companies. This exposure is invaluable in today’s competitive job market. Whether it's finance, marketing, or the burgeoning field of analytics, DYPUSM ensures that its students are well-equipped to meet the demands of the industry.

Placement: A Testament to Quality

When it comes to judging how good a BBA in Business Analytics program really is, the proof is in the placements, right? At DYPUSM, we take this seriously. Our graduates don’t just get degrees; they land roles in some top-notch companies. It’s not by chance, but by design. Our BBA in Business Analytics program is crafted to not just educate but to set you up for real-world success. The impressive placement stats aren’t just numbers; they're a stamp of the quality education we deliver. It's about seeing our students thrive in the business world, and we're proud of it.

Beyond Academics: A Holistic Approach

Education at DYPUSM goes beyond academics. It’s about developing a well-rounded personality capable of leading and making a difference. The school encourages students to engage in various extracurricular activities, fostering skills like leadership, teamwork, and communication – essential in the modern business world.

Join the League of Future Business Leaders

As you stand at the crossroads of making a crucial decision about your education, consider DYPUSM. Here, you're not just choosing a BBA program; you're stepping into a world of opportunities that will shape your future. With a BBA in Business Analytics from DYPUSM, you equip yourself with the skills needed to navigate the complexities of the business world and emerge as a leader.

Conclusion

Wrapping it up, DY Patil University School of Management isn't just another place to study BBA in Business Analytics. It's more like a launchpad for your ambitions. Here, you don't just learn; you grow, you build, you thrive. Imagine this: you're getting a top-notch education in business analytics that doesn't break the bank, all in a campus buzzing with life and opportunities. DYPUSM is where you come to sharpen your skills and prepare for a world that's hungry for analytics experts. If you're eyeing a future where you're at the forefront of business decision-making, DYPUSM is where your journey begins. So, are you ready to turn your analytics aspirations into reality?

[the-firebird69]

There are several things happening in county line and several things were doing they will ensure that we will survive

-the morelock are getting cut to ribbons and it is because of their attitude mainly and their attitude sucks they're not 45 for anything they don't get ready for anything they walk around threatening people and think they get stuff and they're idiots we're going to clean them out and our son's lifestyle is unacceptable

-these people are gross and they're ignorant and sick and puke out information and things are going to win it is vulgar we're moving in soon and we're going to take care of the problem in the meantime they're leaving and they're getting in trouble last night was the first night of Halloween second night actually well actually it's the first night of the movie she committed the murder in the movie and she's in jail and she kind of belongs there they put her in the mental hospital she escaped and she's going around killing people because you suck Jason is doing the same thing and he's in the movie tonight kisses on fire and please and goes back to New York and it's found in the lake area it is very demented looking and he hits a lot of you it's kind of what he looks like for real anyways there's a lot of people who know that but here is in a nutshell you're very despicable human beings and they treat people badly but as our son and daughter say the next treat people worse even by hand if he had to he would kill people if you went to prison and he's done it before not by hand but in the hospitals people were dying and he had other people killing people who went in and they got a lot of those hospital people and it wasn't illegal either for him to do it and you're holding a viper the military with a several groups permission and had to move down and they were astounded and then fear and they should have been and it came for them one by one and they disappeared and it was hell for them and they're dead dead a long time ago there's a few other things happening there's a large Force forming at the 14th ring and the first ring the 30 households went out and 30 are still there and they plan on attacking sometime today cuz he's going to the mall

-it's a gross thing it's a disgrace you're fighting each other and he doesn't like you for it there's a few other things you should know

-I'm fighting for our lives because you demand we do Virginia good job and you suck at it and you're going to find out pretty soon as your number is freaking very fast you're very fast

+we have a lot of things to do I'm going to get to it that's so important stuff in town happening

-the sheriff is brought down to 100 and they're not really supplementing or put a new sheriff in and they're crazy they want to run it like that and they want to force their way in with equipment so we are getting rid of the McDonald's and the max it's a daily chore and they die most of all of them now and it's only a matter of time Fuller gone and foreigners are doing the job too and Big Time

-there are a few more things when is one of them is we know she's tired and he's saying it's very tired but we have to get this out we have a few more things he has all these ideas for vehicles that we need to take time to concentrate on these idiots and we can have trainees do the car thing for now

-we have to see what the program will be and it's good and it's a good thing and trainees is a good idea and we're going to go with it now

-punta Gorda has a few problems and they won't get fixed by having no police and we will straighten it out

-Florida population of morlock is about 4% including McDonald's plans and it will be reduced probably today to 2% due to evacuation a huge number of them will leave to be a massive power drain from them and we'll take their spots immediately

-there's a few more months and our son will start growing and feel much better I will heal and be strong and awake all the time until then we have you to thank for him being slightly ill

We will see you in the mall and we're going to be picking names and taking shots after and we don't miss

Thot Freya

Olympus

It's very tired and needs a nap but the bus is going to come in a minute

Hera

[collegencourses]

The Path to Success: Pursuing an Online MBA from IIM and Dy Patil

The Path to Success: Pursuing an Online MBA from IIM and Dy Patil

In today's fast-paced and competitive world, obtaining a Master of Business Administration (MBA) degree has become crucial for professionals seeking career growth and advancement. With advancements in technology, pursuing an MBA online has become increasingly popular. This article explores the benefits and opportunities offered by the online MBA programs from the prestigious Indian Institute of Management (IIM) and Dy Patil University.

1. The Rise of Online MBA Programs

In recent years, online education has witnessed a significant surge in popularity, and MBA programs are no exception. Online MBA programs provide flexibility and convenience, allowing working professionals to enhance their skills and knowledge while managing personal and professional commitments. The online MBA programs from IIM and Dy Patil offer a unique opportunity to pursue a world-class education from the comfort of your own home.

2. Online MBA from IIM: The Gold Standard

The Indian Institute of Management (IIM) is renowned for its excellence in management education. An online MBA from IIM offers the same curriculum and quality of education as its on-campus counterpart. The program is designed to provide a comprehensive understanding of business fundamentals, strategic thinking, leadership skills, and the ability to navigate complex business environments. Graduates of IIM's online MBA program are highly sought after by top companies worldwide.

3. Dy Patil Online MBA: Blending Convenience and Quality

Dy Patil University is a name synonymous with quality education. The online MBA program offered by Dy Patil is designed to cater to the needs of working professionals who wish to pursue an MBA without compromising their professional commitments. With experienced faculty members and a well-structured curriculum, Dy Patil's online MBA program equips students with the necessary skills to excel in their careers.

4. Flexibility and Convenience

One of the primary advantages of pursuing an online MBA from IIM or Dy Patil is the flexibility it offers. Unlike traditional classroom-based programs, online MBA programs allow students to access course materials and lectures at their convenience. This flexibility enables professionals to balance their work, personal life, and education, making it an ideal choice for those with demanding schedules.

5. Networking Opportunities

Contrary to popular belief, online MBA programs offer ample networking opportunities. Students enrolled in online MBA programs interact with professionals from diverse backgrounds, industries, and geographies. These programs often include virtual networking events, discussion forums, and collaborative projects, providing a platform for students to build valuable connections that can benefit them throughout their careers.

6. Advancing Your Career

An online MBA from IIM or Dy Patil can significantly boost your career prospects. Employers recognize the value of an MBA degree and the skills it imparts. Graduates of these programs often see improved career opportunities, higher salaries, and the potential to take on leadership roles within their organizations.

7. Program Accreditation and Recognition

Both IIM and Dy Patil are recognized and accredited institutions known for their commitment to academic excellence. Their online MBA programs hold the same accreditation as their on-campus counterparts, ensuring that the degree you earn is highly valued by employers and respected in the business community.

Conclusion

In conclusion, pursuing an online MBA from IIM or Dy Patil can open up a world of opportunities for ambitious professionals. These programs offer flexibility, convenience, networking opportunities, and the chance to earn a prestigious degree from renowned institutions. Whether you choose IIM or Dy Patil, rest assured that you'll receive a top-quality education that can propel your career to new heights. Don't let your busy schedule hold you back from achieving your MBA dreams - take the leap and embark on a transformative journey with an online MBA.

[cdevroe]

Will my next Mac be my last Mac?

Perhaps you’ve had this experience… you walk into a place of business and see the computer and software they use to do their scheduling, billing, and ordering and you notice they are decades old. But, have you seen how productive they are? More often than not they are so fast that the computer has a hard time keeping up with their inputs.

This idea keeps rolling around in my head that I could purposely construct a similar situation for myself on my personal computer.

Could my next Mac be the last Mac I ever need to buy? And can I run the same software on it for decades allowing me to become even more productive than I am today? What would I gain? What would I lose?

On average I buy a new Mac every 5 years or so. Each time I’ve upgraded to a new Mac I keep the old Mac around for at least an additional 5 years. The laptop my wife currently uses for Zoom is a Mac from 2012 and we see no reason to replace it anytime soon.

Macs last. And the technology inside is so capable these days - especially the M series chips - that I’m beginning to wonder if I will ever need to upgrade after I purchase my next Mac. And that sort of excites me.

I currently use a 2019 16” MacBook Pro. It has an 8-core 2.4 GHz i9 Intel processor with 64GB of DDR4 RAM and an 8GB Radeon Pro 5500M graphics chip. It also has a terabyte of flash storage. In 2019 this Mac cost $4,200. I am very happy with this computer. For my day-to-day work I have more than enough resources. There is very little reason to upgrade this computer for many, many years to come.

Though, having the M-series all day battery life, rather than the dismal 2 hours I get now, is a huge temptation.

Battery life aside, though, I could conceivably use this computer until 2024 (which would be my average) or even 2029 which would be my stretch goal.

So, let’s say I keep my average streak going and I buy a new Mac in 2024 or 2025. That would mean I’ll likely end up with an M3 or M4 series chip from Apple. I like the idea of that because those chips will be multiple iterations in on their already well regarded chipset. And some of the M1 series chips will be nearly 5 years old at that time so we will see if they have similar longevity to the Intel chips. If I were able to hold out until 2029 the benefits would be even greater. If I plan to spend a similar amount of money on my next Mac, is there a possibility I can plan on keeping it for the rest of my life?

Why would I want to do that? I’m only 42 and I plan on trying to live at least 4 more decades. Could I possibly have a Mac that would run for 40 years?

Let’s talk about the current trajectory of software.

I’m a little worried about software these days. The best software ever written may already be in our past. Modern day app frameworks that are full of bloat, the overwhelming demand for cloud-first apps that barely work without an internet connection, and the ability to create truly great user interfaces seems to be dying — all of these factors add up to an uncertain future in software from my point of view.

The rapid march of software progress can be an exhausting thing as you get older. What if I was to just stop updating my software? As it stands today, I really love my Mac. macOS Catalina (I haven't updated to Ventura yet) is pretty good — arguably not the best it has ever been, but certainly very good — and many of the apps I use day to day allow me to be very productive. I feel superhuman on my Mac with the current software it is running. And the programming languages I use; PHP, JavaScript, a bit of AppleScript or Swift, work amazingly well on my Mac.

To illustrate this point, in just about a month of early weekday mornings I wrote my own static site generator in PHP from scratch to build this site you’re reading now. It works remarkably well. It builds tens of thousands of files in just seconds. And my code isn’t very good. How much more productive do I need to get?

I could lose this superpower. Software will change. macOS is likely to become more restrictive. Programming languages will be deprecated. The keyboard and mouse may be replaced with gestures, voice, and eye movements. Which is all well and good for the next generation of users. In order to stay productive in my work and hobbies (photography, software development, and blogging) I think having a platform that stays in relative stasis over the next 4 decades could be an incredible asset.

I also think about large data sets like my photo library. Each time Apple releases an update of macOS I feel a pit in my stomach that they may change something that will completely blow away years of my cataloging work. They’ve done it before and I’d be naive to think it couldn’t happen again. Which is why I’ve developed my own workflow. I want my photo library to work until I die. And I don’t want to spend another minute redoing it.

The prospect of possibly having a computing platform that stays relatively the same for the rest of my life and prioritizes good usability, speed, reliability, and saving data locally to disk is very exciting. And it may just be that the only way I can ensure that I will have that is by stopping time and refusing to keep up with the latest technology.

--

It appears I'm not alone. While I've been thinking about this topic over the last several weeks, I've noticed others expressing similar sentiments in a variety of ways. I've only made note of a few of them. Such as Ev Williams wants to keep his small phone, Paul Stamatiou would like an old Powerbook to write on, Dan Rubin and Joe Van Cleave use typewriters every day, Jeremy Keith has expressed opinions about frontend web development getting out of hand. None of these people are saying exactly what I'm saying. But all of them are sort of part of the same milieu - people that have been around in computing for a long time sort of wishing for how we used to do things. In 5 or 10 more years perhaps we will long for how we did things today.

[unpopularwiththepopulace]

A retrospective on some of Broadway’s most important female costume designers across the last century

How much is our memory or perception of a production influenced by the manner in which we visually comprehend the characters for their physical appearance and attire? A lot.

How much attention in memory is often dedicated to celebrating the costume designers who create the visual forms we remember? Comparatively, not much.

Delving through the New York Public Library archives of late, I found I was able to zoom into pictures of productions like Sunday in the Park with George at a magnitude greater than before.

In doing so, I noticed myself marvelling at finer details on the costumes that simply aren’t visible from grainy 1985 proshots, or other lower resolution images.

And marvel I did.

At first, I began to set out to address the contributions made to the show by designer Patricia Zipprodt in collaboration with Ann Hould-Ward. Quickly I fell into a (rather substantial) tangent rabbit hole – concerning over a century’s worth of interconnected designers who are responsible for hundreds of some of the most memorable Broadway shows between them.

It is impossible to look at the work of just one or two of these women without also discussing the others that came before them or were inspired by them.

Journey with me then if you will on this retrospective endeavour to explore the work and legacy that some of these designers have created, and some of the contexts in which they did so.

A set of podcasts featuring Ann Hould-Ward, including Behind the Curtain (Ep. 229) and Broadway Nation (Eps. 17 and 18), invaluably introduce some of the information discussed here and, most crucially, provide a first-hand, verbal link back to this history. The latter show sets out the case for a “succession of dynamic women that goes back to the earliest days of the Broadway musical and continues right up to today”, all of whom “were mentored by one or more of the great [designers] before them, [all] became Tony award-winning [stars] in their own right, and [all] have passed on the [craft] to the next generation.”

A chronological, linear descendancy links these designers across multiple centuries, starting in 1880 with Aline Bernstein, then moving to Irene Sharaff, then to Patricia Zipprodt, then to the present day with Ann Hould-Ward. Other designers branch from or interact with this linear chronology in different ways, such as Florence Klotz and Ann Roth – who, like Patricia Zipprodt, were also mentored by Aline Bernstein – or Theoni V. Aldredge, who stands apart from this connected tree, but whose career closely parallels the chronology of its central portion. There were, of course, many other designers and women also working within this era that provided even further momentous contributions to the world of costume design, but in this piece, the focus will remain primarily on these seven figures.

As the main creditor of the designs for Sunday in the Park with George, let’s start with Patricia (Pat) Zipprodt.

Born in 1925, Pat studied at the Fashion Institute of Technology (FIT) in New York after winning a scholarship there in 1951. Through teaching herself “all of costume history by studying materials at the New York Public Library”, she passed her entrance exam to the United Scenic Artists Union in 1954. This itself was a feat only possible through Aline Bernstein’s pioneering steps in demanding and starting female acceptance into this same union for the first time just under 30 years previously.

Pat made her individual costume design debut a year after assisting Irene Sharaff on Happy Hunting in 1956 – Ethel Merman’s last new Broadway credit. Of the more than 50 shows she subsequently designed, some of Pat’s most significant musicals include: She Loves Me (1963) Fiddler on the Roof (1964) Cabaret (1966) Zorba (1968) 1776 (1969) Pippin (1972) Mack & Mabel (1974) Chicago (1975) Alice in Wonderland (1983) Sunday in the Park with George (1984) Sweet Charity (1986) Into the Woods (1987) - preliminary work

Other notable play credits included: The Little Foxes (1967) The Glass Menagerie (1983) Cat on a Hot Tin Roof (1990)

Yes. One person designed all of those shows. Many of the most beloved pieces in modern musical theatre history. Somewhat baffling.

Her work notably earned her 11 Tony nominations, 3 wins, an induction into the Theatre Hall of Fame in 1992, and the Irene Sharaff award for lifetime achievement in costume design in 1997.

By 1983, Pat was one of the most well-respected designers of her era. When the offer for Sunday in the Park with George came in, she was less than enamoured by being confined to the ill-suited basements at Playwright’s Horizons all day, designing full costumes for a story not even yet in existence. From-the-ground-up workshops are common now, but at the time, Sunday was one of the first of its kind.

Rather than flatly declining, she asked Ann Hould-Ward, previously her assistant and intern who had now been designing for 2-3 years on her own, if she was interested in collaborating. She was. The two divided the designing between them, like Pat creating Bernadette’s opening pink and white dress, and Ann her final red and purple dress.

Which indeed leads to the question of the infamous creation worn in the opening number. No attemptedly comprehensive look at the costumes in Sunday would be complete without addressing it or its masterful mechanics.

To enable Bernadette to spring miraculously and seemingly effortlessly from her outer confines, Ann and Pat enlisted the help of a man with a “Theatre Magics” company in Ohio. Dubbed ‘The Iron Dress’, the gasp-inducing motion required a wire frame embedded into the material, entities called ‘moonwalker legs and feet’, and two garage door openers coming up through the stage to lever the two halves apart. The mechanism – highly impressive in its periods of functionality – wasn’t without its flaws. Ann recalls “there were nights during previews where [Bernadette] couldn’t get out of the dress”. Or worse, a night where “the dress closed up completely. And it wouldn’t open up again!”. As Bernadette finished her number, there was nothing else within her power she could do, so she simply “grabbed it under her arm and carried it off stage.”

What visuals. Evidently, the course of costume design is not always plain sailing.

This sentiment is exhibited in the fact design work is a physical materialisation of other creators’ visions, thus foregrounding the tricky need for collaboration and compromise. This is at once a skill, very much part of the job description, and not always pleasant – in navigating any divides between one’s own ideas and those of other people.

Sunday in the Park with George was no exception in requiring such a moment of compromise and revision. With the show already on Broadway in previews, Stephen Sondheim decreed the little girl Louise’s dress “needs to be white” – not the “turquoisey blue” undertone Pat and Ann had already created it with. White, to better spotlight the painting’s centre.

Requests for alterations are easier to comprehend when they are done with equanimity and have justification. Sondheim said he would pay for the new dress himself, and in Seurat’s original painting, the little girl is very brightly the focal centre point of the piece. On this occasion, all agreed that Sondheim was “absolutely right”. A new dress was made.

Other artistic differences aren’t always as amicable.

In Pat Zipprodt’s first show, Happy Hunting with Ethel Merman in 1956, some creatives and directors were getting in vociferous, progress-stopping arguments over a dress and a scene in which Ethel was to jump over a fence. Then magically, the dress went missing. Pat was working at the time as an assistant to the senior Irene Sharaff, and Pat herself was the one to find the dress the next morning. It was in the basement. Covered in black and wholly unwearable. Sharaff had spray painted the dress black in protest against the “bickering”. Indeed, Sharaff disappeared, not to be seen again until the show arrived on Broadway.

Those that worked with her soon found that Sharaff was one to be listened to and respected – as Hal Prince did during West Side Story. After the show opened in 1957, Hal replaced her 40 pairs of meticulously created and individually dyed, battered, and re-dyed jeans with off-the-rack copies. His reasoning was this: “How foolish to be wasting money when we can make a promotional arrangement with Levi Strauss to supply blue jeans free for program credit?” A year later, he looked at their show, and wondered “What’s happened?”

What had happened was that the production had lost its spark and noticeable portions of its beauty, vibrancy, and subtle individuality. Sharaff’s unique creations quickly returned, and Hal had learned his lesson. By the time Sharaff’s mentee, Pat, had “designed the most expensive rags for the company to wear” with this same idiosyncratic dyeing process for Fiddler on the Roof in 1964, Hal recognised the value of this particularity and the disproportionately large payoff even ostensibly simple garments can bring.

Irene Sharaff is remembered as one of the greatest designers ever. Born in 1910, she was mentored by Aline Bernstein, first assisting her on 1928’s original staging of Hedda Gabler.

Throughout her 56 year career, she designed more than 52 Broadway musicals. Some particularly memorable entities include: The Boys from Syracuse (1938) Lady in the Dark (1943) Candide (1956) Happy Hunting (1956) Sweet Charity (1966) The King and I (1951, 1956) West Side Story (1957, 1961) Funny Girl (1964, 1968)

For the last three productions, she would reprise her work on Broadway in the subsequent and indelibly enduring film adaptations of the same shows. 

Her work in the theatre earned her 6 Tony nominations and 1 win, though her work in Hollywood was perhaps even more well rewarded – earning 5 Academy Awards from a total of 15 nominations.

Some of Sharaff’s additional film credits included: Meet Me in St. Louis (1944) Ziegfeld Follies (1946) An American in Paris (1951) Call Me Madam (1953) A Star is Born (1954) – partial Guys and Dolls (1955) Cleopatra (1963) Who’s Afraid of Virginia Woolf? (1966) Hello Dolly! (1969) Mommie Dearest (1981)

It’s a remarkable list. But it is too more than just a list.

Famously, Judy’s red scarlet ballgown in Meet Me in St. Louis was termed the “most sophisticated costume [she’d] yet worn on the screen.”

It has been written that Sharaff’s “last film was probably the only bad one on which she worked,” – the infamous pillar of camp culture, Mommie Dearest, in 1981 – “but its perpetrators knew that to recreate the Hollywood of Joan Crawford, it required an artist who understood the particular glamour of the Crawford era.” And at the time, there were very few – if any – who could fill that requirement better than Irene Sharaff. 

The 1963 production of Cleopatra is perhaps an even more infamous endeavour. Notoriously fraught with problems, the film was at that point the most expensive ever made. It nearly bankrupted 20th Century Fox, in light of varying issues like long production delays, a revolving carousel of directors, the beginning of the infamous Burton/Taylor affair and resulting media storm, and bouts of Elizabeth’s ill-health that “nearly killed her”. In that turbulent environment, Sharaff is highlighted as one of the figures instrumental in the film’s eventual completion – “adjusting Elizabeth Taylor’s costumes when her weight fluctuated overnight” so the world finally received the visual spectacle they were all ardently anticipating.

But even beyond that, Sharaff’s work had impacts more significantly and extensively than the immediate products of the shows or films themselves. Within a few years of her “vibrant Thai silk costumes for ‘The King and I’ in 1951, …silk became Thailand’s best-known export.” Her designs changed the entire economic landscape of the country. 

It’s little wonder that in that era, Sharaff was known as “one of the most sought-after and highest-paid people in her profession.” With discussions and favourable comparisions alongside none other than Old Hollywood’s most beloved designer, Edith Head, Irene deserves her place in history to be recognised as one of the foremost significant pillars of the design world.

In this respected position, Irene Sharaff was able to pass on her knowledge by mentoring others too as well as Patricia Zipprodt, like Ann Roth and Florence Klotz, who have in turn gone on to further have their own highly commendable successes in the industry.

Florence “Flossie” Klotz, born in 1920, is the only Broadway costume designer to have won six Tony awards. She did so, all of them for musicals, and all of them directed by Hal Prince, in a marker of their long and meaningful collaboration.

Indeed, Flossie’s life partner was Ruth Mitchell – Hal’s long-time assistant, and herself legendary stage manager, associate director and producer of over 43 shows. Together, Flossie and Ruth were dubbed a “power couple of Broadway”.

Flossie’s shows with Hal included: Follies (1971) A Little Night Music (1973) Pacific Overtures (1976) Grind (1985) Kiss of the Spiderwoman (1993) Show Boat (1995)

And additional shows amongst her credits extend to: Side by Side by Sondheim (1977) On the Twentieth Century (1978) The Little Foxes (1981) A Doll’s Life (1982) Jerry’s Girls (1985)

Earlier in her career, she would first find her footing as an assistant designer on some of the Golden Age’s most pivotal shows like: The King and I (1951) Pal Joey (1952) Silk Stockings (1955) Carousel (1957) The Sound of Music (1959)

The original production of Follies marked the first time Florence was seriously recognised for her work. Before this point, she was not yet anywhere close to being considered as having broken into the ranks of Broadway’s “reigning designers” of that era. Follies changed matters, providing both an indication of the talent of her work to come, and creating history in being commended for producing some of the “best costumes to be seen on Broadway” in recent memory – as Clive Barnes wrote in The New York Times. Fuller discussion is merited given that the costumes of Follies are always one of the show’s central points of debate and have been crucial to the reception of the original production as well as every single revival that has followed in the 50 years since.

In this instance, Ted Chapin would record from his book ‘Everything Was Possible: The Birth of the Musical ‘Follies’ how “the costumes were so opulent, they put the show over-budget.” Moreover, that “talking about the show years later, [Florence] said the costumes could not be made today. ‘Not only would they cost upwards of $2 million, but we used fabrics from England that aren’t even made anymore.’” Broadway then does indeed no longer look like Broadway now.

This “surreal tableau” Flossie created, including “three-foot-high ostrich feather headdresses, Marie Antoinette wigs adorned with musical instruments and birdcages, and gowns embellished with translucent butterfly wings”, remains arguably one of the most impressive and jaw-dropping spectacles to have ever graced a Broadway stage even to this day.

As for Ann Roth, born in 1931, she is still to this day making her own history – recently becoming the joint eldest nominee at 89 for an Oscar (her 5th), for her work on 2020′s Ma Rainey’s Black Bottom. Now as of April 26th, Ann has just made history even further by becoming the oldest woman to win a competitive Academy Award ever. She has an impressive array of Hollywood credits to her name in addition to a roster of Broadway design projects, which have earned her 12 Tony nominations.

Some of her work in the theatre includes: The Women (1973) The Best Little Whorehouse in Texas (1978) They're Playing Our Song (1979) Singin' in the Rain (1985) Present Laughter (1996) Hedda Gabler (2009) A Raisin in the Sun (2014) Shuffle Along (2016) The Prom (2018)

Making her way over to Hollywood in the ‘70s, she has left an indelible and lasting visual impact on the arts through films like: Klute (1971) The Goodbye Girl (1977) Hair (1979) 9 to 5 (1980) Silkwood (1983) Postcards from the Edge (1990) The Birdcage (1996) The Hours (2002) Mamma Mia! (2008) Ma Rainey’s Black Bottom (2020)

It’s clear from this branching 'tree' to see how far the impact of just one woman passing on her time and knowledge to others who are starting out can spread.

This art of acting as a conduit for valuable insights was something Irene Sharaff had learned from her own mentor and predecessor, Aline Bernstein. Aline was viewed as “the first woman in the [US] to gain prominence in the male-dominated field of set and costume design,” and was too a strong proponent of passing on the unique knowledge she had acquired as a pioneer and forerunner in the field. 

Born in 1880, Bernstein is recognised as “one of the first theatrical designers in New York to make sets and costumes entirely from scratch and craft moving sets” while Broadway was still very much in its infancy of taking shape as the world we know today. This she did for more than one hundred shows over decades of her work in the theatre. These shows included the spectacular Grand Street Follies (1924-27), and original premier productions of plays like some of the following: Ibsen’s Hedda Gabler (1928) J.M Barrie’s Peter Pan (1928) Grand Hotel (1930) Phillip Barry’s Animal Kingdom (1932) Chekov’s The Seagull (1937) Both Lillian Hellman’s The Children’s Hour (1934) and The Little Foxes (1939)

Beyond direct design work, Bernstein founded what was to become the Neighbourhood Playhouse (the notable New York acting school) and was influential in the “Little Theatre movement that sprung up across America in 1910”. These were the “forerunners of the non-profit theatres we see today” and she continued to work in this realm even after moving into commercial theatre.

Bernstein also established the Museum of Costume Art, which later became the Costume Institute of the Met Museum of Art, where she served as president from 1944 to her death in 1955. This is what the Met Gala raises money for every year. So for long as you have the world’s biggest celebrities parading up and down red carpets in high fashion pieces, you have Aline Bernstein to remember – as none of that would be happening without her.

During the last fifteen years of her life, Bernstein taught and served as a consultant in theatre programs at academic institutions including Yale, Harvard, and Vassar – keen to connect the community and facilitate an exchange of wisdom and information to new descendants and the next generation.

Many designers came somewhere out of this linear descendancy. One notable exception, with no American mentor, was Theoni V. Aldredge. Born in 1922 and trained in Greece, Theoni emigrated to the US, met her husband, Tom Aldredge – himself of Into the Woods and theatre notoriety – and went on to design more than 100 Broadway shows. For her work, she earned 3 Tony wins from 11 nominations from projects such as: Anyone Can Whistle (1964) A Chorus Line (1975) Annie (1977) Barnum (1980) 42nd Street (1980) Woman of the Year (1981) Dreamgirls (1981) La Cage aux Folles (1983) The Rink (1984)

One of the main features that typify Theoni’s design style and could be attributed to a certain unique and distinctive “European flair” is her strong use of vibrant colour. This is a sentiment instantly apparent in looking longitudinally at some of her work.

In Ann Hould-Ward’s words, Theoni speaks to the “great generosity” of this profession. Theoni went out of her way to call Ann apropos of nothing early in the morning at some unknown hotel just after Ann won her first Tony for Beauty and the Beast in 1994, purring “Dahhling, I told you so!” These were women that had their disagreements, yes, but ultimately shared their knowledge and congratulated each other for their successes.

Similar anecdotal goodwill can be found in Pat Zipprodt’s call to Ann on the night of the 1987 Tony’s – where Ann was nominated for Into the Woods – with Pat singing “Have wonderful night! You’re not gonna win! …[laugh] but I love you anyway!”

This well-wishing phone call is all the more poignant considering Pat was originally involved with doing the costumes for Into the Woods, in reprise of their previous collaboration on Sunday in the Park with George.

If, for example, Theoni instinctively is remembered for bright colour, one of the features that Pat is first remembered for is her dedicated approach to research for her designs. Indeed, the New York Public Library archives document how the remaining physical evidence of this research she conducted is “particularly thorough” in the section on Into the Woods. Before the show finally hit Broadway in 1987 with Ann Hould-Ward’s designs, records show Pat had done extensive investigation herself into materials, ideas and prospective creations all through 1986.

Both Ann and Pat worked on the show out of town in try-outs at the Old Globe theatre in San Diego. But when it came to negotiating Broadway contracts, the situation became “tricky” and later “untenable” with Pat and the producers. Ann was “allowed to step in and design” the show alone instead.

The lack of harboured resentment on Patricia’s behalf speaks to her character and the pair’s relationship, such that Ann still considered her “my dear and beloved friend” for over 25 years, and was “at [Pat’s] bed when she died”.

Though they parted ways ultimately for Into the Woods, you can very much feel a continuation between their work on Sunday in the Park with George a few years previously, especially considering how tactile the designs appear in both shows. This tactility is something the shows’ book writer and director, James Lapine, was specific about. Lapine would remark in his initial ideas and inspirations that he wanted a graphic quality to the costumes on this occasion, like “so many sketches of the fairy-tales do”.

Ann fed that sentiment through her final creations, with a wide variety of materials and textures being used across the whole show – like “ribbons with ribbons seamed through them”, “all sorts of applique”, “frothy organzas and rembriodered organzas”. A specific example documents how Joanna Gleason’s shawl as the Baker’s Wife was pieced together, cut apart, and put back together again before resembling its final form.

This highly involved principle demonstrates another manner of inventive design that uses a different method but maintains the aim of particularity as discussed previously with Patricia and Irene’s complex dyeing and re-dyeing process. Pushing the confines of what is possible with the materials at hand to create a variety of colours, shades, and textures ultimately produces visual entities that are complex to look at. Confusing the eye like this “holds attention longer”, Ann maintains, which makes viewers look more intricately at individual segments of the production, and enables the costume design to guide specific focus by not immediately ceding attention elsewhere.

Understanding the methods behind the resultant impacts of a show can be as, if not more, important and interesting than the final product of the show itself sometimes. A phone call Ann had last August with James Lapine reminds us this is a notion we may be treated more to in the imminent future, when he called to enquire as to the location of some design sketches for the book he is working on (Putting It Together: How Stephen Sondheim and I Created 'Sunday in the Park with George') to document more thoroughly the genesis of the pair’s landmark and beloved musical.

In continuation of the notion that origin stories contain their own intrinsic value beyond any final product, Ann first became Pat’s intern through a heart-warming and tenacious tale. Ann sent letters to three notable designers when finishing graduate school. Only Patricia Zipprodt replied, with a message to say she “didn’t have anything now but let me think about it and maybe in the future.” It got to the future, and Ann took the encouragement of her previous response to try and contact Pat again. Upon being told she was out of town with a show, Ann proceeded to chase Pat through various phone books and telephone wires across different states and theatres until she finally found her. She was bolstered by the specifics of their call and ran off the phone to write an imploring note – hinging on the premise of a shared connection to Montana. She took an arrow, stabbed it through a cowboy hat, put it in a box with the note that was written on raw hide, and mailed it to New York with bated breath and all of her hopes and wishes.

Pat was knife-edgingly close to missing the box, through a matter of circumstance and timing. Importantly, she didn’t. Ann got a response, and it boded well: “Alright alright alright! You can come to New York!”

Subsequently, Ann’s long career in the design world of the theatre has included notable credits such as: Sunday in the Park with George (1984) Into the Woods (1987, 1997) Falsettos (1992) Beauty and the Beast (1994, 1997) Little Me (1998) Company (2006) Road Show (2008) The People in the Picture (2011) Merrily We Roll Along (1985, 1990, 2012, segment in Six by Sondheim 2013) Passion (2013) The Visit (2015) The Color Purple (2015) The Prince of Egypt (2021)

From early days in the city sleeping on a piece of foam on a friend’s floor, to working collaboratively alongside Pat, to using what she’d learnt from her mentor in designing whole shows herself, and going on to win prestigious awards for her work – the cycle of the theatre and the importance of handing down wisdom from those who possess it is never more evident.

As Ann summarises it meaningfully, “the theatre is a continuing, changing, evolving, emotional ball”. It’s raw, it’s alive, it needs people, it needs stories, it needs documentation of history to remember all that came before.

In periods where there can physically be no new theatre, it’s made ever the more clear for the need not to forget what value there is in the tales to be told from the past.

Through this retrospective, we’ve seen the tour de force influence of a relatively small handful of women shaping a relatively large portion of the visual scape of some of Broadway’s brightest moments.

But it’s significant to consider how disproportionate this female impact was, in contrast with how massively male dominated the rest of the creative theatre industry has been across the last century.

Assessing variations in attitudes and approaches to relationships and families in these women in the context of their professional careers over this time period presents interesting observations. And indeed, manners in which things have changed over the past hundred years.

As Ann Hould-Ward speaks of her experiences, one of her reflections is how much this was a “very male dominated world”. And one that didn’t accommodate for women with families who also wanted careers. As an intern, she didn’t even feel she could tell Patricia Zipprodt about the existence of her own young child until after 6 months of working with her. With all of these male figures around them, it would be often questioned “How are you going to do the work? How are you going to manage [with a family]?”, and that it was “harder to convince people that you were going to be able to do out-of-towns, to be able to go places.” Simply put, the industry “didn't have many designers who were married with children.”

Patricia herself in the previous generation demonstrates this restricting ethos. “In 1993, Zipprodt married a man whose proposal she had refused some 43 years earlier.” She had just newly graduated college and “she declined [his proposal] and instead moved to New York.” Faced with the family or career conundrum, she chose the latter. By the 1950s, it then wasn’t seen as uncommon to have both, it was seen as impossible.

Her husband died just five years after the pair were married in 1998, as did Patricia herself the following year. One has to wonder if alternative decisions would’ve been made and lives lived differently if she’d experienced a different context for working women in her younger life.

But occupying any space in the theatre at all was only possible because of the efforts of and strides made by women in previous generations.

When Aline Bernstein first started designing for Broadway theatre in 1916, women couldn’t even vote. She became the first female member of the United Scenic Artists of America union in 1926, but only because she was sworn in under the false and male moniker of brother Bernstein. In fact, biographies often centralise on her involvement in a “passionate” extramarital love affair with novelist Thomas Wolfe – disproportionately so for all of her remarkable contributions to the theatrical, charitable and academic worlds, and instead having her life defined through her interactions with men.

As such, it is apparent how any significant interactions with men often had direct implications over a woman’s career, especially in this earlier half of the century. Only in their absence was there comparative capacity to flourish professionally.

Irene Sharaff had no notable relationships with men. She did however have a significant partnership with Chinese-American painter and writer Mai-mai Sze from “the mid-1930s until her death”. Though this was not (nor could not be) publicly recognised or documented at the time, later by close acquaintances the pair would be described as a “devoted couple”, “inseparable”, and as holding “love and admiration for one another [that] was apparent to everyone who knew them.” This manner of relationship for Irene in the context of her career can be theorised as having allowed her the capacity to “reach a level of professional success that would have been unthinkable for most straight women of [her] generation”.

Moving forwards in time, Irene and Mai-mai presently rest where their ashes are buried under “two halves of the same rock” at the entrance to the Music and Meditation Pavilion at Lucy Cavendish College in Cambridge, which was “built following a donation by Sharaff and Sze”. I postulate that this site would make for an interesting slice of history and a perhaps more thought-provoking deviation for tourists away from being shepherded up and down past King’s College on King’s Parade as more usually upon a visit to Cambridge.

In this more modern society at the other end of this linear tree of remarkable designers, options for women to be more open and in control of their personal and professional lives have increased somewhat.

Ann Hould-Ward later in her career would no longer “hide that [she] was a mother”, in fear of not being taken seriously. Rather, she “made a concerted effort to talk about [her] child”, saying “because at that point I had a modicum of success. And I thought it was supportive for other women that I could do this.”

If one aspect passed down between these women in history are details of the craft and knowledge accrued along the way, this statement by Ann represents an alternative facet and direction that teaching of the future can take. Namely, that by showing through example, newer generations will be able to comprehend the feasibility of occupying different options and spaces as professional women. Existing not just as designers, or wives, or mothers, or all, or one – but as people, who possess an immense talent and skill. And that it is now not just possible, but common, to be multifaceted and live the way you want to live while working.

This is not to say all of the restrictions and barriers faced by women in previous generations have been removed, but rather that as we build a larger wealth of history of women acting with autonomy and control to refer back to, things can only get easier to build upon for the future.

Who knows what Broadway and theatre in general will look like when it returns – both on the surface with respect to this facet of costume design, and also more deeply as to the inner machinations of how shows are put together and presented. The largely male environment and the need to tick corporate and commercial boxes will not have vanished. One can only hope that this long period of stasis will have foregrounded the need and, most importantly, provided the time to revaluate the ethos in which shows are often staged, and the ways in which minority groups – like women – are able to work and be successful within the theatre in all of the many shows to come. 

Notable sources:

Photographs – predominantly from the New York Public Library digital archives. IBDB – the Internet Broadway Database. Broadway Nation Podcast (Eps. #17 and #18), David Armstrong, featuring Ann Hould-Ward, 2020. Behind the Curtain: Broadway’s Living Legends Podcast (Ep. #229), Robert W Schneider and Kevin David Thomas, featuring Ann Hould-Ward, 2020. Sense of Occasion, Harold Prince, 2017. Everything Was Possible: The Birth of the Musical ‘Follies’, Ted Chapin, 2003. Finishing the Hat: Collected Lyrics (1954–1981) with Attendant Comments, Principles, Heresies, Grudges, Whines and Anecdotes, Stephen Sondheim, 2010. The Complete Book of 1970s Broadway Musicals, Dan Deitz, 2015. The Complete Book of 1980s Broadway Musicals, Dan Dietz, 2016. Inventory of the Patricia Zipprodt Papers and Designs at the New York Public Library, 2004 – https://www.nypl.org/sites/default/files/archivalcollections/pdf/thezippr.pdf Extravagant Crowd’s Carl Van Vecten’s Portraits of Women, Aline Bernstein – http://brbl-archive.library.yale.edu/exhibitions/cvvpw/gallery/bernstein.html Jewish Heroes & Heroines of America: 150 True Stories of American Jewish Heroism – Aline Bernstein, Seymour Brody, 1996 – https://www.jewishvirtuallibrary.org/aline-bernstein Ann Hould-Ward Talks Original “Into the Woods” Costume Designs, 2016 – https://www.youtube.com/watch?v=4EPe77c6xzo&ab_channel=Playbill American Theatre Wing’s Working in the Theatre series, The Design Panel, 1993 – https://www.youtube.com/watch?v=9sp-aMQHf-U&t=2167s&ab_channel=AmericanTheatreWing Journal of the History of Ideas Blog, Mai-mai Sze and Irene Sharaff in Public and in Private, Erin McGuirl, 2016 – https://jhiblog.org/2016/05/16/mai-mai-sze-and-irene-sharaff-in-public-and-in-private/ Irene Sharaff’s obituary, The New York Times, Marvine Howe, 1993 – https://www.nytimes.com/1993/08/17/obituaries/irene-sharaff-designer-83-dies-costumes-won-tony-and-oscars.html Obituary: Irene Sharaff, The Independent, David Shipman, 2011 – https://www.independent.co.uk/news/people/obituary-irene-sharaff-1463219.html Broadway Design Exchange – Florence Klotz – https://www.broadwaydesignexchange.com/collections/florence-klotz Obituary: Florence Klotz, The New York Times, 2006 – https://www.nytimes.com/2006/11/03/obituaries/03klotz.html

[tw-koreanhistory]

While it goes without saying that the North Korean government bears the primary responsibility for the welfare of its people, it is important to note the extraordinary nature of U.S.-drafted UN sanctions — as well as unilateral U.S. sanctions — which by design inflict catastrophic impact on people in North Korea.

Take, for instance, the vast expansion of existing UN sanctions targeting North Korea’s civilian economy, which were initiated by President Obama and subsequently escalated by the Trump administration. These U.S.-authored restrictions were touted by the Trump administration as “the heaviest sanctions ever imposed on a country,” and include restrictions on oil and petroleum product imports, devastating the civilian and household economy and triggering an energy shortage that has reduced the reach of the country’s already spotty supply of electricity to less than a quarter of households. This past winter, millions of ordinary North Koreans endured extreme winter temperatures as low as 3 degrees Fahrenheit without reliable heating or electricity.

The new sanctions also prohibit the import of foodstuffs and critical agricultural components, openly violating the 1977 Additional Protocol of the Geneva Convention, which specifically forbids any action that erodes agricultural production, “whatever the motive.” Unsurprisingly, precipitous drops in agricultural production have occurred as a result. Food has become increasingly scarce, causing more than 1 million additional North Korean civilians to slip into food insecurity as a result of the restrictions on food and agricultural imports. The increasing scarcity of even basic food items disproportionately impacts the poor, the sick and elderly, as well as newborns.

In addition to strangling the flow of critical civilian imports, these sanctions also ban 90 percent of North Korea’s exports, including minerals, seafood and textiles, impacting hundreds of thousands of ordinary North Koreans employed in these industries — particularly women, who make up the bulk of the workforce in these sectors.

The dire situation created by these U.S.-drafted UN sanctions are exacerbated by the unilateral sanctions imposed by Washington, which allow the U.S. Treasury to block anyone doing business with North Korea from accessing the U.S. financial system. This has caused a shortage of much-needed foreign currency, and further contributed to food insecurity by reducing incomes while raising the cost of food.

Unilateral U.S. sanctions have also incapacitated the NGOs and UN agencies running the humanitarian programs that provide life-saving aid to more than 13 million vulnerable North Koreans. They delay exemptions and block imports of critical medical supplies, such as catheters and needles, increasing easily preventable hospital-related deaths, such as mothers dying as a result of childbirth. According to the Enhancing North Korea Humanitarian Assistance Act, even the laptops and administrative supplies used by humanitarian workers in North Korea are subject to sanctions, which have created an insurmountable barrier of red tape for humanitarian organizations.

While the UN Human Rights Council has repeatedly recommended the removal of “sanctions that negatively affect people’s human rights” in North Korea, any attempt to lift or even reduce the impact of sanctions has consistently been met with steadfast opposition in Washington. In recent years, the weaponization of sanctions, hunger and human suffering has come to be regarded as a means to force denuclearization on North Korea, signaling the final devolution of state policy into extortion. Take, for instance, John Bolton’s warning to the Biden administration against lifting sanctions:

North Korea is weaker today than perhaps ever before in its history…. This is hardly the time to relieve the pressure of economic sanctions and international isolation. This is the time to demand concessions from Pyongyang.

Does the United States have the right to implement a policy of inflicting deliberate harm on the weak and vulnerable based on the cold calculus that doing so will increase its foreign policy leverage? Should the fate of children, the sick and the elderly be used as bargaining chips to induce concessions from their government? Any policy designed to reduce access to basic foodstuffs, life-saving medical supplies and humanitarian aid appears to be consciously targeted to this end.

The Geneva Convention labels such actions as crimes against humanity during wartime — a significant nuance since the 70-year-old Korean War is technically ongoing. Continuing a sanctions regime that is, by design, based on collective punishment violates international norms.

U.S. policies that aim to undermine regime security in North Korea by imposing costs on its powerless population are wrongheaded in the extreme. Even as these brutal sanctions have caused widespread and significant human suffering, they have failed to achieve any progress whatsoever with respect to U.S. foreign policy goals. ...